Tyler School of Art Printmaking is pleased to announce Print Think, a one-day conference on May 24, 2014 aimed at fostering conversation about the present and future of the print.
Printmaking has long appropriated technological innovation from the commercial printing industry to explore new possibilities of the matrix and multiple for the artist. For the first Tyler Print Think, we are focusing on the expanding role of 21st century rapid prototyping technology. Laser cutters, vinyl plotters, CNC Routers, and 3D printers are proven game changers for industrial designers and innovators of all sorts, but what can these exciting new tools produce in the hands of a printmaker?
Print Think will feature a panel discussion and presentations by noted artists, hands-on technical demonstrations at Tyler’s printmaking and digital fabrication labs, and lively conversations.
A thousand years later, the eponymous child evoked by this group show has apparently not learned any manners. Participating artists Glen Baldridge, Ian Cooper, and David Kennedy Cutler present an exhibition that personifies our unwavering pursuit of eternal youth—that crown jewel of vivacity we feverishly crave (as evidenced by today’s abundant health-food supplements, probiotic treatments, and quick over-the-counter cures). Astutely, the twenty-eight works on view—sculptures, prints, and installations—have all anticipated the dystrophic consequences of pursuing the unobtainable.
As if this child had been anticipating our arrival for ages, Baldridge’s crooked and bowed Blinds, 2014, hung on Planthouse’s doors, are suspiciously ruffled, as if by some adolescent peeping Tom. Once inside, the viewer is assaulted by anarchic visual references to vomit, amputated limbs, erections, fistfights, and bloody knuckles. Left to his or her (although probably his) own devices, it seems this child has placed the gallery in a state of chic disarray. Take David Kennedy Cutler’s sculpture series “Commodity,” 2014, which is presented on the floor in the first gallery as discarded limbs with faded tattoos—extremities carefully sculpted from tree branches, Permalac, and a progressive inkjet-on-aluminum process.
In a second room, Ian Cooper’s oversized and Oldenburgesque sculptures are executed with a refreshing irreverence. Expertly produced works titled Missing (nude Tinkerbell) and Missing (briefs) (both 2014) come together as a stylized milk carton, and while they appear simply tossed into the gallery like rubbish, their sheer monumentality and references to the body achieve an uncanny resonance. Framed on a nearby wall, Baldridge’s meticulous trio of panties, I cannot lie, 2012, recalls the colors of Neapolitan ice cream, and is made with cast cotton and handmade paper, which illustrate—through numerous sags and wrinkles—undesired signs of aging. Despite the bubblegum palette, these works prompt an all-but-gentle reminder: Vanity is among the most fleeting of phenomena, anchored to the obstinate and impartial burden of time.
Glen Baldridge, Ian Cooper, and David Kennedy Cutler
Thousand Year Old Child
On View: March 25 - May 2, 2014 Opening Reception: Friday, March 28, 6 - 9pm
Planthouse 107 W 28th St. NY, NY 10001
Planthouse is pleased to present an exhibition featuring Glen Baldridge, Ian Cooper, and David Kennedy Cutler. While the mood of show could be labeled “abject”, these artists evince great care and craftsmanship in working in progressive and hybrid forms of printmaking, soft sculpture, paper-making, digital printing, and sheet-metal sculpture. Baldridge, Cooper, and Cutler are represented by individual artworks and styles, but they consider this exhibition a collaborative exercise they have dubbed Thousand Year Old Child.
A seemingly senseless and impossible proposition, a thousand year old child is mired in contradiction. Accumulated wisdom is the pride of adulthood. In contrast, artists are expected to perform the role of the radiant child, the youthful renegade. C.S. Lewis said, “when I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.” To be young forever is to be enlightened. Today, everyone thinks they are C.S. Lewis. Society as we know it has formed around this notion: eternal youth, fast cures, and gratiﬁcation of the self at all costs. Someone else will clean up the mess. The adults have gone on permanent vacation, and no one remembered to take the trash out of the house.
But allow us to switch tenses, subjects, and sense. Allow us to leave our mess in your house. We’d like you to know something is wrong, that something happened here, but we’ve forgotten what it was. A suggestion? A statement? No, no, no… a secret: tidal waves of regret and shame, an archaeology of self-loathing, under pried up ﬂoorboards, bad bodies, shed limbs, impotent dollars, preserved food-stuffs, electric violent eye-hole peak through hole cut-offs. Cannibal culture teething for muscle milk, mother’s milk, and Prevacid. Looking worse and worse in your underwear. Is this what aging feels like? Is this what being alive is like?
We’d say this is theatre for the absurd, but you’d say it’s just a series of vignettes. Step through the gates. You’re just a tourist here (in your house) and we’ve decorated so nicely. We’d tell you to suspend your disbelief, hold it to-fucking-gether, and don’t get sick. Be cool. Deﬁnitely don’t feel compelled to enjoy yourself. If you look at it you’ve broken it, and we spent so long breaking it so bad. So come over, it’s our house now.
But we’ll give you one pointer for the trip: make it like you care, and beware the tantrum of the thousand year old child.