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The Otis Faculty Development Grant helped fund the creation of the
artwork described below. It was exhibited as part of the contemporary
artist solo projects, Intervenciones, at the Museum of Modern
Art of El Salvador. This was the inaugural year of the project series.
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Renée Petropoulos
Prototipo para la(s) Historia(s) de la Pintura:
Eingrouping: Socio Histórico Latinoamérica.
(Pared Uno)
30 de junio.
La huida.
Iyare.
Círculos viciosos.
Nana-Watzin.
Labyrinth.
Fusilamiento.
Presenta.
Minnie.
(Pared de Vidrio)
Concepto espacial.
Los próceres le reclaman al puebla
2. Autorretrato.
Les transformes.
Eclosión.
Los mulatos de esmeraldas.
Contraste.
Primera vibración.
Zero dollar.
(Pared Tres)
La guerre.
Birdcage.
No combustible.
8 Survivors.
The White Gods IV.
Experiment con formas relacionadas.
Proyección de una cacería.
Dibujo.
Obelisco de pan dulce de la serie Los mitos y la ley de la
gravedad.
Banana Republic ropaje.
Souvenir Series: Oro Negro.
Vinil, yeso y pintura sobre paredes; banda Sonora (duración
103 minutos); plywood y esponja; texto.
Dimensiones variables.
2005.
Colección del autor.
Sound File #1
Sound File #2 |
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The project, (2) Prototype for the History(ies)
of Painting: (Eingrouping): Social Historical Latin America,
is specific to linguistic and visual expressions relating to
the genre of social historical pictures. As in the previous
work, the works selected to become surrogates (rectangles of
color) meet both linguistic and pictorial criteria. The work
is then organized by "title" with the single rectangular color
determined by the most dominant color of the referent artwork.
The work is composed of vinyl, chalk and paint applied directly
to walls, glass and other surfaces.
For the second prototype, similar means of selection and structure
are employed. For instance, the specific translations between
English and Spanish are highlighted. As the work moves around
the space and climbs up the walls, the various systems and structures
become visible. Methods of indexing from title, subject, artist,
color form some of the starting points. Initial selection began
with paintings made in El Salvador.
In the previous project, the work mirrors itself from one side
of the space to the other. The viewer is "caught" between the
walls of the work. Each rectangle, i.e. surrogate painting,
reflects itself. The areas depicting wall treatments (stripes,
flowers, etc.) change from side to side. The bench stands adjacent
to the space in a similarly lit area. (One area being the elaborately
covered walls, and the other contains the title card and the
white gallery walls.)
For this installation the windows and adjacent viewing areas
to the space have been considered. The work continues around
the space including the actual architecture of the museum with
the depicted architecture of other institutions. Seating has
been created to punctuate "seeing" the work. Additionally, a
soundtrack accompanies the work. This is based on (but not like)
typical museum audio tours. My soundtracks often mimic the structure
of the visual work. In this situation the physical layering
of the vinyl, the architectural configurations, ambient noise,
and musical notation form the structures of the soundtrack.
Both visual and sound components are predicated on the intersection
between language and perception, and are highly specific to
the experience of walking around a gallery space and the activity
and physicality of movement while viewing. |
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