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MICHIGAN'S ME 7:00 NEWSCAST
--
ONLY 7:00 NEWSCAST.
I LOVE THAT THE PUBLIC VOTED
FOR THIS ONE.
WE COULD HAVE HAD EVERY
EXPERT SAYING IT WAS NO GOOD.
THERE ARE BODY PARTS AND CURLY
HAIR.
WE TEAR THESE UP.
REPORTER: WE ARE NOT TALKING
ABOUT THEM.
BUT IT'S LET LOOSE ON THE BEST
AND WORST OF ARTPRIZE EIGHT'S
FINALIST.
GOOD EVENING, AND WELCOME TO
"CRITICAL DISCOURSE."
MY NAME IS TODD HERRING.
WE EXPLORE WHAT IT IS ABOUT 20
WORKS OF ART THAT MANAGE TO
BECOME FINALISTS IN ARTPRIZE,
THE WORLD LARGEST COMPETITION.
TODD:
WAS IT JUST PURE LUCK THAT
GARNERED THE ATTENTION OF THE
VOTING PUBLIC OR AN EXPERT J
UROR?
TONIGHT, WE ARE ASKING WHY?
WE ASK YOU TO HELP US, SEND US
YOUR THOUGHTS USING THE #A
RTPRIZEWTF.
TONIGHT, WE'LL BE TALKING ABOUT
THE TWO-DIMENSIONAL AND
INSTALLATION CATEGORIES.
TOMORROW IS THREE-DIMENSIONAL
AND TIME-BASED.
JOINING ME TONIGHT IS COMPOSED
AND AUTOMATOR --
MODERATOR, AND
RESIDENT TRANSLATOR FOR ARTWORK
JARGON, KEVIN.
[APPLAUSE]
LET US INTRODUCE TONIGHT'S
CRITICS, THREE SOON-TO-BE
INFAMOUS ART EXPERTS, CHOMPING
AT THE BIT TO PICK APART EACH
AND EVERY ONE OF THE FINALIST
WORKS.
WE HAVE CHAD, A
CURATOR IN
ARKANSAS.
THE ALREADY INFAMOUS JIM RESU
-- JERRY
SALTS, AND CHRISTIAN
FLEISCHMAN.
LET US HEAR IT FOR OUR THREE
PANELISTS.
DIMENSIONAL PUB
LET US TAKE A QUICK LOOK AT HOW
WE GOT TO WHERE WE ARE TODAY.
IT KICKED OFF
WITH WORKS OF ART
ELIGIBLE FOR THE HALF-MILLION
DOLLARS IN PRIZES.
THEY ARE ELIGIBLE FOR ONE OF THE
FOUR $12,500 CATEGORY AWARDS.
AND THE $200,000 JURY PRIZE.
ALONGSIDE THE KNOW IT ALL ART
EXPERTS, YOU, THE VOTING
PUBLIC
HAS HUNDREDS OF THOUSANDS OF
VOTES TO DEEM WORTHY OF THE
EQUIVALENT PUBLIC VOTE CATEGORY
AWARDS AND THE $200,000 PUBLIC
VOTE GRAND PRIZE.
JUST YESTERDAY, WE REVEALED THE
FINAL 20.
WE HAVE 20 FINALISTS CHOSEN BY
PUBLIC VOTE.
YOU CAN FIND FULL LIST OF ALL
THE FINALIST AT
ARTPRIZE.ORG/LEADERBOARD.
ONCE AGAIN, PLEASE JOIN US,
SHARE YOUR THOUGHTS AND USE THE
#ARTPRIZEWTF.
KEEP THINGS MOVING ALONG.
I WILL BE KEEPING A TIME.
WHEN YOU ARE THIS SPELL -- WHEN
YOU HEAR THIS BILL, IT IS TIME
TO WRAP IT UP.
IT IS A POWERFUL BELL,
DO NOT
TAUNT THE BELL.
UP FIRST IS THE TWO-DIMENSIONAL
CATEGORY.
IT IS PRESENTED
BY FOREMOST
INSURANCE.
TINA RIVERS RYAN
FROM THE
DEPARTMENT OF MODERN AND
CONTEMPORARY ART AT THE
METROPOLITAN MUSEUM OF ART IN
NEW YORK CITY.
"GIVEN
SEE --
"COHERENCY," A
HANDMADE CARPET.
ASIDE THE FACT THAT IT
LOOKS
LIKE IT IS MELTING, TELL ME WHY
IT IS FINALIST.
THIS IS AN ARTIST FROM
AZERBAIJAN.
IT IS AN INTERESTING LOCATION,
THE GERALD FORD RESIDENTIAL
MUSEUM.
WHAT DID YOU THINK OF THIS WORK
AND SORT OF THE ENERGY AND
ATMOSPHERE OF THAT ROOM IN THE
MUSEUM.
CHAD: JERRY: I AM KIND OF
KNOCKED OUT BY THIS PIECE.
I LOVE THE IDEA THAT SOMEONE
WOULD TAKE ONE OF THE OLDEST
ARTS WE HAVE, WHE --
WEAVING AND KEEPING THE
TRADITION
, AND ALL OF A SUDDEN,
CHANGING IT.
