Artery Media Project

Material

  • A successful application of the Artery 'formula' should demonstrate harmony between the 'whole' and the 'parts'; as such, the 'parts' should be of consistent material, repetition of material vocabulary lends to the space a sense of unity (see also C, F)
  • Consideration of material as 'elemental' is essential; brick and stone, water, glass, natural wood surfaces... the elemental aspect of these materials lends to objects the quality of artifact (C)
  • In time, the elemental surfaces of stone, brick, mirror, and vegetation reveal patina; stone shows erosion, surfaces are streaked by bark resin, mosses and lichen cover structures, natural surfaces on wood construction show weathered grain, beautiful forms emerge in rust on metal pieces, these small subtle 'miracles' of patina on surfaces are nature's deft touch and should be allowed to flourish (F)
  • Often precious to artists is what has been discarded by society, this concept of 'art from junk' is critical in matters of material (for more elaboration on this see C, F)
  • Signs of affluence in the use of material is often contradictory and distracting, nothing should look 'expensive for the sake of being expensive', the rustic quality of the space should not be compromised for the appearance of wealth (C)
  • Its often more in accord with nature and aesthetics to replace material rather than try to attain permanence, structural development should happen in a manner as unconstrained as possible, its more difficult to allow forms to evolve when they are 'set in stone' (C)
  • On trees: maintain presence of dead trees, they are home to, or attract, an unimaginable variety of wildlife. Keep all bio mass on property, all rotting small branches and dead leaves should be kept as compost then later redistributed as dirt; if possible burn large branches as firewood, then distribute ashes (C)
  • Maintain widest possible variety of species of trees, sculpt a tree canopy out of leaf patterns, try to maintain a healthy mid-canopy, be especially conscious of the age of trees so that there is always another generation ready to move into position (F)
  • Conceal familiarity, objects and material that are overly familiar robs directly from the visitor's sense of mystery and magic (C)
  • Avoid bright colors, except in the case of artwork on exhibit... bright colors on permanent works might conflict with rotating exhibits, appear unnatural, distract from the sublime, subtle, nature-induced effects, such as weathered surfaces (F)
  • Materials for future projects (like a painter's palette) can be arraigned in zones between main points of interest, these arrangements can fill the 'middle ground' of the art garden, especially as they are affected by mosses, vines and other aspects of nature's embrace

Material:

observations based on my personal experience at the Artery site in Houston, Texas-ML

Things rot fast around here, we are in a swamp after all... it is an advantage in many ways. The humidity and rain hurry the patina on metal and stone. Mosses and fungus abound, patterns of fine green carpet, mushrooms, rust, dangling vines, snail trails, as well as all patterns carved by erosion lend a tactile majesty.

Discarded material is available throughout this city, this wealth of raw material is a vital source for discovery and reclamation. As an artspace incorporates debris from its surroundings it becomes literally 'part' of the city itself.

Note about material, both found and purchased... so much of this enterprise involves moving and stacking things. The most necessary component of this entire illustrious activity is sweat. I can't imagine how a designer could bring about the conditions for discovery necessary to 'sculpt' a large space without considerable physical effort. One should experience the activity as a holy quest (or penitence) because only a spirit-driven sense of urgency and purpose will allow a person to override reason and do the amount of work necessary for a facility of this nature.

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December 2013

The Artery has concluded its production season as well as its 26 year history as a performance space. Over the next few months new videos will be posted from this past season as well as past years.

A potential new site for recording events is under consideration.

History

The Artery....  Click here to read more

Principles

It is my hope that these notes will help perpetuate the invention that is the Artery - ML

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Contact

Artists and potential presenters are encouraged to contact Mark Larsen regarding possible collaborations. There may be another venue for operations as soon as summer 2014.

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Credits

Mark Larsen
Bill Day
Ted Barwell
Mike Roberts
Mike Larsen
Christopher Johnson
Christine Clark
Malcolm Hackney
Pranav Kothari 

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