geof-oppenheimer

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The Art Assignment: Embarrassing Object

For this assignment I wanted to make a sculpture that embodies(pun intended) the feeling of embarrassment: Like my gut is curling up in knots. Similar bodily feelings also happens when I’m excited or worried, but that is where the materials come in to play to distinguish between them. Embarrassment is the loud and obnoxious one.

So I dug into my sock-drawer to dig up a collection of old socks and tights. Besides from being the perfect material to make a giant knot of, they also represent some embarrassing moments - as you can see, I used to have a fondness for loud colours,patterns and stripes. 

And thus this represents one of the worst feelings: when you find something super cool in private, but once you express it in public, you realise how horribly uncool it is. It is especially bad with outfits that you have to wear an entire day, and feel awful about. I’ve done this so many times, and looking back upon just what outfits I have worn out of the house, I shudder. And this sculpture is a horrible reminder, so it is going right back into the depths of the sock-drawer.

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First off I hate this Assignment! I think we are supposed to though. Embarrassment is a thing our society doesn’t enjoy. Unless it’s someone we disassociate ourselves with. But it is something we all feel at some point. So something that is so culturally ubiquitous is so culturally avoided. That being said. On with the Assignment:

Embarrassing Object

First you see a Peach. This is embarrassing enough because it is a family nickname that when placed into the wrong hands has been a very embarrassing event for me.

Next you see hemorrhoid cream and now we get to the real embarrassment of the assignment.  I have several digestive disorders that often time result in me getting hemorrhoids through no fault of my own. However, this is something I don’t discuss with anyone. At all. Ever. 

I am open about my digestive troubles. I have no problem sharing advice with others. But when it comes to my hemorrhoids, which are simply a byproduct of these disorders, I clam up. It’s not the pain of hemorrhoids. I have learned to live with that. It’s not the inherent mess, I am very vigilant about cleanliness. There is just something so discomforting about having to apply a cream to them, having to acknowledge them directly. That feeling of not being normal. Being somehow broken. That is what is embarrassing.

Having to acknowledge my own brokenness with actual physical contact. 

And then being left to wait it out. There is no cure for this condition. Only management. So there will never be an end to this cycle. Only pauses in between. So the embarrassment will never end.

But hopefully this goes out to the world and someone else feel less alone. Hopefully this goes out and starts a much needed conversation. 

So as much as I hate doing this assignment, I am hopefully and I believe it will do some good. 

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I chose to showcase something embarrassing in a beautiful way. It is a subtle representation of me and my sexuality. My object makes me both uncomfortable and proud. I need that.

I also believe queen Victoria would be incredibly embarrassed to have a sex toy in a carafe with her face on it. I like that thought.

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This is probably the most embarrassing thing I’ve ever put on the Internet. 

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This is my response to The Art Assignment’s “Embarrassing Object” assignment, by Geof Oppenheimer. I hope it is as embarrassing to watch and look at as it was to create.

- Tyler Graham (he)

Geof Oppenheimer Reviewed by Art Practical

BUDDING ARSONISTS ASIDE, MANY OF US CAN STILL RELATE TO the cathartic emotion contained in the title “Inside us all there is a part that would like to burn down our own house"—an urge to wipe the slate clean, to destroy the imperfection of one’s reality and begin anew. In a diverse exhibit which includes conceptual sculptures, digital prints and a brief but impressive video, Geof Oppenheimer approaches the violence implicit in society, and how social systems and political dogma intersect with the terrain of art and culture.

Collaborating with an unnamed pyrotechnic expert who once worked for Disney, Oppenheimer created explosions within ballistic-grade Plexiglas cubes, their residue coating the interior surfaces with bright splashes of pigment. Visually stunning, each of the three cubes, collectively titledModern Ensembles (2010-2011), has a unique palette, one coated in warm, earthy tones of ocher and orange, another raspberry-alizarin with faint touches of yellow-beige and sky blue and the last army gray-green, shot through with electric yellow and darker tones of brown. While the sculptures attest to dramatic events involving gunpowder and pigment, they convey more an aura of science lab than battlefield, undermining somewhat their intended function as signifiers for the violence undergirding our culture.

Oppenheimer’s video Anthems (2011) evoked a generalized sense of dismay and unease with the social constructs that a military marching band might suggest. The four unspecified national anthems, simultaneously played by groups of the drum and marching corps of Rickover Naval Academy in Chicago, were blended and overlaid, essentially mangled beyond any recognition. Reflections and combinations of sound and image created an unsettling effect, while the military precision—the neatly pressed uniforms and shining horns—suggested the regimentation of life in the service of one’s country, and a kind of surrender of self to the greater whole, of following orders. As these lines of marching bands paraded in absurd, tight circles, periodically the cacophony of sound faded to silence, and the images of the marchers shifted to a vacant space bearing rough plywood constructions: a pair of steps. Eventually, the two risers fit together like a puzzle, one inverted resting atop the other—perhaps a metaphor for the enforced unity of political camaraderie.