I REALLY LIKE THAT IN THE ART
WORLD, THEY USED TO JOB IS
OUT
TO OTHER PEOPLE.
I LOVE THE FACT THAT THIS CAME
FROM ONE OF THE COUNTRIES THAT
IS KNOWN FOR PRODUCING THIS.
I REALLY THOUGHT THIS THING HAS
A LOT OF POTENTIAL.
I COULD IMAGINE HUGE BALLROOMS
COVERED IN THIS AND IT WOULD
REMIND YOU OF WHERE THEY CAME
FROM.
TODD: ANYBODY ELSE?
KEVIN: CHAD: I LOVE THE
CONVERSATION BETWEEN THE WALL
AND THE FLOOR.
YOU ARE CALLING INTO QUESTION
THIS WHOLE TRADITION OF
PAINTING.
JACKSON
*** FAMOUSLY WORKED
ON THE FLOOR WITH PAINT AND THEN
PUT IT ON THE WALL.
THIS ARTIST IS TURNING IT ON ITS
HEAD.
TODD: YOU GUYS ARE GOING WAY TOO
EASY ON THIS ONE.
PORTRAITS OF LIGHT AND SHADOW
,
SHOWING AT A CONVENTION CENTER.
HE DESCRIBES -- THE ARTIST
DESCRIBES IT.
IT IS A TRICK OF THE EYE
AND CUT
WOOD.
WHY IS IT A FINALIST?
KEVIN: PEOPLE LOVE
THIS ONE.
THEY
WERE LOOKING AT IT THROUGH
THEIR PHONE.
THE THING I WANT TO START WITH,
WHAT DO YOU THINK ABOUT THE USE
OF THESE VERY WELL-KNOWN IMAGES
OF THE SUBJECT MATTER?
IT HAS GIRL WITH THE
PEARL EARRING.
JERRY:
--8 KRISTEN: IT IS VERY
INTERACTIVE, SO PEOPLE CAN
SWITCH THE LIGHT ON AND OFF.
HAVING THE FIGURES BE
RECOGNIZABLE TO MOST PEOPLE THAT
WOULD BE COMING SEEMS TO BE AN
IMPORTANT FEATURE SO YOU CAN GET
PAST THAT QUICKLY AND THINK
ABOUT THE TECHNOLOGY.
IT NEVER ESCAPES ITS CRAFT.
I AM SORRY.
THE FIRST QUESTION IS USUALLY
THE LAST QUESTION.
HOW LONG DID IT TAKE?
HOW DID YOU DO THIS?
IF IT IS JUST CRAFT, IF IT DOES
NOT -- I THINK IT SHOULD HAVE
BEEN SOME IMAGE OF THE WHOLE,
LIKE A GLOBE, OR THE FOREST, OR
UNDERGROUND WATER SUPPLY, OR
SOMETHING FROM THE 24TH
-- 21ST
CENTURY.
I THOUGHT THIS ONLY WAS COOL
CRAFT.
SORRY.
IF THE ARTIST
IS IN THE ROOM,
I COULD NOT HAVE MADE IT,
EITHER.
TODD: HAPPENING IN CUT WOOD
WHAT
COULD HAVE BEEN DONE IN
PHOTOSHOP, PERHAPS.
LET US LOOK AT "TRANSFORMATION.
IT IS AN OIL
PAINT PRESENTED ON
TWO CANVASES.
THIS IS AN INTERESTING
PAINTING.
THE ARTIST IS RESURRECTING
CLASSICAL RENDERING TECHNIQUES
AND INSERTING THE SUBJECT MATTER
, PARTICULARLY AN
AFRICAN-AMERICAN GIRL, WHO WOULD
HAVE BEEN ASKED TO DID FROM THAT
TYPE OF IMAGE MAKING ANY PAST.
THAT WAS THE CHOICE THE JUROR
MADE WHEN SHE CHOSE THIS.
I THINK THE PAINTING IS A BIT
SCHLUCKY, TO BE HONEST.
WHY DOES THERE HAVE TO BE TWO OF
THEM?
I THINK ONE WAS ENOUGH.
I THINK OTHER IMAGES WE SAW IN
OTHER INSTALLATIONS THROUGHOUT
THE DAY WOULD HAVE MADE THE
POINT SHE WAS TRYING TO MAKE A
BIT BETTER.
KRISTEN: THERE WAS AN ARTIST AT
THE GRAND RAPIDS ART MUSEUM THAT
WAS, DID A PHENOMENAL JOB AT
INSERTING A BLACK BODY INTO ART
HISTORY AND APPROPRIATING THAT.
IT IS NOT ENOUGH, I MET
AN
ARTIST IN NEW YORK THAT SAID IT
IS NOT ENOUGH, I TOOK A PICTURE
OF THAT CLOUD OVER FERGUSON.
I WENT,
NO, YOU DID NOT.
THAT IS JUST A CLOUD.
