Observatory

RETROFUTUROLOGY Opening At Observatory!

January 18th, 2011  |  Published in Adventure, Ill Luminations, Images, Observatory, Publishingz, Seasons Such As This One, Signs

RETROFUTUROLOGY

How the Past Saw the Present // How the Present Sees the Future

retrofutur-web

Steam Piano image courtesy Adrian Agredo.

OPENING RECEPTION: Friday, January 28, 8 PM
ON VIEW: Friday, January 28 – Friday, March 5, 2011
HOURS: Thursdays & Fridays 3–6 PM, Saturdays & Sundays 12–6 PM

Observatory is pleased to announce our new exhibition, RETROFUTUROLOGY, a group show of visual art, curated by the Hollow Earth Society (Ethan Gould & Wythe Marschall, Founding Colonels).

Join us for the opening, Friday, January 28, at 8 PM.

About the show: To have an imagined future, you must simultaneously have an imagined present and an imagined past…

A DeLorean decked out in flashing lights and wires: A modest-budget promise that, yes, the technologies of our age can puncture the time barrier! Where to go? A rowdy 1950s? A steampunk 1890s?

Our visions of the future are nested. Our conception of time is hyperreal.

This is the process on which the present runs.

Come see contemporary art that investigates futures-past, futures-possible, and other nestings.

Featuring paintings, sculptures, and other works by many artists, including: Adrian Agredo, Tracey Atkinson, Emi Brady, Bunny M, Jon Burgerman, Chiezo, Devon Clapp, Jesse Corinella, Rachel Debuque, Derrick Dent, Matt Duffin, Ethan Gould, Andrea Hendrickson, Richard Herzog, Andy Hunter, Patti Jordan, John Lee, Haydex Li, Benjamin Mayock, Marianne McCarthy, Megan Murtha, George Pfau, Nick Raynolds, Matthew Robinson, Sean Star Wars, Tom Sarno, Rachel Schragis, Joelle Shallon, Greg Shelnutt, Niko Silvester, Melissa Stern, Lisa Temple-Cox, and Robin Treadwell.

Hollow Earth Society Call For Artists: RETROFUTUROLOGY

December 16th, 2010  |  Published in Adventure, Amici, Future!ology, Historica Obscura, Images, Observatory, Signs, Uninvited Explanations Of Literary & Historical Phenomena

RETROFUTUROLOGY
“How the Past Saw the Present // How the Present Sees the Future”

A group show of visual art at Observatory, Brooklyn,
curated by the Hollow Earth Society,
Ethan Gould & Wythe Marschall, Founding Colonels

The imagination (as a productive faculty of cognition) is a powerful agent for creating, as it were, a second nature out of the material supplied to it by actual nature.  —Kant

To have an imagined future, you must simultaneously have an imagined present and an imagined past.

A DeLorean decked out in flashing lights and complicated-looking wires: It’s a modest-budget promise that, yes, the technologies of our age—our new computer chips and LED lights and cars with doors that open upright like a space pod—can puncture the time barrier, with the right old-fashioned mad scientist at the steering wheel! Where to go? A rowdy 1950s, wherein a white kid can invent rock and roll? A steampunk 1800s? A future wherein the promises of kaleidoscopic, holographic advertising from the late 1980s come to fruition—a world with yet another layer of retrofuturist dreaming added onto the small-town diner…?

Our visions of the future are nested.

Our conception of time is hyperreal. In explaining the visual gimmicks of a single cultural artifact such as the Buggles’s “Video Killed The Radio Star,” we must refer to the heyday of radio; the future promised by television executives in synthesizer advertisements; science fiction pulp covers from the 1950s; the neon-on-black-and-white aesthetic of MTV in its early years, not to mention the gallery scene that birthed that aesthetic; 1950s diner-decor futurism; the late-1970s body-posturing and dystopic styling of Devo; Fritz Lang’s Metropolis, looking forward to 2026; the garb of mad scientists in movies from the 1940s;—and the sigh that comes with opening a magazine and seeing all of this, compressed down into an ad for sunglasses for hipsters.

Or not even for hipsters: The retrocamp fashion exemplified by an irritating blend of past and future has been recompressed and sold in shopping malls internationally. This isn’t marginal pulp—

This is the process on which the present runs.

You are invited to join us for a group show

The Hollow Earth Society seeks artists working in drawing, printmaking, and painting, and possibly sculpture and video/multimedia art (space is limited) for RETROFUTUROLOGY, a group show focused on past- and present-futures, to be up from January 29 to March 5, 2011, at Observatory. Submissions are due January 8, 2011.

