Richard Bloes "Reading Chair for Don Quixote Reading"

Feature Inc.

poster for Richard Bloes "Reading Chair for Don Quixote Reading"

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RICHARD BLOES’s objects generally appear as loosely assembled elements from store-bought self- assembly kits, woodshop scraps, and found performance props that are anachronistically punctuated with the hard edge and movement of a video. In actuality the objects are highly organized sequences of things and stuff that are manipulated by friends and family according to a script by the artist, who documents the action in real time on video.
As the artist noted: “Reading Chair For Don Quixote Reading is a 4.5 min video shot in one continuous take. It is meant to be shown as an installation (in company with the sculpture that was used to make it) or on a monitor (in portrait mode). The piece imagines Don Quixote’s reading chair as a place where actions are separated from the mind, perceptions only realizing themselves in a
crash of physical reality into the windmill. Or as a place where the long shadow of Cubism must be fought, where Cubism is the windmill monster to be attacked. Or where outdated modes/ technologies pile up every day like the old codes of knighthood. The piece is also a place of
interaction between the physical world, the electronic image world, and human motion (in the piece, all objects are moved by a crew of five people). On cut-out strips of typed paper, dangling like a fishing lure in front of a chair with no legs, are the titles of the books about knighthood that Don Quixote read too much of. Many of these books were burned, in the Cervantes’s novel, in an effort to keep Don Quixote sane. They formed the identity/delusions of the ‘knight of the sorrowful face.’”

Richard Bloes was born in Waterloo, Iowa and received an MFA
from the University of Iowa. This will be his seventh exhibition at Feature Inc. The installation was made possible with an Individual Artist Grant, Pollock-Krasner Foundation, Inc., with special thanks to: Charles Addotta, Joel Bacon, Caitlin Driscoll-Bloes, Robert Ingraham, Robert Schefman.

For many years,JENNIFER SIREY has been cultivating bacteria to produce some of the elements of her sculpture. Her most recent water-filled glass tanks are penetrated by bulbous hand-blown glass tubes and as well, irregularly divided up by angled sheets of bacterial growth. On one level the sculpture is a highly aestheticized formal abstraction and on another it is a gnarly investigation into the body. In these particular works, to create the angled sheets, Sirey fills the tank to a predetermined level with a mixture of her mother culture and wine or sake, then tilts the tank so that the surface of the liquid aligns to the armature of small monofilament loops attached to the glass. After a few days, the bacteria Acetobacter (the same bacteria used to convert wine into vinegar) begin to attach to the armature and soon form a skin on the liquid’s surface. Once the membrane reaches the desired thickness, the tank is carefully drained and replaced with water mixed and white vinegar to stabilize the environment. The final piece is alive but in a state of hibernation.

Sirey was born in Brooklyn, New York and received her BFA from the School of Visual Arts, New York, in 1990. This will be her second show at Feature Inc

Upfront hosts a BOBBIE OLIVER painting, Summer Triptych 1 (2012), which veils and reveals the mutability of its development and redevelopment.

Oliver studied at the Center for Creative Studies, Detroit, and St. Alban’s School of Art, England, and lives and works in New York City.

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from February 15, 2013 to March 16, 2013

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