Installation (1) on the University of Arkansas Union Courtyard
March 14 - April 5, 2008
by Kelsey Felthousen
Yesterday, I was driving to work and thinking about Americans' notions about privacy--how we put it all out there on myspace, Facebook, or even here on Blogger, etc. We're acclimated to talk shows where people spill their guts about extraordinarily personal things on television transmitted out to millions of strangers, not to mention "reality shows" that have been added to that mix as well. We're so comfortable or have been made to feel so comfortable at exposing ourselves, there's barely a peep from the culture in reaction to our government's surveillance of its own citizens.
Perhaps it was kismet, but after my morning drive, I arrived at my office where a colleague* had left a newspaper article (2) about Kelsey Felthousen's Master's Thesis Exhibition at the University of Arkansas. Kelsey describes her project as
“(dealing) with the notions of an overexposed, vulnerable society that…feels unprotected. When creating this work I chose to broach the subject of sacred/private space and how that space is being given away freely, without thought of the consequences.”Of course, after my morning musings and reading the article, I HAD to go see the installation. It's imperative to see an art installation in person because they are time-limited and are meant to be experienced physically.“Sacred Space, as defined in this exhibition, is the preciousness of close relationships and the privacy within our lives and homes. One need not search far for evidence of this exposure. It can be seen in all aspects of our society, from television programming to technology.” (3)
Typically, I write my "Art Classics" about works from relatively near and distant art history. But, I think I'll preempt art history on this one and say this is an instant Art Classic and will probably be so in the future.
Images from Kelsey Felthousen's Exhibition
First, it is a privilege and a pleasure to view such a cutting-edge, intellectually-stimulating, and culturally relevant work of contemporary art. It is an oasis in the desert that is the dearth of such works in Northwest Arkansas.
Kelsey Felthousen (right)
What I respond to most are the layers of experience embodied in the work. First, it is both installation and performance art (4). Installation is already part sculpture, so one could say there are three immediate layers perceived. The piece is constructed of a central area that is a wood-framed square with the siding for the "house" on the inside. There is a door to enter the "garden" on this "inside" area where there is no roof. Tulips and pansies comprise the garden. The "rooms" of the "house" are outside this square exposed to the elements splayed out on the four sides on various floor substrates in a cloverleaf pattern. The rooms are comprised of variously familiar and comfortable furnishings and knick-knacks that make a "house" a "home." But this "home" is decidedly uncomfortable and vulnerable. It's as if Jeff Goldblum sent a normal house through his infamous teleporting machine and once again, point B came out as something quite unexpected.
The piece is present and massive like sculpture but open to the point of encouraging almost socially inappropriate interaction. There's a natural hesitancy in most people when it comes to entering strangers' homes, but this stranger has opened her house and the exhibition goers react accordingly. On the evening of the reception on March 28, snacks were placed in the "kitchen" and "living room" of this "house". One could see the body language of exhibition goers quickly transform to extremely casual mode. They sat on the furniture, ate her food, looked through her cabinets, used her microwave, entered her garden, and used her barbeque pit to cook. Social boundaries had clearly broken down in a matter of seconds.
My favorite view of the installation is the view through the kitchen window. As with many homes, you expect to see a garden and you do. However, this garden is enclosed and the area is in shade. The siding of the "house" can bee seen from that window as well, creating cognitive dissonance. At once, the viewer thinks that he or she is looking into a room and into a garden outside. There is no roof to this room and it is not really a garden. It is theater, theater in which one has no real inkling of the character or identity of the "actor" -- sort of like myspace®. (5)
Typically, houses represent the self as symbols. This fact has been true historically in art, literature, psychology, and even religion. (6) People in normal houses keep the inside enclosed and private, and decorate the outside of their houses to create a veneer of normalcy to the outside world. In the case of this installation, the garden is protected and the resident's private effects are exposed to inspection and scrutiny. It's not until one enters the garden and stands inside that one realizes that the private self is no better protected as there is no roof. Privacy has become an illusion. The self as represented by the house becomes an illusion, a theatrical performance, and a dance between vulnerability and invulnerability; and indeed, a dance with the devil, and as compelling as any Magritte (7) painting.
