Newmediaart - Publicarena

The Chicago Police Department calls its public surveillance cameras Police Observation Devices (PODs). The PODs look down from the tops of telephone poles or street lights. Many make themselves visible with a flashing blue light that resembles a police car siren. Others, flat-black and subdued, blend covertly into the everyday infrastructure that supports them. Their aesthetic qualities anticipate ways that publics might behave and observe within a surveilled environment. I employ direct observational drawing, sculptural replication, and 35mm slide photography in an ongoing practice of representing the Police surveillance cameras in Chicago’s Humboldt Park neighborhood. This multidisciplinary framework documents multiple ways of seeing and a plurality of articulated positions relative to the PODs. The resulting works can be thought of like performance artifacts—material documents of deliberately returning the camera’s gaze. This body of work searches for ways of seeing and being seen in surveilled public spaces. I would like to encourage reciprocal gazes. As an individual, looking back means actively electing presence, visibility and vulnerability. It ambiguates the roles of observer and observed. At its best, it creates space for me, and ideally others, to participate creatively and consciously with the presence of police surveillance in Chicago. ---This week we are featuring gallery artist Dylan Cale Jones. Join us til Saturday as we explore his process further. Pictured: Police Observation Device, Potomac and Washtenaw, 2016, pine, 8"x12"x14" Everyone is Crying (2), 2017, 36"x 42", ink, acrylic and graphite on paper Police Observation Device, Potomac and Washtenaw, 3/4 scale, cherry, 6""x10" Contact the gallery with inquiries.
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I see collective grief and joy as ways of uniting people but also as ways of generating separate group identities of "us" and "them". These works, for me, are attempts at representing the fervor and intensity of grief and joy as experienced collectively. - Dylan Cale Jones on his drawings. We will continue our feature of his work tomorrow, in the meantime, be sure to catch our current round of shows that close this Saturday. Contact the gallery with inquiries. Pictured: We All Live Together/We All Know the Words, 2017, 36" x 33", Ink on paper The Knowledge of Good and Evil, 2016, 22"x25", ink and acrylic on paper
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This process deliberately deals in things that I haven't quite figured out yet and so it's value isn't readily apparent, and it isn't always about making something that is readily understood as "good". Usually, if I am excited by something, "good" is not the first word I jump to. Goodness is a value which can be vague an a little weak. It sets a thing apart and celebrates it, but perhaps consummates it's completion and empties it out. I can appreciate when the goodness of a thing is allowed to remain undetermined. ------ a TBT to Dylan Cale Jones' solo show, "Good Work", at GUMD last February. The show questioned the value and concept of producing good work. Pictured are: "Found a Job (Employee Appreciation Gift)", 2015, Maple, poplar, birch plywood, oil paint, oil pastel, polyurethane, latex paint, sticker, "x5"" Birdhouse, 2014, MDF, cherry dowel, hardware, casters, """ Chair(Growth Spurt), 2014, child's chair, melamine, hardware, 21"x28"x22"
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These objects--garbage cans, water fountains, milk crates-- exist within the public (urban) realm and, intentionally or not, accumulate records of public activity. These mundane objects, to me, are part of an index of public objects/materials/spaces that began with thinking about the police observation devices. - Dylan Cale Jones on his most recent exploration of work related to the PODs and the public sphere. Tomorrow we will conclude not only our feature of DCJ, but also the dual solo shows of Heath West and Lucy Kirkman Allen. Pictured: Garbage Can, 2017, 2"x2"x8", cherry, dime, matchstick Milk Crate, 2017, 13"x13"", milk crate, plaster gauze, aquaresin
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These objects, along with many of the representations of police cameras, are carved from cherry. This material choice is another invocation, this time to the myth of George Washington chopping down his father's cherry tree (in secret) and fessing up to his misdeed (after he was caught). The surfaces of water fountains have a patina that is generated from repeated touch, records of each body that has gone for a drink of water. They also invoke America's civil rights narrative, the segregation of water fountains, at a time in America's history when the public was more explicitly divided. ---This concludes our weeklong feature of gallery artist Dylan Cale Jones, and his most recent works. Today is also the closing date for Lucy Kirkman Allen's and Heath West's shows at GUD. Next week, in preparation for their dual solo shows, the gallery instagram will be taken over by Stephen D'Onofrio and Anna Kunz. Their dual solo shows will open on April 1 with an afternoon opening at 11:11am - 1:11pm.
#instaart #art #mixedmedia #materials #dallasart #chicagoart #newwork #sculpture #acrtlic #conceptual #dylancalejones #newmediaart #featured #contemporaryart #abstract #publicarena #painting #galleriurbane #artcollector #supportartists #artgallery #contemporaryartcollecting #policesurveilance #artoftheday #purchaseart #modernart #publiceye