The final component, Social Failure and Black Signs (2010), was comprised of acerbic wall-hung, text-based pieces. Against a light gray background a slender arm enters bearing a message lettered in plain white text on a black card—"TOLERATED AS UNFORTUNATE EXCESSES,” “AND DESPAIR, DECADENCE, AND MORALS” among them. These terse, dogmatic excerpts have been taken from interviews with notable politicians such as Ronald Reagan and Fidel Castro. A statement about the ultimate futility of political ideology, these images offer us a brittle aesthetic experience, and present a kind of intellectual conundrum as well: strings of words decontextualized to convey no coherent meaning, rather an ambiguous —yet autocratic—sound bite.

Oppenheimer’s work is engaging enough to draw and keep our interest, yet simultaneously hermetic and dispassionate enough to put us on edge.

Barbara Morris

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Occupational hazards Geof Oppenheimer's politically charged new show at Ratio 3 juxtaposes polyphony with cacophany

Review by Matt Sussman

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HAIRY EYEBALLWeds/2 marks the first citywide general strike in our country since 1946. Spearheaded by Occupy Oakland in the wake of the Oakland Police’s grossly excessive use of force against protestors last week, the strike is further proof that the only definitive thing one can say about the Occupy movement is that it is growing at a remarkable pace.

Whether this growth will result in greater political traction, rather than merely prompt further sympathy or ridicule from politicians and the media alike, remains to be seen. Then again, one metric of political traction for the Occupy movement is simply endurance, measured by present bodies. As Lili Loofbourow recently wrote in an on-the-ground report on Occupy Oakland for website The Awl, “technology tilts the political machine so that only that which is public matters.” And despite the Occupy movement’s necessary imperfections, there is no more direct and immediate way of being public than showing up and speaking out.

What gets broadcast and what gets heard beyond the encampments is another matter. Even with the tools of social media at the Occupiers’ disposal, can the movement’s horizontal, leaderless structure effectively amplifying the voices of “the 99%” without resulting in an echo chamber? And if that is what’s being perceived, both on the ground and in the national conversation, is that necessarily a sign of the movement’s failure or merely a testament to its vibrancy?

A variation on these questions of mediums and messages is at the heart of Geof Oppenheimer’s intellectually bracing and formally daring show at Ratio 3, Inside Us All There Is A Part That Would Like to Burn Down Our Own House, which although not explicitly about current events, uncannily resonates with them. The work inInside Us formally traces the fluctuating state of the body politic by zeroing in on moments of stress in which civic faith breaks down or flares up, whether due to admissions of failure on the part if its appointed leaders or from internal combustion.

The latter isn’t just a figure of speech. The ballistic-grade Plexiglass cubes on plinths that snake down the center of Ratio 3’s main room, collectively titled Modern Ensembles, each contain the multicolored residue of an explosion set off within. Oppenheimer worked with a pyro-technician (a former employee of the Disney Corporation, no less) to create custom-made charges of various explosive chemicals that were then detonated inside the cubes, resulting in gorgeous, nebula-like washes of color that completely cover each cube’s interior face.

That the beauty of the Modern Ensembles comes from such violent origins is less interesting to me (that’s an old story in Art History, particularly in regards to action painting, a tradition which these sculptures extend as much as they do classic Minimalism’ proverbial cube), than how they embody a tension between explosive force and containment. The Oakland occupiers also hit a wall — a phalanx of police armed with riot gear and tear gas. It’s hard not to think of that moment, that so many experienced remotely via Facebook posts and Flickr feeds, when viewing these chemically colored cubes that, although transparent, you can’t actually see through.

Communication breakdown is also taken up in Social Failure and Black Signs, a suite of five pigment prints that surround the enigmatic vitrines like a gaggle of lost protestors. Each black and white image consists of a similarly-positioned arm holding aloft a sign printed with phrases concerning governance or economics but clearly removed, media res, from their original context. “Tolerated, as unfortunate excess,” reads one. Another states, “everything, but it is not enough.”

These stranded phrases are, in fact, excerpts from interviews with political figures such as Margaret Thatcher, Ronald Reagan, Fidel Castro and Robert McNamara, in which they discuss moments when their ideologies resulted in policy failure, something which Oppenheimer’s photographs formally restage by transforming these confessional moments into incomplete sound bytes.

The opposite tack is used to achieve similarly disorienting results in Anthems, a four minute high definition video, which superimposes footage of a military marching band playing four different national anthems while in formation. The resulting wall of sound renders the pieces indistinguishable from each other, while, visually, the rapidly overlaid footage scrambles the patterned order of military spectacle.

Politically, a lot can happen when polyphony gives way to cacophony (or in the case of Social Failure and Black Signs when signal becomes noise). But the result can also just be chaos. As an ongoing experiment in the messy business of building a participatory democracy with its share of successful and failed words and deeds, the Occupy movement is a living, ever-expanding testament to this. And despite being presented under a title full of Freudian dramatics, so are the pieces in Inside Us.

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Xenolilly:

My take on an art assignment link below.
https://www.youtube.com/watch?v=7mxM6…