Storm King Art Center | Old Pleasant Hill Road
Wanderings and Wonderings: Jonathan VanDyke
Saturday, June 27
In Movements for Monoliths, a new durational work created for Storm King, Jonathan VanDyke uses the expansive and multi-faceted terrain of the Art Center to explore the intersection of painting and performance, color and movement. The land of Storm King is re-imagined as setting and stage while the sculptures become “characters.” The two performers carry paint-stained tarps and signs, folding, manipulating, and interacting with these painterly objects. At times their movements suggest the rhythmic marching of a street protest, while in other segments they playfully suggest a high school color guard troop inventing a new political language, or a pair of street performers who have wandered off path. The canvases might serve as ground covering, tent, backdrop, dance floor, uniform, flag. As they move erratically across the Storm King grounds, they ask the viewer to contemplate, whether from at close hand or afar, how the thin membrane of a “painting” might also appear like a sign or a gesture of resistance, how an art object might be mobile rather than stationary, and how monumental sculptural works stand in contrast to their painterly cousins. Here, the painting engenders a theatrical dialogue, and the sculpture figures as both foil and audience. VanDyke will perform with Bethany Ides.
The Shandaken Project and Storm King Art Center collaborate on Wanderings and Wonderings presented in 2015. This public program invites poets, artists, scholars, and performers to engage Storm King’s visitors, collection, and grounds through creative exploration.
Share the event on social media by mentioning @jonathanvandykestudio and @stormkingartcenter (Instagram) or @StormKingArtCtr (Twitter).
Jonathan VanDyke is a visual artist based in New York City. Recent solo exhibitions include Oltre l’oblio at 1/9unosunove in Rome and The Painter of the Hole at Scaramouche in New York, both in 2013, Traunitz at Loock Galerie in Berlin in 2014, and A Crisis in the Life of an Actress at Four Boxes Gallery in Denmark in 2014. Major performances include the forty-hour works The Long Glance at the Albright-Knox Art Gallery in Buffalo in 2011 and With One Hand Between Us, part of Performa 2011, the biennial of performance art in New York City. His performance work and installation Obstructed View was commissioned by The Power Plant in Toronto as part of their 2011-2012 exhibition Coming After. His durational performance work Cordoned Area, made for the dancers David Rafael Botana and Bradley Teal Ellis, has appeared at The National Academy Museum, New York (2013), Vox Populi, Philadelphia (2012), and Socrates Sculpture Park, New York (2011). VanDyke received an MFA in Sculpture from Bard College in 2005, attended the Skowhegan School in 2008, and in 2007 attended the Atlantic Center for the Arts, where he was mentored by the artist Paul Pfeiffer. His work has been reviewed in Art Forum, artforum.com, TimeOut New York, Art Papers, White Hot, Art Review, The Buffalo News, The Philadelphia Inquirer, ATP Diary, and Artslant; a major profile appeared in Modern Painters. He has received grants from the Mid-Atlantic Arts Foundation and the Joan Mitchell Foundation, has served as a resident at Yaddo, and at Qwatz Residency, Rome; as an Emerging Artist Fellow at Socrates Sculpture Park, New York; and as a Visiting Artist Fellow at The University of Chicago, Illinois State University, and Krabbesholm Art Academy, Denmark. He is currently on the faculty of Sotheby’s Business Institute and of George Washington University. A survey of VanDyke’s work from the last five years will appear at The Sheldon Art Museum in 2016.
Bethany Ides works with conditions (text, presence, prescience, instability, irrevocability, implicature, dis-use) and this unruly, often hair-triggered work comes to bear as performance, installation, publication, video, sound and/or curation, having been presented at places like The Brooklyn Museum, PS122 and Governor’s Island. Drawing significantly from methodologies of pedagogy and play, Ides’ sprawling, multiphasic works cohere as/with DOORS UNLIMITED, a roving vessel for investigative operatics and anti-institutional resilient resourcefulness for which she serves as Artistic Director. Almost-Although was one such experiment, a provisional-conditional community of artists, activists, writers, musicians and scholars who convened in Shandaken, NY in improbable shifts, practicing pretending that culture work and culture workers could be non-valuable. Transient’s Theme, a neverending soap opera-opera, was publicly enacted in iterative installments by Ides and company for over past 3 years before culminating in a month-long ceremony at the cathedral-like Knockdown Center in 2014. In 2006 Ides co-directed and curated The Gilded Pony Performance Festival in Troy and Valley Falls, NY and, in 2002 co-founded FO (A) RM, an interdisciplinary journal for arts and research. Her poetic projects include Indeed, Insist (a mystery) published by Ugly Duckling Presse, andApproximate L from Cosa Nostra Editions. Ides often teaches at Pratt, SVA and Bard College, but currently lives in the woods.