When I was in New York most recently, I had the opportunity to go on a color walk guided by a painter friend of mine, Munro Galloway. I couldn't actually go on the walk that afternoon; I was relegated to handbag-watching and acting (happily) as companion to a friend and her new baby.
This winter break, I had the opportunity to do a studio visit with Halsey Rodman, whose piece The Wolves from Three Angles is up in a three-person show “A Room in Three Movements,” currently at Sue Scott Gallery (http://www.suescottgallery.com/).
The other week, I went to see Toy Story 3. I’ve not seen the other two films in the Pixar series, but I figured I could catch the series’ drift, and it’s summer: what’s better than air conditioning and popcorn when the temperature hits 100?
In my last blog post, I wrote about the ways the Israeli artist Ohad Meromi’s recent installation “Creative Circle” allows its viewers to bodily encounter a set of objects that already exist in relationship. It’s understandable that we’d feel embodiment when we encounter performance (and, as Allison Carruth points out in her post on Jònsi, the gestural often hums along under the radar of critical engagement: when we attend to it, our own somatic encounters with performance can be startling).
In my last post, I discussed gesture in James Cameron’s Avatar. In a response, Josh Landy asked me to think a bit beyond the terms I’d set up in that piece (which focused on what gesture means) to consider what it is we do when we gesture.
Like many of you, I saw James Cameron’s Avatar over the winter break. The film offers a theory of representation based on a genetic (but technologically sealed) connection between a human interloper’s body and an “Avatar,” a modified, organic, native Na’vi body that can be moved by thought via a semi-organic, “plugged in” technological matrix.