19 Aug

Pincus-Witten on Style

“Style is the bourgeois word for history. Style reinforces a bourgeois notion of history even as it conspires to transform the work of art into commodity. Style, above all else, allows for the alchemical transformation of art into capital.”

24 Jul

Agnes Martin on Ideas

“I’m very careful not to have ideas, because they’re inaccurate…”

Agnes Martin, in the 2002 Documentary “With My Back to the World”

20 Jul

Communication Project Notes

Art objects produced in the studio are covertly installed in dedicated cultural spaces.  The installation is documented by taking photographs of the installation at the time of deployment.  Photographs are published showing the artifact in situ, but not information which could reveal the specific location.  The name of the institution or space is revealed.

If no witness is present during the act, a report of the installation is shared with trusted critics, artists or theorists.  The report includes confidential photographs revealing the specific location of the installation.

Once work is installed it becomes an artifact of the project.  It may remain in place or be removed by the institution and kept, sold or exhibited in collaboration with the artist.

The exchanges produced by the communication project have the same ephemeral quality as other conversations – and they may or may not be remembered or recorded beyond the original installation documentation and reporting.

14 Jul

Statement Revision

I create work around socio-cultural and anthropological themes. My objects, installations and projects examine the datum plane of the viewer and the syntax of communication.

Proximity Syntax
My sculpture results primarily from acts of proximity adjustment. Through investigations in the studio, I build a syntax referred to as the art object. The sculpture can also be the introduction of an idea into a space.

When proximity adjustment is the method of creating sculpture, the materials and methods used to assemble, group or otherwise relate objects are of equal importance. The adjustment can involve changes to the object, the object’s environment, the context or location of the object or the way in which the object is displayed or referenced.

The placement of an idea into a proximity relationship is a conceptual act of sculpture. This may involve the presentation of an object/idea through words, symbols, situations and other media. The object/idea could be an art object, media such as sound or light or an even more elusive/intangible force.

Perceptive Senses
The work is perceived by the viewer with the sense doors; the thought of mind, the feel of touch, the hearing of sound, the seeing of light, and the fragrance or bouquet of smell or taste. Perhaps the art will access other senses such as the physical sense of balance felt by the inner ear, the acute sensitivity of pheromones or the empathic and intuitive senses.

When trying to describe sculpture beyond its formal characteristics the viewer enters a kind of interpretive quicksand. They ask “what is its purpose, its meaning, its value, its effect?” The first instinct of the mind is to compare new experiences with old experiences. (The eyes do not see without the mind. There is no sight without the thought of seeing.)

It is therefore necessary to unlearn a certain series of perceptual habits in order to successfully see not what the mind finds familiar in art, but rather what is actually there in the work we are examining.

Michael Paul Oman-Reagan, 2008

13 Jul

Studio Notes

List of Rejected Titles (July 12)

“Insulting in its Lack of Formal Consideration”

“Models for Larger Sculptures I will Never Build”

“Untitled”

07 Jul

Notes on the Objects

The objects are completed by their environment. The walls and surfaces called ‘background’ are part of the installation.

The objects are a practice in limitation. The construction and assemblage is defined by strict restrictions in technique and material.

22 Jun

Statement ‘Sculpture ReDraft’

Preface on Art Writing

Our experience above the quantum level is a world of composites. Art writing seeks to extrapolate form and meaning from living works of art and express these characteristics through language. The resulting linguistic objects exist in addition to the work but do not amend the work.

Proximity Syntax

Sculpture is primarily an act of proximity adjustment to create a syntax referred to as “the work”. Sculpture can also be the alteration of a single characteristic or the introduction of an idea into an area.

When proximity alteration is the method of creating sculpture, the range of materials and methods used to assemble, group or otherwise relate objects are of equal importance. The alteration of a single element can involve changes to object, the object’s environment, the context or location of the object or the way in which the object is displayed or referenced.

The introduction of an idea into a proximity relationship is a conceptual act of sculpture. This may involve the presentation of an object/idea through words, symbols, situations and other media. The object/idea might be waves such as sound or an even more elusive/intangible force.

Perceptive Senses

The work is perceived by the viewer with the sense doors; the mind, the feel of touch, the hearing of sound, the seeing of light, and the fragrance or bouquet of smell or taste. Perhaps future art will access other senses such as our physical sense of balance felt by the inner ear, the acute sensitivity of pheromones or the empathic and intuitive senses.

When we try to describe sculpture beyond its characteristics most viewers enter a kind of interpretive quicksand. They ask “what is its purpose, its meaning, its value, its effect?” The first instinct of the mind is to compare new experiences with old experiences. The eyes do not see without the mind. There is no sight without the thought of seeing.

It is therefore necessary to unlearn a certain series of perceptual habits in order to successfully see not what your mind finds familiar in art, but rather what is actually there in the work you are examining.

Michael Paul Oman-Reagan
2005

06 Jan

Ideas in Opposition

The Communication Syntax

A beginning is a very delicate time.
Where have you come from. Are there many of you. Where will you go next. The statement becomes the question, consequently, we modify communication immediately.

The Object Syntax

Do not approach the art object as you would any other object. The mistake of attempting to determine its purpose will lead you away from seeing it as it is.
Not knowing, the message is or is not important; there will be a cube, there is a cube, there was a cube, there is no cube, there was no cube. Where is the symmetrical three dimensional shape contained by six square faces?

The Simulacrum Syntax

A golden land of opportunity and adventure. A beautiful place out in the country.
The situation of capitalism creates a world parallel to but totally unlike reality, a simulacrum of the true context and content of life.

06 Jan

Historical Statement

The Line Syntax

Do not approach the art object as you would any other object. The mistake of attempting to determine its purpose will lead you away from seeing it as it is.

Not knowing, the message is or is not important; there will be a line, there is a line, there was a line, there is no line, there was no line. Where is the straight or curved continuous extent of length without breadth.

(Artists Statement/Michael Paul Oman-Reagan/2004)