YOU HAVE TO BE ABLE, ARTIST, TO
EMBED.--IN BED
THOUGHT -- EMBED
THOUGHT.
IT IS NOT EMBEDDED IN THIS WORK.
IT IS NOT ENOUGH.
I AM SORRY.
WOW, THAT WAS HARSH.
I EXPECTED THAT FROM JERRY,
WELL.
I APPLAUD YOU.
NEXT UP IS THE TWO-DIMENSIONAL
PUBLIC VOTE FINALIST
"CONTINENTAL U.S."
IT IS A 15 FOOT BY NINE FOOT CUT
GLASS COLLAGE OF THE
LOWER 48
STATES.
KEVIN, EXPLAIN WHY.
KEVIN: I CANNOT TELL YOU.
ALL RIGHT, SO, THIS IS IN THE
SAME ROOM AS THE CARPET.
IT IS PACKED, CHAOTIC.
MISSOURI, ARKANSAS, NEW YORK.
DID YOU FIND SOMETHING FOR
YOURSELF IN THIS PIECE?
BESIDES BEING SWEATED ON BY
THE WORDS OF PEOPLE, I THOUGHT
IT HAD -- HORDES OF PEOPLE, I
THOUGHT IT HAD A CRAFT.
I DON'T KNOW.
I WAS INTO IT.
I DUG IT.
I GOT INTO IT BECAUSE
I LIKE
MAPS.
I THINK WE ALL DO.
IF I WERE THIS PERSON WATCH
TEACHER, I MIGHT HAVE TAKEN A
SLEDGEHAMMER TO IT AND SAID,
"NOW, MAKE ANOTHER MAP AND
REALLY MADE EACH
STATE A LITTLE
BIT MORE CREATIVE.
DON'T JUST DO WIND FOR THE WINDY
CITY, CORN FOR NEBRASKA.
LET US HAVE SOME INSIGHT, AND
KEEP IT SIMPLE, STUPID.
KISS."
KRISTEN:
THIS WAS MOST
INTERESTING AS A CONVERSATION
PIECE WITH PEOPLE IN THE ROOM.
WE ALL TALKED ABOUT WHERE WE
WERE FROM AN
D WE STARTED
THE TRUMP VERSUS HILLARY THING.
I GOT CALLED A BABY KILLER.
I AM SORRY.
JERRY
SALTZ HAS A UNIQUE WAY
OF SAYING, I WOULD LIKE TO SMASH
THAT WITH A SLEDGEHAMMER.
WHERE ELSE TO HAVE THAT
DEBATE THAN IN A PRESIDENTIAL
MUSEUM?
I REALLY LOVE IT.
I REALLY DO, GENUINELY.
KRISTEN: IN THE ROOM, PEOPLE
CROWDING AROUND THE MAP.
TODD: ALL RIGHT, YOU GUYS, I
RING THE BELL.
THE WORK IS A DIGITAL INKJET
PHOTOGRAPHIC PRINTS MOUNTED ON
PLASTIC.
A COLLECTION OF STAGE LIFE TAKEN
FROM THE ALBUM COVERS OF LIVE
PERFORMANCES OF NOW DECEASED
BLUES AND JAZZ MUSICIANS.
IT IS DARK, BUT NOT STARS, BUT
IT IS.
KEVIN:
THIS ONE IS REALLY COOL,
A BEAUTIFUL IMAGE.
THIS IS A CONSTRUCTED PHOTOSHOP
THING AND NOT A STAR FIELD.
DID THAT WORK FOR YOU, KRISTEN?
ARE YOU A FAN OF THE ARTIST
LABEL REVEALS SOMETHING HIDDEN?
NO?
KRISTEN: I LIKE TO LEARN ABOUT
THE CONCEPT.
I THINK THIS PIECE NEEDS THE
LABEL TO LEARN MORE ABOUT WHAT
IT IS.
I THINK THIS ARTIST HAS WORKED
THAT IT'S STRONGER THAN THIS BY
FAR.
I THINK IT IS THE DEFAULT A LOOK
AT, BUT TO ME, OK.
-- I THINK IT IS
BEAUTIFUL TO
LOOK AT, BUT TO ME, OK.
IT AS NOTHING TO ME, BECAUSE
I DID NOT READ THE LABEL.
I JUST WALKED RIGHT PAST IT TO
BETTER STUFF.
THE ARTIST TALKED ABOUT THE
POETRY OF LIKE RADIO WAVES
FROM
THIS MUSIC AND TRAVELING TO THE
STARS.
ARE YOU BUYING ANY OF THAT?
NO?
YOU CANNOT JUST PUT IT IN THE
LABEL, WHICH IS WHAT THEY ARE
SAYING, RIGHTFULLY.
YOU GUYS ARE GOING TO CHANGE
THIS IN THE ART WORLD.
FOR ABOUT 15 YEARS, ALL THE ART
HAS BEEN IN THE LABELS.
YOU HAVE TO READ THESE DAMN
THINGS, AND YOU HAVE NO IDEA
WHAT IT IS ABOUT.
IT HAS TO BE IN THE WORK OR IT
IS NOT IN THEIR.