View of the gallery part of the installation
As I said earlier, there are many layers of experience to this installation. The second layer takes place in the Fine Arts Gallery inside the Fine Arts Building. There is another living area set up in the empty gallery facing what appears to be a television but is a giant computer monitor broadcasting the University of Arkansas Central Quad webcam that is trained on Kelsey's installation. Visitors eat snacks off of a coffee table and can sit at a desk or sit on a couch or chair and view the installation in real time on the large screen. The self thereby becomes a spectacle, and the viewers in the gallery, voyeurs. We have been acclimated to this role for quite some time since the advent of television. "Reality" television makes us even more comfortable with our inner voyeurs. At least some sort of relationship between the artist and the viewing public is encouraged at the physical site of the installation, but this is lost through the physical and digital distancing of the computer monitor. It was not as astounding to see individuals in the gallery as comfortable with boundary-breaking as the visitors to the physical site were because we are so familiar with this scene.
In yet another layer, one realizes from watching the monitor in the gallery, that the webcam is also seen by anyone who encounters it. Also, in a more disturbing twist, the University webcam is fully controllable by those people. So, as one watches the monitor, one is watching a watcher who is a stranger. This stranger may just center the installation and watch it from a distance, they may zoom in on her "bedroom", or they may even focus the webcam on an individual as they walk by and "follow" them while they are doing so. The webcam is not fixed or controlled by one director but is essentially a production of many strangers who are essentially as voyeuristic as the people in the gallery. The irony is this aspect of watching the watchers--essentially making us all spectacles. And that seems to be the nature of modern life--so many people have abdicated their privacy and made themselves spectacles that we all become part of the "show."
The performance art aspect of this show is the fact that Kelsey lives in her installation--submitting herself to the intrusions and glances. A lot of individuals do this in day to day life with little thought to the consequences. She therefore becomes exposed to the elements and what would normally be unwanted behaviors and gestures.
I said earlier that myspace was intellectually-stimulating and culturally-relevant. To me, these are two very important qualities to qualify a work as an art classic. The layers of complexity and even humor make this piece intellectually-stimulating. It is a very difficult thing for an artist to hit the sweet spot in terms of timing in a culture, and Kelsey does it with smarts and gusto. She reveals something about us as human beings in the here and now as a world moves from a culture that sees to one that is seen and dare I say, with a dash of beauty, my other criteria for an art classic. I am going to watch her career and would encourage others to do so. This is not the last we'll see of Kelsey Felthousen.
© Stephanie Lewis, 2008
Kelsey Felthousen (right)What I respond to most are the layers of experience embodied in the work. First, it is both installation and performance art (4). Installation is already part sculpture, so one could say there are three immediate layers perceived. The piece is constructed of a central area that is a wood-framed square with the siding for the "house" on the inside. There is a door to enter the "garden" on this "inside" area where there is no roof. Tulips and pansies comprise the garden. The "rooms" of the "house" are outside this square exposed to the elements splayed out on the four sides on various floor substrates in a cloverleaf pattern. The rooms are comprised of variously familiar and comfortable furnishings and knick-knacks that make a "house" a "home." But this "home" is decidedly uncomfortable and vulnerable. It's as if Jeff Goldblum sent a normal house through his infamous teleporting machine and once again, point B came out as something quite unexpected.
The piece is present and massive like sculpture but open to the point of encouraging almost socially inappropriate interaction. There's a natural hesitancy in most people when it comes to entering strangers' homes, but this stranger has opened her house and the exhibition goers react accordingly. On the evening of the reception on March 28, snacks were placed in the "kitchen" and "living room" of this "house". One could see the body language of exhibition goers quickly transform to extremely casual mode. They sat on the furniture, ate her food, looked through her cabinets, used her microwave, entered her garden, and used her barbeque pit to cook. Social boundaries had clearly broken down in a matter of seconds.
