CURATING from a THEATRICAL PERSPECTIVE
Installation detail showing, L-R:Rex Lau’s The Wind Demons; Jim Dine’s print titled L.A. Eyeworks; David Hornung’s Outermost House; and Robert Cumming’s Industrial Bowl.
Apr 16, 2012 - Jul 20, 2012
The current exhibition in The Maslow Study Gallery was curated by student intern Emily Bylotas. Emily is majoring in social science and has strong interest in theater. Clearly her studies and interests provide a fresh, outside the box, point of view to formulating a conceptual model for an exhibition. The selection of works for this installation was based on her interest in musical theater. After studying the works in The Maslow Collection, Emily identified certain paintings and prints that she felt resonated with the themes and modes of five different theatrical presentations. She then selected certain lyrics from each performance and matched them with the paintings and prints (for Emily a few of the paintings relate to more than one performance).
Emily’s statement: When one thinks of art, theatre probably isn’t the first thing that comes to mind. It’s the same with theatre as well. It’s an interesting thing because art and theatre have so much in common. Creativity is a major factor, but there is also the process of putting something together for people to see, think about and enjoy. Theatre has always been, and always will be, an important part of my life and will always have a place in my heart. Putting art and theatre together seemed like a difficult task, but with all the commonalties it wasn’t impossible. Lyrics can describe emotions or represent them just as a painting can. Using lyrics from various Broadway musicals and beautiful art works this exhibition shows how these types of art can come together. By combining the two the lyrics or the art work can be viewed and thought about in a whole different way.
Emily matched Rex Lau’s The Wind Demons with both the humorous Seusical and the more serious Spring Awakening. She chose Robert Longo’s Jules, Gretchen, Mark – State II to be seen in the context of both Godspell and American Idiot. Robert Rauschenberg’s Signs from 1970 and Rochelle Feinstein’s Big A Go-Go clearly speak to the times and psychedelic atmosphere Hair, while David Hornung’s Outermost House was matched with Spring Awakening. Robert Cumming’s Industrial Bowl could easily have been part of the staging for both The Phantom of the Opera and American Idiot, and Jim Dine’s print titled L.A. Eyeworks and Jack Goldstein’s Untitled (MP #126) speak to both American Idiot and Spring Awakening.
Emily’s concern for AIDS and the theatrical world’s involvement in AIDS awareness is also addressed in the material and images included in the information cases.
Installation detail showing, L-R:Jim Dine’s print titled L.A. Eyeworks; David Hornung’s Outermost House; and Robert Cumming’s Industrial Bowl.
Installation detail showing, L-R:Jack Goldstein’s Untitled (MP #126); Robert Longo’s Jules, Gretchen, Mark – State II; Rochelle Feinstein’s Big A Go-Go; and Robert Rauschenberg’s Signs from 1970.