-- IN THERE.
I THINK WE HAVE CONSENSUS ON
THAT ONE.
NOW, IT IS TIME FOR A SHORT
BREAK.
WHEN WE RETURN, WE WILL
BE
DISCUSSING THE REST OF THE
TWO-DIMENSIONAL CATEGORIES ON
"WHY THESE ARTISTS?"
ITC HELPS POWER THE
CONVERSATIONS SPARKED WITHIN THE
STUDIO AND BEYOND ITS WALLS,
BRINGING ART AND CULTURE IN OUR
CITY TO A NATIONAL AGE.
OVER THE LAST, WE HAD TENS
OF
THOUSANDS OF VISITORS EXPLORING
ARTPRIZE, FILLING HOTELS, LOCAL
BUSINESSES, DRIVING ECONOMIC AND
CULTURAL IMPACT OF ARTPRIZE
ACROSS WEST MICHIGAN.
WE ARE EXAMINING THE PUBLIC VOTE
AND JURIED AWARD SHORTLISTS IN
WHY THESE FINALISTS?
WHETHER WHAT YOU HERE TONIGHT
FOR PRICES, EXCITES,
OR
CONFOUNDS YOU, WE HOPE YOU ARE
WELCOME BACK TO
TODD: WELCOME BACK TO "CRITICAL
DISCOURSE."
WHY DO THE JURORS AND WHY DID
THE VOTING PUBLIC SELECT THESE
FINALISTS?
THE PUBLIC VOTE FINALIST KNOWN
AS SAM STURGEON BY GARY MORAN
SHOWING AT THE GERALD R
MUSEUM.
KEVIN, WHAT DO YOU THINK?
KEVIN: USUALLY,
A WE ARE USED TO
SEEING HIM ON DOLLAR IMAGE.
-- A ON DOLLMAN
DALA -- A
MANDALA IMAGE.
COULD IT BE GONE TOMORROW?
A GIANT IS MADE OUT OF SAND, I
UNDERSTAND WHY PEOPLE LIKE IT,
BUT REALLY?
YOU ARE NOT FEELING IT.
JERRY: I THINK THIS PERSON
SHOULD HAVE CHANNELED THEIR
INNER JULES VERN AND CAPPE
D THE
IMAGINATION.
REALLY?
MOVING ALONG.
I WILL SAY THAT EVERYBODY LOVES
THE HERRING, BUT THAT IS
PERSONAL.
WE WILL MOVE ALONG TO THE
SEVENTH OF OUR 10
TWO-DIMENSIONAL FINALISTS.
IT IS KIND OF A EYES WIDE SHUT
KIND OF THING GOING ON HERE.
I READ THE
ART STATEMENT IN
THIS ONE.
HE WANTED TO DO A NUDE
SERIES
OF PHOTOS THAT WERE LESS
EXPLICATED.
HE THOUGHT THE MASK HELPS THAT.
KRISTEN: I THINK IT IS THE EXACT
OPPOSITE.
THEY COULD NOT BE MORE
EXPLICATED --
EXPLOITATIVE.
I FEEL BAD FOR NATURE.
THE JURY PICKS ARE DOING WAY
WORSE THAN THE PUBLIC PICKS.
I MEAN, NO.
THERE IS NOTHING ELSE.
WE ARE GOING TO APOLOGIZE TO
NATURE FOR THIS ONE.
YOU KNOW EXACTLY WHERE THEY
WERE.
NUMBER EIGHT, ANOTHER SELECTED
BY THE VOTING PUBLIC, "ASHES TO
ASHES" BY JACQUELINE GILMORE.
IT IS A PAINTING, OIL PAINTING,
OF A FOREST FIRE.
KEVIN, HOW CAN WE SLEEP WHILE
THE TREES ARE BURNING?
NOT EVEN A LAUGH OUT OF THAT
ONE.
YOU HAVE SEEN A LOT OF
PAINTING IN YOUR DAY, IS IT
WORKING?
JERRY:
IN THE 19TH CENTURY, IT
WAS COMMON FOR ARTIST LIKE
FREDERICK CHURCH TO DO THESE BIG
LANDSCAPE, PUT THEM BEHIND
CURTAINS AND HAVE
SPECIAL GAS
LIGHTS ON THEM FOR SPECIAL
LIGHTING EFFECTS.
THAT WAS PRETTY COOL.
ALL OF THAT WAS OUT WORK HERE.
ALL OF THAT CONTROL WAS EXERTED,
BUT I REALLY THINK THE PAINTING
ITSELF IS PRETTY
UNORIGINAL AND
GIMMICKY.
I AM REALLY SORRY IF THE ARTIST
IS HERE.
ANYBODY ELSE?
IT FELT LIKE A STAGE SET.
IT WAS HOT IN THE CORNER,
AND IT
WAS A STAGE FOR THE PERFORMANCE
OF YOUR OWN GUILT.
THIS FOREST IS BURNING BECAUSE
OF YOU, THE MISERABLE ON RECYCLE
OR --
NON-RECYCLER.