My favorite view of the installation is the view through the kitchen window. As with many homes, you expect to see a garden and you do. However, this garden is enclosed and the area is in shade. The siding of the "house" can bee seen from that window as well, creating cognitive dissonance. At once, the viewer thinks that he or she is looking into a room and into a garden outside. There is no roof to this room and it is not really a garden. It is theater, theater in which one has no real inkling of the character or identity of the "actor" -- sort of like myspace®. (5)
Typically, houses represent the self as symbols. This fact has been true historically in art, literature, psychology, and even religion. (6) People in normal houses keep the inside enclosed and private, and decorate the outside of their houses to create a veneer of normalcy to the outside world. In the case of this installation, the garden is protected and the resident's private effects are exposed to inspection and scrutiny. It's not until one enters the garden and stands inside that one realizes that the private self is no better protected as there is no roof. Privacy has become an illusion. The self as represented by the house becomes an illusion, a theatrical performance, and a dance between vulnerability and invulnerability; and indeed, a dance with the devil, and as compelling as any Magritte (7) painting.
View of the gallery part of the installation
In yet another layer, one realizes from watching the monitor in the gallery, that the webcam is also seen by anyone who encounters it. Also, in a more disturbing twist, the University webcam is fully controllable by those people. So, as one watches the monitor, one is watching a watcher who is a stranger. This stranger may just center the installation and watch it from a distance, they may zoom in on her "bedroom", or they may even focus the webcam on an individual as they walk by and "follow" them while they are doing so. The webcam is not fixed or controlled by one director but is essentially a production of many strangers who are essentially as voyeuristic as the people in the gallery. The irony is this aspect of watching the watchers--essentially making us all spectacles. And that seems to be the nature of modern life--so many people have abdicated their privacy and made themselves spectacles that we all become part of the "show."The performance art aspect of this show is the fact that Kelsey lives in her installation--submitting herself to the intrusions and glances. A lot of individuals do this in day to day life with little thought to the consequences. She therefore becomes exposed to the elements and what would normally be unwanted behaviors and gestures.
I said earlier that myspace was intellectually-stimulating and culturally-relevant. To me, these are two very important qualities to qualify a work as an art classic. The layers of complexity and even humor make this piece intellectually-stimulating. It is a very difficult thing for an artist to hit the sweet spot in terms of timing in a culture, and Kelsey does it with smarts and gusto. She reveals something about us as human beings in the here and now as a world moves from a culture that sees to one that is seen and dare I say, with a dash of beauty, my other criteria for an art classic. I am going to watch her career and would encourage others to do so. This is not the last we'll see of Kelsey Felthousen.
© Stephanie Lewis, 2008
* Special thanks to Eric Smith who gave me the article on Kelsey yesterday. Eric and I have been on the same creative wavelength for 13 years now and he is a wealth of information that I cherish.
(1) http://www.artlex.com
(2) http://www.nwarktimes.com/nwat/News/63540
(3) http://art.uark.edu/fineartsgallery/?p=45 ; Kelsey says that two of her big influences are Ann Hamilton and Vito Acconci.
(4) "Art in which works in any of a variety of media are executed premeditated before a live audience. Although this might appear to be theater, theatrical performances present illusions of events, while performance art presents actual events as art. One of the things setting postmodernism apart from modernism is its acceptance of aspects of theater. Performance elements surfaced in a number of conceptual art movements of the 1960s, including: Fluxus, Happenings, body art, process art, street works, etc. The 1980s saw the emergence of performance artists like David Byrne (American) and Laurie Anderson (American, 1947-), who had each been students of visual art, but whose work gradually incorporated voice, music, costumes, projected image, stage lighting, etc. " (http://www.artlex.com ; definition of "performance art")
(5) http://www.myspace.com
(6) In psychology, there is a projective test in which patients are asked to draw a house, a tree, and a person. Once analyzed, these images will reveal personal information about the patient. For instance, drawing a pronounced knothole in a tree often reflects trauma. If the windows of the house are missing or covered, there is an issue with boundaries and privacy. In religion--Christianity for example-- Jesus compares the spiritual self to a house on rock or a house on sand, and that is one of many religious examples across religions.
(7) http://www.magritte.com/
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