Cathy Breslaw's Installation

Cathy Breslaw's Installation
Cathy Breslaw's Installation:Dreamscape

Thursday, April 9, 2020

Two Artists Responding to the Pandemic: Cathy Breslaw and Susan Osborn

article by Cathy Breslaw
link to entire exhibition including 95 artists:
https://shoeboxpr.com/2020/04/10/call-and-response-collaboration-at-a-distance/


Two Artists Respond to the Pandemic: Cathy Breslaw and Susan Osborn

Most artists work in relative isolation. Our collective art practices and the creative process demand it. It goes against the human urge to congregate and socialize. Still, we persevere as the “call to create” stubbornly nudges us. We then deliberately make space – intellectually, emotionally and physically – we move forward quietly, with intention and faith in the process.

Never have we been more aware of isolation than time spent in this Corona Virus pandemic environment. It is not our choice, but as artists we are familiar and in some ways ahead of the game over our fellow citizens by our familiarity with the loneliness of self -containment.  

 In early March, I received an email from Kristine Schomaker, fellow artist and writer/blogger announcing that she was organizing a collaboration offering artists to participate in a project Call and Response, with a group of artists’ “pairs”. Ninety-five artists responded and I was paired with Susan Osborn, a San Diego artist. This project was to be a way for artists to mitigate our feelings of isolation and to more importantly visually express what we are experiencing during this highly distressing time.

The task began with me to create an artwork and for Susan to respond. This “back and forth” was to continue with a time limit of April 1st. Limited to 24 hours, we were to create an artwork and email it back to our partner. During the process we each made 7 artworks for a total of 14 total pieces.

Susan and I had never met and had not been familiar with each other’s work.  In a way we were thrown together in friendship and faith, to trust in the process and to see what happened. In conversing about it after the fact, neither one of us knew what to expect and both of us were happy to be in contact with another artist during this difficult and scary time. We both also noted the comfort of the structure of “having to respond” in a visual way to one another on a daily basis. In a way it was like watching a silent film, ‘watching’ with only part of our senses in attempts to converse about what we were feeling and then ‘answer’ each other.

With only visual responses to depend on, we were forced to rely upon observing and studying very closely the language of the other – the emotion and energy, materials and compositions of each of our art pieces. Titling each art work gave each of us clues.

As an artist who makes work that is mostly abstract, it was challenging for me to create because I was conscious of whether the work could be relatively easily understood by Susan so that she could respond during our short 24 hour turn around time.

 #1(Latent Waves)Breslaw                                                                             #2(Latent Waves#2)Osborn
                                           

                                                               

Tuesday, February 4, 2020

Artist Tishan Hsu Embodies Technology - Exhibition at Hammer Museum Los Angeles


Tishan Hsu: Liquid CircuitsHammer Museum,  Los AngelesThrough April 19th, 2020 Article by Cathy Breslaw

 


 Tishan Hsu, Cell, 1987. Acrylic, compound, oil, alkyd, vinyl, aluminum on wood. 96 x 192 x 4 inches (244 x 488 x 10 cm). Collection of Ralph Wernicke / Hubertushoehe art + architecture, Berlin and Zürich. 




Tishan Hsu’s art practice was built around the question of how technology effects us as human beings. As technology evolves so too would be our relationship to it.  In the 1980’s when most of the works in this exhibition were created, Tsu used the traditional media of  painting and sculpture rather than  more direct referential objects like TVs to convey his ideas. The 1980’s were the beginning of the transition from analog to digital, a paradigm shift that would manifest itself in many ways, and Hsu created works that connected with this change and with our continual morphing identities. 

Hsu used sheets of plywood with rounded corners along with compounds and paint to create his sculptural paintings. The minimal abstract images with scratched surfaces refer to screens or iphone shaped objects with a ‘skin’ stretched over emerging shapes emanating from the surface and the edges of the wood and these sculptural paintings appear to float off the wall. A room of small preliminary drawings portray some of the ideas expressed in his sculptures. Also in this exhibition, are a few silkscreen with ink and acrylic on canvas works that make more direct reference to the human body as in Cellular Automata 2 (1989) – a grid-like pattern upon which body orifices, tongue and eye are portrayed.

Tsu’s background in architecture and work as a word processor come to bear in his work which uses the shape and size of computer screens or TV monitors, a powerful medium of how we experience the world. His sculptures like Autopsy (1988) and Vertical Ooze (1987) use a landscape of ceramic tiles and painted wood to create multi-layered modular units that may refer to a utilitarian use and to the building blocks of technology in general.

Hsu recognizes the technological, synthetic and artificial while simultaneously bringing the human body central to the work. His distinct visual language brings awareness of how we become embodied in our experience of the ever-evolving technological world and is an intriguing documentation of how it has developed since the 1980s.

The exhibition is organized by Sculpture Center, New York and curated by Sohrab Mohebbi, Curator.
The Hammer exhibition is organized by Aram Moshayedi, Robert Soros Curator, with Nicholas Barlow, Curatorial Assistant. The exhibition is on view through April 19th, 2020.



 Tishan Hsu, Liquid Circuit, 1987. Acrylic, compound, alkyd, oil, aluminum on wood. 90 x 143 x 9 inches (229 x 363 x 23 cm). Frederick R. Weisman Art Museum, Minneapolis. 




 Tishan Hsu, Autopsy, 1988. Ceramic tile, compound, chrome. 55 x 49 x 94 inches (140 x 124 x 239 cm). Collection of Karin and Peter Haas, Zurich. 




 Tishan Hsu, Vertical Ooze, 1987. Ceramic tile, urethane, compound, acrylic, oil on wood. 49.5 x 48 x 61.5 inches (126 x 122 x 156 cm). Centre Pompidou, Paris.