KRISTEN: THE RESPONSE WAS TO
TAKE SELFIES IN FRONT OF IT.
CONTENTS, APPLICATION
, IT DID
NOT COME TOGETHER.
HARSH CRITIQUE, BUT I THINK,
PRODUCTIVE.
ALL RIGHT.
THE NEXT TWO-DIMENSIONAL JURY
AWARD FINALIST IS "CHARTED
MEMORIES," BY KAREN.
KEVIN: OK, SO, ABSTRACT
PAINTING.
YOU HELPED POPULARIZE THIS TERM,
ZOMBIE ABSTRACTION.
IS THIS AN EXAMPLE OF THAT?
JERRY: THAT IS WHEN YOU HAVE AN
ARTIST MOVING INTO THE DEAD OR
UNDEAD BODY OF TOURING
ABSTRACTION.
THIS IS
NOT A CRYSTAL THING.
I WOULD SAY THERE IS AN ENORMOUS
AMOUNT OF GREAT WORK IN ARTPRIZE
THIS YEAR.
WORK THAT
COULD BE WORLD-CLASS
AND BROUGHT INTO PRIME TIME
IMMEDIATELY, AND I THINK THAT
THIS IS NOT AN EXAMPLE OF THAT.
IT BREAKS MY HEART TO SAY
THAT
BECAUSE THERE IS SO MUCH GREAT
WORK IN THE COMPETITION THIS
YEAR.
AGREED.
THIS COMPETITION IS RADICALLY
OPEN, AND THE EXPECTATIONS
ARE
WHEN YOU COME TO THE TABLE AND
TO ARTPRIZE, YOU ARE GOING TO
BRING IT.
WHEN YOU STAND IN FRONT OF THE
OBJECT, YOU DO NOT GET THAT
FEELING.
ARTPRIZE HAD HIGHER
EXPECTATIONS.
KRISTEN:
THERE WAS WORK IN THAT
GALLERY THAT WAS FAR MORE
STUNNING.
YOU RAISE THE BAR.
WE JURORS HAVE TO COME TO YOUR
LEVEL.
I HATE THIS.
HOPEFULLY, WE WILL HAVE MORE
FINALISTS THAT WILL HAVE BROUGHT
IT FOR YOU.
MAYBE THIS NEXT ONE.
IT IS OUR LAST ANALYST IN THE
TWO-DIMENSIONAL CATEGORY.
IT IS A GIANT, TEEN FOOT-WIDE BY
SEVEN FOOT TALL WATERCOLOR,
PENCIL, AND ACRYLIC CREATION ON
WATERCOLOR CANVAS.
TITLED "PROTECT AND SERVE."
THIS IS NOT
THE FIRST GIANT
DEPICTION OF AN OLD PHOTO OF MEN
IN UNIFORM.
IT FEELS A LITTLE FAMILIAR.
THE
PRINTING THE POLICE IS A
POLITICAL ACT IN ONE WAY OR
ANOTHER.
DID IT WORK?
HOW WOULD THIS PLAY IN ST.
LOUIS?
KRISTEN:
I LITERALLY WAS FEELING
ILL BECAUSE I THINK THE TITLE OF
THIS WORK WAS "PROTECT AND
SERVE," AND I DO NOT THINK A
BUNCH OF WHITE MEN ON
MOTORCYCLES AGGRESSIVELY LOOKING
AT YOU SHOULD BE THE EMBODIMENT
OF WHAT OUR POLICE SHOULD HAVE
FOR.
-- SHOULD STAND OR.
-- STAND FOR.
[APPLAUSE]
IF
YOU GET CLOSE, AND I
ENCOURAGE EVERYONE TO GET CLOSE
TO THE PAINTING, THERE IS A
BUNCH OF HASH MARKS WITHOUT A
FOLLOW-UP TECHNIQUE.
SURE,
THAT CONTENT, BUT AT THE
END OF THE DAY, THAT PAINTING.
KRISTEN: I DID LIKE THAT THERE
WERE POSTED TO IT.
BLACK LIVES MATTER.
DID ANYONE ELSE GET
PHYSICALLY ILL WHEN I SAW THE
PAINTING AT ALL?
I AGREE WITH MIKE TWO
PANELISTS -- WITH MY TWO
PANELISTS.
WHY DID THEY GET IN THERE?
REALISM
HAS A SECRET WORD IT
USES ON PEOPLE WHICH TRANSLATES
IN A FUNNY WAY WHICH, "IT MUST
HAVE SKILL, IT MUST HAVE TAKEN
TIME."
BUT I ASK, "IS IT CONVENTIONAL
SKILL?
ARE THEY REDEFINING SKILL?"
THIS IS CONVENTIONAL
PHOTOREALISM.
DO NOT JUST FALL FOR THE SKILL,
OTHERWISE WE GET MEDIEVAL ON
YOU.
TODD: THERE YOU HAVE IT.
NOW, YOU KNOW WHY.
WE ARE GOING TO TAKE A QUICK
BREAK, BUT YOU CANNOT GO
ANYWHERE.
WHEN WE RETURN, WE WILL BE
DISCUSSING THE 10 FINALISTS IN
THE INSTALLATION CATEGORY.
