Transcribe
Translate
I.C. Notebooks 1
""'Midway' creates range of expressions"" by Shelley Shakas
More information
digital collection
archival collection guide
transcription tips
"Cracks" by CNPA's Chris Parker - Photo by John Lowens 'Midway' creates range of expressions Editor's note: The Center for New Performing Arts presented "Midway" to a crowd of 600 at the Art Museum Saturday evening. The profusion of events became a sampling of diverse areas of work in the center and perhaps can be viewed as an indication of future work in the CNPA. The ideas in evidence were multiudinous, however, there were several events which stood out as being very strongly conceived. This commentary will deal with events of a predominately visual nature. The next commentary will discuss works in a more concentrated technological slant.) Chris Parker's "Projection" of a man (Larry Fry) perpendicularily from a wall in the Maytag Auditorium was quite effective. The viewer by observing the figure head on, head to foot, experienced an illusion/confusion of his own position in space. That is, the suspended body assumed an upright position, the wall became the floor and the viewer thus could experience a reversal/interchange of his position in relation to the figure and the other walls in the room. The choice of suspension area provided no peripheral reference points in terms of spatial cues, as all the walls were blank. The effect of the illusion was a heightened awareness of the spectator's body in space which cause a "carnival" effect almost of dizziness. Parker's other event in the auditorium involved the idea of simultaneity of an experience on three levels. The process of adjustments of lights (participation by the viewer) became a "McLuhan-esque" extension activity for the individual technologically in the presence of two television cameras placed at different locations in the auditorium. The use of photography recorded audience participation. Another statement involving the use of television to extend the piece was "Banquet" executed by members of the intermedia class "Banquet" was situated behind the glass doors of the Upper Print Room in the museum and consisted of a table formally appointed with silver at which two immobile figures covered by cellophane were seating facing each other from opposing ends of the table. A television was centered behind the parallel to them showing a film of meat packaged on a conveyor belt. A feeling of sterility and coldness was achieved through the use of the glass doors as a shield encasement by the cellophaned seated figures, the exclusive use of silver and white tonalities and the repetition of the shield effect in the television tube. Framed prints on the wall, the converging lines of the conveyor belt packaged the scene in a tight two-dimensional system. Within this system, the placement of the objects in particular the arrangement of the table setting, was symmetrical and seemed to radiate from a central line. The television image extended the idea of a vanishing point on the central axis of the room. The design is reminiscent of Baroque symmetry and was enhanced by repetition of forms: prints on the wall, meat on the conveyor belt and the use of recorded chant-like music. Aside from the social overlays, which were interesting (as the double entendu of "packaged meat") the piece was visually striking and reflects a unified concept economically expressed. - Shelley Shakas
Saving...
prev
next
"Cracks" by CNPA's Chris Parker - Photo by John Lowens 'Midway' creates range of expressions Editor's note: The Center for New Performing Arts presented "Midway" to a crowd of 600 at the Art Museum Saturday evening. The profusion of events became a sampling of diverse areas of work in the center and perhaps can be viewed as an indication of future work in the CNPA. The ideas in evidence were multiudinous, however, there were several events which stood out as being very strongly conceived. This commentary will deal with events of a predominately visual nature. The next commentary will discuss works in a more concentrated technological slant.) Chris Parker's "Projection" of a man (Larry Fry) perpendicularily from a wall in the Maytag Auditorium was quite effective. The viewer by observing the figure head on, head to foot, experienced an illusion/confusion of his own position in space. That is, the suspended body assumed an upright position, the wall became the floor and the viewer thus could experience a reversal/interchange of his position in relation to the figure and the other walls in the room. The choice of suspension area provided no peripheral reference points in terms of spatial cues, as all the walls were blank. The effect of the illusion was a heightened awareness of the spectator's body in space which cause a "carnival" effect almost of dizziness. Parker's other event in the auditorium involved the idea of simultaneity of an experience on three levels. The process of adjustments of lights (participation by the viewer) became a "McLuhan-esque" extension activity for the individual technologically in the presence of two television cameras placed at different locations in the auditorium. The use of photography recorded audience participation. Another statement involving the use of television to extend the piece was "Banquet" executed by members of the intermedia class "Banquet" was situated behind the glass doors of the Upper Print Room in the museum and consisted of a table formally appointed with silver at which two immobile figures covered by cellophane were seating facing each other from opposing ends of the table. A television was centered behind the parallel to them showing a film of meat packaged on a conveyor belt. A feeling of sterility and coldness was achieved through the use of the glass doors as a shield encasement by the cellophaned seated figures, the exclusive use of silver and white tonalities and the repetition of the shield effect in the television tube. Framed prints on the wall, the converging lines of the conveyor belt packaged the scene in a tight two-dimensional system. Within this system, the placement of the objects in particular the arrangement of the table setting, was symmetrical and seemed to radiate from a central line. The television image extended the idea of a vanishing point on the central axis of the room. The design is reminiscent of Baroque symmetry and was enhanced by repetition of forms: prints on the wall, meat on the conveyor belt and the use of recorded chant-like music. Aside from the social overlays, which were interesting (as the double entendu of "packaged meat") the piece was visually striking and reflects a unified concept economically expressed. - Shelley Shakas
Campus Culture
sidebar
