Grad Student Exhibit Review

Caution: Don’t Lose the Message
Art is one of those things that everyone has a distinctly unique approach to, which has never been as clear as when walking into the latest grad student display in the art museum here on campus. Among the varied mediums of art displayed were the installations, paintings, multimedia video, ceramics, and sketches. For one reason or another, one of the simplest displays became this reviewer’s favorite.
By Brad Dinsmore, the piece is named Nervous Rabbit. At first glance, there sits an enthusiastic ceramic cat named Cat with Flowers, anxiously presenting flowers to its audience. Whether the cat is funny or cute is irrelevant to the true observer. What is particularly engaging about this piece is that on the floor, just peeking around the corner of the pedestal, sits a ceramic rabbit with flowers of his own, politely and cautiously offering them to the audience. The two in tandem intrigue me because there is more to it than at that first glance. In fact, the rabbit seems to be the significant one that would be noticed if only someone would look closer. The rabbit is so subtle that most people probably overlook it entirely and leave thinking they have seen everything to see, which is a mistake. There is always more to see. In that way, the rabbit represents the true nature of art; by peeking around the corner, the rabbit offers the audience more than just flowers and more than what is seen at a superficial glance.
As a whole, the exhibit is disconnected, which is understandable because they are several artists with their own visions. In some ways, the artists’ ideas converge. For example, Dinsmore’s People and Proverbs intersects with Dustin Price’s Untitled pillow tree installation in the center of the room. Both pieces demonstrate a theme of acquired knowledge and wisdom. Dinsmore features phrases we often hear in daily life and common sayings that have become empty thanks to exhaustion; Price’s tree emphasizes peace and perhaps a new approach to ideas in general, treating them with gentle respect. When the pieces in this exhibit work together, they are much more impactful than on their own.
Some of the pieces on display such as Sailor, the video featuring barriers, tunnels, and doors, are pleasantly ambiguous while achieving a level of coherency. Others, such as the installation in the corner with lights, a cut-out cow, and paper chains, make me think that the modern artist is a professional marijuana smoker who needs to legitimize his or her hobby by making money to buy more marijuana. It is clear that modern art is not for everyone or the faint of heart (or lungs). Usually I can find a reason to respect an artist, but the installation in the corner (of which I unfortunately neglected to record the name) weakens my resolve to respect art that I do not understand. As far as collective messages go, I could not find one hidden in the layers of installations. Individual pieces had more clearly discernable purposes, but the collective exhibit was not orchestrated to be so articulate.
Art these days seems to be less about representing what is and has been as provoking the audience to think about abstract ideas. Sometimes, however, it appears that in attempting to reach that upper echelon the messages are lost completely.