WE WILL BE RIGHT BACK.
TODD: ALL RIGHT.
WELCOME BACK.
LET US DIES INTO -- DIVE
INTO
THE INSTALLATION CATEGORY.
LOCATION IS NOT A NEUTRAL
GROUND, BUT MAKES AN IMPORTANT
INGREDIENT OF THE WORK.
WE WILL BE DISCUSSING FIVE
FINALISTS
SELECTED BY PUBLIC
VOTE AND FIVE BY JURORS.
LET US TAKE A LOOK AT
THE
INSTALLATION PUBLIC VOTE
FINALIST TITLED "SWEET
SPOT"
SHOWING AT BRUSH STUDIO.
IT IS AN INSTALLATION OF
MULTICOLORED NYLON CORDS FILLING
THE SPACE.
SOUNDS PRETTY GROOVY.
KEVIN.
KEVIN: BIG CROWDPLEASER HERE.
A LOT OF OPTICAL EFFECTS.
CHAD:
I THOUGHT IT WAS PRETTY
CROWDPLEASING.
IT IS NICE TO SEE COLOR.
IT IS GOOD TO FEEL LIKE
INSTALLATION IS CHANGING WITH
YOU.
THERE ARE A NUMBER OF OTHER
ARTISTS WORKING IN THE SPACE.
THERE ARE A COUPLE OF OTHER
PEOPLE OUT THERE.
MY BIGGEST PROBLEM WITH THIS
INSTALLATION WAS THE DISPLAY
MECHANISM, WHICH FELT SORT OF
CLUNKY.
YOU WANTED TO FEEL
SURREAL, BUT
IT DID NOT.
KRISTEN: THE SAME COMMENTS.
I THOUGHT IT WAS OVERLY
DESIGNED, BOXES.
TO YOUR POINT, THE INSTALLATION
WORK SHOULD BE SITE-SPECIFIC
OR
SITE RESIDENT.
JERRY:
IT IS GREAT TO HAVE ART
THAT SLOWS YOU DOWN AND THAT YOU
LOOK AT AND THINK, IT IS JUST A
BUNCH OF THREADS, AND WHEN YOU
LOOK AT IT, YOU GET QUIET AND
YOUR FOCUS GETS IN AND OUT.
I THOUGHT THAT WAS GOOD.
I THOUGHT IT WAS HELD BACK BY
ITS OVERDESIGN.
IT SHOULD BE NOT SUCH A BIG
MECHANISM.
KEEP IT SIMPLE, STUPID.
STOP CALLING ME STUPID,
JERRY.
[LAUGHTER]
ANCHOR: PERHAPS ENGINEERED,
THE
KIND OF MAGICAL IN THE COLOR
HARMONIES I SAW.
I THOUGHT IT WAS FASCINATING.
TAKE THAT FOR SIMPLE.
TODD: UP
NEXT, 253RD AC MOTORS,
300 --
MORE VERTICAL LINES FILLING A
SPACE, MAYBE THAT IS A TREND.
THE SOUND, TALKING ABOUT THE
SOUND OF THIS.
?
WHAT DID YOU THINK AS HE WALKED
INTO THE OLD CHURCH?
ITSELF TRIBAL IN THE WAY THAT
YOU INTERRUPTED WITH THE WORK.
IT FELT LIKE IT WAS RESONATING
WITH YOUR OWN BODY AND ENCOURAGE
YOU TO WALK AROUND IT, AND YOU
FELT OVERWHELMED A BIT.
THAT IS PART OF THE IMPULSE I
THINK.
THEY LOOK LIKE HUMANS, WEIRDLY.
THEY HAVE THEIR OWN INDIVIDUAL
WAYS OF MOVING IN THE SPACE.
I LOVE THE INDIVIDUAL UNITS.
I WAS BLOWN AWAY.
KRISTEN: I LOVE THIS PIECE AS
WELL.
IT POINTS TO A MECHANISM THAT
WORKS WITH THE PEACE AND
APPOINTING TWO MATERIALS.
IT IS NOT TRYING TO BE SOMETHING
THAT SHOULD NOT.
IT WAS MOVING AND POWERFUL WORK.
I ALSO LIKE THAT THEY TOOK A
FORMAL APPROACH TO A FORMER
CHURCH.
USUALLY, YOU GIVE AN ARTIST IS
CHARGED SPACE LIKE A FIREHOUSE,
A CHURCH, THAT WILL OVERDO THE
SUBJECT MATTER.
THIS PERSON IN A SENSE DID IT
VERY SUBTLE, VERY FORMAL, AND IT
WAS LOUD, LIKE THE WEIGHT KIDS
LOVE NOISY RESTAURANTS -- THE
WAY KIDS LOVE NOISY RESTAURANTS.
I DO NOT UNDERSTAND THAT.
TODD: ALL RIGHT, UNCLE JERRY.
THE LAST ONE
, THAT YOU SAID
WAS OVER ENGINEERED, CRITICAL
LINES IN A IS.
THIS ONE IS MECHANICAL.