How to submit:
Include all information listed below. Late or incomplete submissions will not be considered unless they are mind-staggeringly fantastic and presented with great humility.

  1. Send us up to five images. Digital submissions will be accepted via email. Files must be in JPEG or PDF format. Please number your image files to correspond to your image list.
  2. Send an image list. Double check that the numbers on your list correspond to the numbers in the names of your actual files.
  3. In your list, include for each image: an image number, the work’s title, the date of work, the medium, and its size and price.
  4. Along with the list, please include a brief description of each image.
  5. Send a three-line bio, your contact information and an email address. You may also submit a résumé.
  6. If you like, send an optional artist’s statement, no longer than 300 words.

THERE IS NO FEE TO ENTER.
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Deadline: All email submissions must be received no later than January 8, 2011. (All accepted work should be physically received at Observatory no later than January 24, 2011.)

Return of submitted materials: Include a SASE and make sure there is sufficient postage, or pay for shipping and we will ship your work back to you. If work is two-dimensional, the Hollow Earth Society is more than happy to have it on file for future shows and keep it exhibited for sale on our website. The same 30% commission for art sold will apply.

Drop-Off: If you have been accepted into the show and are in the NYC area, you may wish to drop off your art at the gallery. Email us (gallery@hollowearthsociety.com) to schedule a date and time.

Pick-Up: Return of mailed artwork with return postage will begin on March 12, 2011.

Email submissions to:
gallery@hollowearthsociety.com

By post:
Observatory
543 Union Street
Brooklyn, NY 11215

To find out more, click here.

The Grotesque In Art With Dr. Nancy Hightower

November 12th, 2010  |  Published in Amici, Images, Live Happenings On Stages, Observatory, The Terrifying Frangibility Of The Human Corpus

Fellow Observer Pam Grossman presents a talk on the grotesque that sounds rad:

The Grotesque In Art: A Discussion With Dr. Nancy Hightower

*Please note, this event will be taking place at the ISE Cultural Center in Manhattan: 555 Broadway between Prince and Spring.  Press buzzer for entrance and proceed to basement gallery.

Date:  Saturday, November 20
Time:  5–7 PM
Admission:  FREE

Presented by Anagnorisis Fine Arts and Phantasmaphile. In conjunction with the exhibit “Another Roadside Attraction: An Exploration of the Neo-Grotesque,” Dr. Nancy Hightower will lead a discussion on the grotesque in art as it relates to the artwork currently on view at the ISE Cultural Foundation:

“Modern contemporary art, film, TV, and literature embrace the bizarre in a way never before seen. Many might term what they see and read as ‘grotesque’—used pejoratively to mean that which is strange, unsightly, obscene; in some cases, even funny. The grotesque as a scholarly study, however, is something different. It’s not altogether different, mind you, for certainly the grotesque always includes elements of the bizarre. Yet many authors and artists have used the grotesque—this elusive intersection of humor and horror—to question the strongest rhetoric that holds our society together.

“The grotesque has a rich and long history, beginning in antiquity. It was simply ornamental back in Nero’s time, as we see in the “grottoes” of his palace, the Domus Aurea. Human forms blended into plants and animals, with a playfulness that delighted the eye. That ornamental version of the grotesque turned darker when Bosch incorporated it into his Garden of Earthly Delights and Bruegel in The Triumph of Death. Both works give us insight into the paradoxes of the artists’ cultures Over time, the grotesque grew to include an aspect of horror along with a humor that moved beyond an intellectual sarcasm. The purpose of such transgressive humor and horror addresses the paradoxes, hypocrisies, and binaries seen in our post-modern society.”

Dr. Nancy Hightower is an instructor in the Program for Writing and Rhetoric at the University of Colorado, Boulder, where she teaches courses on the Grotesque in Art and Literature.

I have recently been wondering: Is the body grotesque because it is profane (not divine, not the spirit)?

…The mortal body is gradually assimilated to the mass of things. Insofar as it is spirit, the human reality is holy, but it is profane insofar as it is real. Animals, plants, tools, and other controllable things form a real world with the bodies that control them, a world subject to and traversed by divine forces, but fallen.

In theory the body is a strictly subordinate element which is of no consequence for itself—a utility of the same nature as canvas, iron, or lumber.

—Georges Bataille, Theory of Religion.