- ARCHIVE / Studio
- 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.”
- 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” - 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 [...] - Studio Sketch: Memorial I
“Memorial for small animals killed en route to West Point” studio sketch
Michael Paul Oman-Reagan
2008 - Studio Sketch: Memorial II
“Memorial for small animals II” studio sketch
Michael Paul Oman-Reagan
2008 - Works in Progress (Interference/Pink)
Michael Paul Oman-Reagan
2008
Mixed Media - 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 [...] - Studio Notes
List of Rejected Titles (July 12)
“Insulting in its Lack of Formal Consideration”
“Models for Larger Sculptures I will Never Build”
“Untitled” - Installation View (Insulting…)
Michael Paul Oman-Reagan
2008
Installation View - Works in Progress (Roofing Pink)
Michael Paul Oman-Reagan
2008
Mixed Media - The Original Concession of Non-Objective Art
Michael Paul Oman-Reagan
2008
Mixed Media - “Insulting in its Lack of Formal Consideration” Installation View
Michael Paul Oman-Reagan
2008
Polyvinyl Chloride Film - 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. - Work in Progress July 4
Michael Paul Oman-Reagan
Incomplete Objects Already in Progress, 2008
Mixed Media - Familiarity
Michael Paul Oman-Reagan
Familiarity, 2008
Wood, Acrylic Paint, Styrofoam Drift Balls, Adhesive - Theurgy (Roach Elohim) - Installation Detail
Michael Paul Oman-Reagan
Theurgy (detail), 2008
Wood, Acrylic Paint, Tackle Thread, Fly-Tying Net, Adhesive - Theurgy (Roach Elohim)
Michael Paul Oman-Reagan
Theurgy, 2008
Wood, Glue, Acrylic Paint, Tackle Thread, Fly-Tying Net, Adhesive - Exegesis (A Delicate Time)
Michael Paul Oman-Reagan
Exegesis, 2008
Wood, Glue, Acrylic Paint, Fluorescent Pigment, Adhesive - More Human Than Human
Michael Paul Oman-Reagan
More Human Than Human (detail), 2008
Cardboard, Glue, Acrylic Paint, Paper, Magnets - More Human Than Human (detail)
Michael Paul Oman-Reagan
More Human Than Human (open), 2008
Cardboard, Glue, Acrylic Paint, Paper, Magnets - More Human Than Human (detail)
Michael Paul Oman-Reagan
More Human Than Human (closed), 2008
Cardboard, Glue, Acrylic Paint, Paper, Magnets - 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 [...] - Sculpture Sketch 3
- Sculpture Sketch 2
- Sculpture Sketch 1
- Sontag
- Tuttle
- 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 [...] - Synchronic Statement - The Future
The semantic paradox of attempting to extrapolate linguistic disseminations of living works of art.
- 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, [...]