YOU CALLED IT SIMPLER.
HOW DOES THAT MAKE SENSE?
TRICK QUESTION.
YOU DESCRIBE THE TITLE.
YOU HAD TO TAKE 20 SECONDS TO
DESCRIBE THE TITLE.
IT EMPHASIZES ITS OWN MAKING IN
A WAY THAT THE VERTICAL STRING
DID NOT.
IT EMPHASIZES THE STRUCTURE.
IT SAYS "HERE I AM, I AM JUST
WOOD."
THERE WERE
WIRES PULLING UP
THE WOOD AND DROPPING IT.
I FEEL LIKE THAT WAS NOT
OVERDETERMINED, OVERDESIGN.
IT WAS SOMETHING I COULD MAKE AT
HOME.
IT IS LIKE IMAGINING YOU ARE THE
DRUMMER.
I COULD DO THAT.
SO, THE WOOD INSTALLATION
HITTING THE SWEET SPOT, THE
TITLE OF THE COLOR ONE.
WE ARE DONE.
WE ARE DONE.
THE GUY IN MY EAR SAID WE
HAVE TO MOVE ON.
TODD: NEXT, ANOTHER INSTALLATION
JURY AWARD TITLED.
IT TAKES OVER A WAREHOUSE IN THE
HEART OF THE ROOSEVELT PARK
NEIGHBORHOOD.
COMMUNITY MEMBERS WERE INVITED
TO OWN THE SPACE AND CREATE
FREELY AND HOLD UP ONE ANOTHER'S
CULTURES, IDENTITIES, AND
VISIONS.
KEVIN: THIS IS A PRETTY UNIQUE
ENTRY.
IT IS REALLY SORT OF LIKE
AN
ENTRY IN A COMMUNITY GATHERING
PLACE.
JERRY, YOU AND KRISTIN AND I
WENT THERE YESTERDAY.
TELL US WHAT WAS GOING ON IN
THAT SPACE.
JERRY: IT WAS LIKE SEEING ONCE
UPON A TIME, THE ILIAD PERFORMED
IN YOUR NEIGHBORHOOD, AND IN THE
IDEA WAS TO KEEP YOUR PUBLIC
INTERESTED BY MAKING IT REALLY A
GREAT STORY AND I FELT LIKE I
WAS SEEING THE MAKINGS OF THAT
IN GRAND RAPIDS.
IT WAS A FORMALIZED THEATER.
I WAS BLOWN AWAY.
YOU GUYS CREATED THAT SPACE.
I HAVE BEEN A COUPLE TIMES.
THERE WAS A PLAY HAPPENING.
WHEN I VISITED BEFORE, WAS NOT A
PART OF IT.
KRISTEN: I FELT LIKE IT HAD
LIFE.
THE WORK CAME FROM THE
COMMUNITY, WAS SUPPORTED BY THE
COMMUNITY, AND I FELT IT WAS A
BEAUTIFUL PROJECT THAT THEY
APPLIED TOGETHER AND OPENED IT
AND IT IS -- OWNED IT.
IT IS FANTASTIC.
THEY TALKED ABOUT, IT IS A
COLLECTIVE OF 17 ARTISTS THAT
THE CURATOR PULLED TOGETHER.
THEY TALKED ABOUT DOING THAT
COLLECTIVELY RATHER THAN HAVING
EACH OF THOSE WORKS AS A
SEPARATE VOTING NUMBER AS BEING
KI OF LIKE A CRITIQUE OF
ARTPRIZE IN A WAY BECAUSE IT IS
A NONCOMPETITIVE SPACE.
TELL ME ABOUT THAT, SEEING THIS
AMONG EVERYTHING ELSE IN THE
COMPETITION.
DOES THAT WORK?
KRISTEN: YEAH.
I THOUGHT IT WAS WONDERFUL, A
BREATH OF FRESH AIR COMPARED TO
THE OTHER SITES WE WENT TO, IT
IS COHESIVE, IT TELLS A STORY,
AND AN IMPORTANT STORY.
A BREATH OF FRESH AIR, WHICH
WE ALL LIKE.
OUR NEXT PUBLIC VOTE
INSTALLATION FINALIST IS "ROCK
AROUND" BY AARON
ZENZ.
THE ROCKS WERE ARRANGED OUTSIDE
THE GRAND RAPIDS CHILDREN'S
MUSEUM.
THEY REPLACED OLIVER GRAND
RAPIDS IN RANDOM LOCATIONS.
KEVIN, IS IT ROCKING WERE --
OR NOT?
KEVIN: IT IS A GAME, A SCAVENGER
HUNT ULURU THE CITY.
WHAT DID YOU THINK -- ALL OVER
THE CITY.
WHAT DID YOU THINK?
I'M NOT GOING TO BE THE GUY
WHO DUMPS ON ONE GUY PLAYING
WITH HIS KIDS.
DO MORE OF THAT.
I LOVE THE FAMILY ART MAKING.
CHEERS.
I LOVE LOOKING FOR STONES.
I HAVE SPENT MY WHOLE LIFE
STARING AT THE GROUND.
