The Clifford Gallery has opened its newest exhibition called “Holes.” The exhibit was inspired by the recent publication of the fourth issue of the artistic journal “Effects.” Covering a large range of topics, “Effects” focuses on themes of holes in body, psychology through both a social and philosophical lens as well as an aesthetic one. The first issue of the journal focused on the interplay between surface and structure in art. The second issue focused on the concepts of opacity and radiance. The third issue examined the idea and theme of mimicry.
On Sept. 24, contributing artists, Noel Anderson and Christopher Page, visited Colgate University for a rare opportunity to divulge the thought and intent behind their work.
Associate Professor of Art and Film & Media Studies Lakshmi Luthra is a contributing artist to “Holes” and contributing editor for “Effects.”
“This exhibition grew out of the latest issue [of “Effects”],” Luthra said. “In making the journal together and making the exhibition together … there are moments when connections become possible. Making something together, in my decade plus of teaching, I’ve come to think is a really powerful way to connect in a different way with one another.”
Like the journal, the exhibit is an epic collaborative effort. The Clifford Gallery is currently showcasing 13 unique pieces of art, each of which explores a unique interpretation and aspect of the theme of holes. The exhibit showcases pieces from Clementine Keith-Roach, Eric Mack, Paul Pfeiffer, Christopher Page, Lakshmi Luthra, Milano Chow, Mary Helena Clark, Nour Mobarak, Jeffrey Stuker, Adam Putnam, Paul Sietsema, Larissa Sansour, Søren Lind, Patricia Treib and Noel Anderson.
In his speech at the exhibition reception, Page frequently revisited the idea that holes, despite their emptiness, are things that allow each individual to be penetrated and connect with another, especially in the face of trial and hardship.
“So, why holes? Well, maybe it’s obvious. Things feel like they are falling apart,” Page said. “The fabrics of the world, be they ecological, social or even psychological are frame perforated. … “Effects” itself is a hole, a burning pit, into which my co-editors and I throw our money and our time. We do it in the hope that connections can be formed around the abyss. Not only between the editors and the contributors to the journal, but also anyone interested in pursuing these ideas with us and beyond us.”
Page studies light, shadow and reflection in his paintings. He frequently paints illusory and boundary-testing pieces of framed paintings. These works question where the work begins and ends. His entry into the Clifford Gallery, “That Which is Missing,” is a particularly powerful mirror image. As on-lookers approach the canvas expecting to see themselves reflected in it, they instead are confronted not by their presence, but by their absence. The existential dilemma that Page confronts his audience with is one accomplished through testing the periphery and drawing attention to the unknown, a central theme of the exhibit.
Anderson’s entry in the exhibit, “Alcindor Lost in the Siren’s Song,” is a fascinating tapestry weave that showcases the artistic talent, vision and tools that Anderson has at his disposal. The piece is a 98.5-by-80 inch tapestry that sources an image of Kareem Abdul-Jabbar in the 1969 NCAA Championship. In the source image, Abdul-Jabbar is embraced by two blonde, white cheerleaders. Anderson alters and corrupts the image using dyes and acrylic acid to distort and confuse the image. This creates the profound effect of forcing the on-looker to step back from the weave and view it from a distance so they can take in and discern the legendary player’s face and those of the two cheerleaders.
This is a working demonstration of the epistemological philosophy Anderson wants to impart: one must step back to understand and see the inner workings of society and media. In this case, Anderson’s tapestry examines the facets and representation of Black masculinity in media.
To do this, Anderson uses materials that African American slaves worked to harvest for plantation owners and turns these materials into tools that help to celebrate Black excellence and to call out oppression in society. These materials are transformed from symbols of oppression to empowerment.
“There are two forms of power in this world: there is creative, and there is coercive,” Anderson said. “I’m trying to take something that was pejorative in black labor and turn it into something that can destabilize the image, show the image, or its weakness. Art is the magic of this world, and we get to [use] it.”
