As part of our 75/10 anniversary year, our alumni Artist Fellows are mounting a series of events around the globe to celebrate Montalvo's long commitment to supporting artists and their work. We invite you to follow along! Check out photos, videos, and more on our 75/10 Anniversary page or search social media with #Celebrate7510.
BY JUSTIN LOWMAN
Today’s entry describes how I transitioned from my electric light studies, and began to consider the horizontal landscape beyond the Belvedere and install panels of various degrees of transparency and opacity to frame, focus, and filter the views surrounding the structure.
As I began to install these panels and cut away openings, which are not unlike windows I guess, the project really began to take shape for me. It also seemed to become more integrated into the site (both the most immediate environment as well as in relation to far off vistas).
BY JUSTIN LOWMAN
BY JUSTIN LOWMAN
With the essential framework for my project set, the next order of business was to start working more directly with lighting conditions and effects. The first image you see here is a detail of the top of the stud walls where my structure meets the Belvedere Temple. To highlight the passage of time I installed pink colored Plexiglas strips that project light and shadow on to the columns. Circulating all the way around the top of my structure, this band of color, with its companion wood slats, produce various patterns on and around the Belvedere Temple that shift throughout the day as the sun changes in position and intensity.
BY JUSTIN LOWMAN
Upon returning to Montalvo at the end of October 2014 with the intention of finally realizing my art project at the Belvedere Temple, my first step was to lay the foundation. This photograph represents the initial phase of developing the work. Utilizing the footprint of the existing columns and the concrete expansion joints of the floor as guidelines and using the underside of the Belvedere Temple to determine the height restriction, I fabricated a wooden framework using 2 x 4 redwood lumber with studs placed 24” apart, in accordance with recognized construction standards. In this way, my project suggests the vernacular of modern construction methods used in modestly-scaled domestic architectures (tree forts, sheds, etc.).
BY JUSTIN LOWMAN
Lucas Artists Fellow Justin Lowman is constructing a new installation for Montalvo’s grounds, which incorporates our historic Belvedere. This new work developed out of experiments the artist conducted in his studio at the Lucas Artists Residency Program in 2012, and his recent installation in the Project Space Gallery, Pixil Panes, as part of the exhibition Perceptual: Chris Fraser and Justin Lowman.
In the lead up to the premiere of this new work on December 14 at Perceptual (Part Two) (an event that includes a walking tour and artist conversation), Justin will be posting on Montalvo’s blog each day and documenting the evolution of this new work for the Belvedere Temple.
It seems apropos to start with this first image of Montalvo's historic Belvedere because it is one of the first photographs I took during my initial site visit for this project in January 2014. This photograph represents a similar view to the one I experienced when I first encountered the Belvedere Temple in April/May 2012. At that time, I was enjoying my first residency at Montalvo Arts Center. I was returning from a hike, one that started on the trails near the top of the Lucas Artists Residency complex. Having followed some trails to the top, I was descending back down when suddenly I stopped in my tracks, dumbfounded by what I saw. The view was so unexpected, especially as I was deep in thought elsewhere.
At this moment, I had an immersive sense of being lost in a forest. My sense of familiarity with this experience and terrain had allowed my mind to wander (having grown up near a small, wooded area in southern Wisconsin, I formed an intimate relationship with nature, amidst the large deciduous trees, ones whose essential structures were also best seen during these same winter months, although in the case of the Belvedere without all the snow).
ABOVE: Christine Wong Yap. what have i added to the wealth of creation, 2012, 1920s Chinese silk ribbon, grosgrain ribbon, thread, pins. Supported by Lucas Artists Program at the Montalvo Arts Center. Text borrowed from William Blake. Produced for Montalvo's exhibition Happiness Is..., it asks the (existential) question of legacy and the (flourishing) question of purpose.
The colorful work of interdisciplinary artist Christine Wong Yap includes installations, sculptures, multiples, and works on paper. Exploring the ideas of optimism and pessimism, her pieces address the paradox that mundane materials or situations can give rise to irrational expectations, emotions, and experiences.
Her "ribbon texts"—a series of pieces she's been working on since 2011—are a lovely exploration of these themes. As the artist describes them on her website: "sewn from ribbons and installed directly on the wall, these messages encourage mental habits that can increase happiness." A selection of the texts were included in Montalvo's 2013 exhibition Happiness Is..., and Yap continued work on the series while she was in residence at Montalvo last year.
We were delighted to learn that Yap's work was featured today on Oprah.com's Inspiration section, with the instruction to "Challenge yourself and change your perspective with these creative pieces of advice." If, after you view the slideshow on Oprah.com, you want to see more examples of the artist's work, you can also check out Yap's website.
We present the final installment in Associate Curator Donna Conwell's conversation with Marketing & Communications Manager Leah Ammon about her curatorial vision for Montalvo's exhibition L O V E.
Donna Conwell: Sara (24 dots per minute)is a performative drawing consisting of red and blue dots produced by London-based artist Jon Meyer in collaboration with his partner Berlin-based artist Andrea Lauermannowa. It was created over a period of five hours and is based on a photograph Meyer took of his mother shortly after her death using his cellphone. With the assistance of a unique software program that Meyer developed, the photograph was projected two pixels at a time onto a piece of paper. Using red and blue pencils the artists traced each pair of pixels, with Meyer using his left hand and Lauermannowa her right. The pixels were projected randomly in five-second intervals. Recording more than 6528 pixels from the original image, Meyer and Lauermannowa’s hands moved across and up and down the page at a rapid pace, sometimes shifting position as each artist tried to help the other keep up.
We are pleased to present the third installment of Associate Curator Donna Conwell's chat with Marketing & Communications Manager Leah Ammon about her curatorial vision for Montalvo's current exhibition L O V E.
Marketing & Communications Manager Leah Ammon continues her conversation with Associate Curator Donna Conwell about her curatorial vision for Montalvo's current exhibition L O V E.