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It seems we have a natural fascination with things lilliputian. Many of us can remember being transfixed by model train sets, doll houses, or Gulliver's Travels. While we may readily associate small-scale environments with childhood, scale models allow people of any
age to imagine a world different from their own. The Aldrich Museum of
Contemporary Art is pleased to present Model World, opening January 20
through May 1, 2002. The artists in Model World painstakingly recreate
miniature landscapes, cityscapes, and interiors to a variety of different
ends.
Charles Simonds creates detailed landscapes of what appear to be primitive
man-made domiciles in arid terrain. His sculptures have an ancient and
mysterious quality-familiar but wholly a result of the artist's vision of a
future time. Rob de Mar's candelabra-like sculptures are composed of
linked, floating bodies of land. His sculptural forms mimic networks of
tree roots, waterways, or veins-referencing the artist's interest in systems
of nature. Kazumi Tanaka has built a fragile village inside an antique
piano. Her miniature environments are psychological spaces, capturing both
her memories of childhood, and her search for security and comfort in a
changing world. Viewed through an aperture, Michael McMillen's detailed
interiors subvert the viewer's sense of scale, time, and space. By
controlling perspective, lighting, and adding elements of sound and smell,
McMillen's work stimulates the viewer much the way film or theater does.
The artists in Model World distinguish themselves not only by the disparate
worlds they portray but also by the elaborate sculptural forms that result.
Model World will include the work of Kim Adams, Michael Ashkin, Rob de Mar,
James Grashow, Michael C. McMillen, Bob Mitchell, Angel Nuñez, Paul
Pfeiffer, Lawrence Seward, Charles Simonds, Jeff Stephens, Kazumi Tanaka and
Yuken Teruya.
FLOOR TO CEILING
January 20 May 1, 2002
The Aldrich Museum of Contemporary Art is
pleased to announce Floor to Ceiling, an exhibition of site-specific
installations, January 20 May 1, 2002. Jean Blackburn, Francis Cape and
Markus Linnenbrink have been invited by the Museum to treat a single plane
in one gallery on the Museum's third floor, addressing their individual
artistic concerns while conflating the function of architecture in the
Museum's oldest galleries.
Jean Blackburn will literally tear up the existing gallery floor to expose
and reconstruct the wood floorboards into her own site-specific sculpture.
By reconfiguring the floor with found material, she is creating a dialogue
of the architectural process through destruction and rebuilding. Using this
approach, Blackburn underscores the mutability of form in not only
architecture, but in the Museum's role as a historical institution.
Apprenticed as a woodcarver and working exclusively as a carpenter during
his career, the English artist Francis Cape will approach the Museum walls
as he toys with the idea of form versus function. Cape is meticulous in his
own hand-made minimalist sculpture that resembles furniture yet shuns
function. Cape's mysterious work evades classification by blurring the lines
between furniture and architecture, and painting and sculpture.
Precision and logic overrides much of Markus Linnenbrink's work. His
paintings of colorful stripes will cover the gallery ceiling as a testament
to the artist's approach to painting as a stage for color. Without a canvas,
the artist uses paint to delineate architecture. There is no specific scale
or formula that control the artist's stripes and color, but rather an
overriding sense of nature and an organic sense of color.
NATACHA LESUEUR
January 20 March 17, 2002
Natacha Lesueur's photographs are marked by
a struggle between desire and repulsion. Her photographs of bodies
decorated with food evoke a mixture of fascination and disgust by
juxtaposing the beauty of the female body with the basic human desire for
food. Her current work elicits a similar struggle of perspective. By
"painting" optical exam charts onto female models, Lesueur forces the viewer
to use the body as a test of vision.
The Aldrich Museum of Contemporary Art is pleased to present
OPTICALIFRAGILISTIC: New Photographs and Arrangement Culinaire, running
January 20 through March 17, 2002 and curated by Richard Klein, assistant
director at The Aldrich Museum, and Thierry Davila, curator of contemporary
art at Capc Muse'e d'art Contemporain in Bordeaux, France. Fusing the ideas
of consumption and desire, Lesueur will present color photographs in
conjunction with an installation culinaire, an edible installation that will
serve as a buffet at the exhibition's opening reception.
Lesueur's color photographs portray partially clothed women with optical
exams stenciled to their skin, usually slumped over, their bodies appearing
weightless. These cryptic positions and tests force a distance between the
viewer and her work as if we, the viewers, are taking an eye exam. Using
the exams as a visual barrier, the female models are left de-eroticized,
shifting the focus from the body to the act of seeing. The result is a
photograph that is part crime scene examination, and part high fashion photo
shoot. She is using her subject's to challenge our perspective, forcing the
viewer to determine what we truly see when we gaze upon a female body.
Natacha Lesueur lives and works in Nice, France. The Aldrich Museum will be
the first venue in the United States to host a solo exhibition of her work
which is funded in part by the Association Française d'Action Artistique, a
program of the French Foreign Ministry. Lesueur has had several one-person
and group exhibitions in Germany, France, and Switzerland. Her work is
currently being shown at Le Centre Re'gional d'Art Contemporain and Gallerie
Soardi in Nice, France.
SNAPSHOT:
An Exhibition of 1,000 Artists
January 20 May 1, 2002
Artists and their friends from around the
world have submitted snapshots to The Aldrich Museum of Contemporary Art for
a wall to wall, unedited, explosion of photographs that range from the inane
to the inspiring.
The Aldrich is pleased to present Snapshot, an exhibition featuring
photographs by more than 1,300 artists and laymen from twenty-four
countries, opening January 20 through May 1, 2002. To complete the project,
this past fall The Aldrich invited the general public to participate with
their own snapshots that will also be on view during the exhibition.
Originated by the Contemporary Museum in Baltimore, a mix of artists, art
professionals, students, critics, and collectors were invited to submit
their own personal snapshots for the exhibition. Well-known artists
participating include John Baldessari, Isaac Julien, William Kentridge, Kiki
Smith, Andres Serrano, and John Waters. This incredible volume of
photographs will be arranged in a grid format in alphabetical order in order
to avoid curatorial prejudice. Each entry has been accepted with the only
limitations being the deadline and the size of the submissions.
This collection of snapshots brings into question the boundaries we draw
between a photograph shown as a work of art and the random snapshots we may
all have stored away in photo albums. Rather than attempting to answer
sweeping questions, as exhibitions often do, Snapshot aims to raise
questions concerning the Museum's curatorial process and aesthetic aims.
Snapshot challenges traditional categories of art and in some ways becomes
an experiment in democracy.
The Aldrich Museum of Contemporary Art is located in Ridgefield on Route 35.
Regular Museum hours are Tuesday through Sunday, 12 noon to 5 pm.
For Immediate Release
Press Contact: Amy Grabowski
203 438-4519 x 3008
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