THAT IS COOL.
THAT IS AN EARLY NEAR OLYMPIC --
YELLOW THE PLACE IN ALL OF US --
EARLY
NEOLITHIC SACE IN ALL OF
US.
THAT
FAMILY SEEMED TO BE
BRANCHING OUT INTO LIFE, WHERE
THIS ONE WAS GOING INTO ITS
FAMILY.
KRISTEN: I AGREE WITH YOU.
I LOVE FAMILIES MAKING WORK
TOGETHER.
THIS SEEMS LIKE A
PINTEREST PROJECT.
I MAKE WORK WITH MY CHILD.
ALL RIGHT.
THAT IS TOMORROW NIGHT.
KRISTEN: SORRY.
THAT IS TIME-BASED.
THAT WILL BE LIV
E RIGHT HERE AT
7:00 TOMORROW.
THAT IS "HIGHER GROUND."
TODD: OUR NEXT INSTALLATION JURY
AWARD FINALIST IS "HYBRID
STRUCTURES," SHOWING AT RAMSEY
STREET PROJECT.
IT IS WOOD AND STEEL ACCESS
RAMPS THAT LINE THE NORTH SIDE
OF RAMSEY STREET.
TELL US ABOUT THIS METHOD
INSTALLATION.
KEVIN: THERE'S A LOT GOING ON
HERE.
THE LAST ONE WAS ENTRY AS GAME,
THIS WAS ENTRY AS
INFRASTRUCTURE.
IT IS AS MUCH ARCHITECTURE AS
SCULPTURE.
IT IS VERY MUCH A SORT OF THE
CONNECTIVE TISSUE BETWEEN
DIFFERENT THINGS HAPPENING
WITHIN SIGHT LABS.
JERRY, WHAT WERE YOUR THOUGHTS?
JERRY: I THOUGHT IT WAS
WORLD-CLASS INSTALLATION GROUP
OR WHATEVER THEY CALL
THEMSELVES.
YOU CAN BRING THIS TO GERMANY
AND IT WOULD BE RESPECTED.
I LOVE THE FACT OF WALKING
THROUGH BUILDINGS THAT THEY TOOK
APART OR THAT THEY LEFT
STANDING.
I BECAME LIKE A BIRD, PERCHED ON
THESE WALKWAYS.
I AM A WEIRD PERSON THAT LOVES
TO LOOK AT TRAFFIC AS IT IS
GOING BY, SO I FOUND A SPOT TO
LOOK AT THE 113 AND I FELT GOOD.
IT BECAME A STAGE ON WHICH
THE COMMUNITY PERFORMED.
ON THAT SURFACE, WHICH IS
WHEELCHAIR ACCESSIBLE, WORKING
WITH THIS ART, BEING ABLE TO
HAVE IT THERE ABOUT THE RUNWAY
FOR A DISABILITY FASHION SHOW,
INCREDIBLE.
TO BE ABLE TO WORK WITH THE
TEXTURE
AND SERVE THE NEEDS OF
THE AUDIENCE, THAT IS SOCIAL
PRACTICE RIGHT THERE AND REALLY
BEAUTIFULLY DONE.
KRISTEN: WELL DONE.
IT IS ABOUT GETTING A NEW
PERSPECTIVE ON A NEIGHBORHOOD AS
WELL.
WE OFTEN DO NOT TAKE THE TIME TO
STEP OUTSIDE OF THAT AND THAT
PHYSICALLY HELPS YOU DO THAT,
WHICH IS SO IMPORTANT.
FOR SOMEBODY WHO MIGHT SAY,
"THIS IS THE STRUCTURE, AND IT
MIGHT BE BEAUTIFUL AND WELL
MADE, I DO NOT SEE IT AS ART,"
CAN YOU BRIDGE THAT GAP FOR US?
HOW DOES IT FUNCTION AS ART?
KRISTEN:
IT IS IN TENSION.
IT BECOMES A PLATFORM FOR THE
COMMUNITY AND FOR PEOPLE AND
ARTIST.
WE SOUGHT --
SAW
FABULOUS PERFORMANCES YESTERDAY.
IT SPEAKS TO THE NEIGHBORHOOD.
JERRY:
IT IS SUBTLE IN ITS OWN
WEIGHT.
I PUSHED SOMEONE AROUND IN
MUSEUM LAST WEEK IN NEW YORK IN
A WHEELCHAIR.
THE PERSON SAID "YOU KNOW, I
CANNOT SEE ANY OF THE PICTURES
HERE.
THEY ARE HUNG TOO HIGH.
I CANNOT SEE ANY OF THE TRUTH
FROM THIS PERSPECTIVE."
FOR THIS PIECE, THE ARTISTS NEW
TO PUT THE WORK AT WHEELCHAIR
HEIGHT.
ALL OF THESE THINGS ARE
FUNCTIONING JUST LIKE ART AND
THAT IS PRETTY BELL
-LIKE.
TODD: EVEN POIGNANT COMMENTS
MUST FALL TO THE BELL.
STAY WITH US AS "CRITICAL