Portland art blog + news + exhibition reviews + galleries + contemporary northwest art

recent entries

Giving Thanks Readings
Meet RACC's new leader Madison Cario
November Reviews
Early November Links
Spooky reviews
Countdown to Portlandageddon?
Mid October Links including PNCA/OCAC merger talks
Paul Allen, philanthropist and arts champion dead at 65
Midwest Art Initiative Tour
Haunting October Picks
End of September News
September review cluster

recent comments

Patrick Collier
cris bruch
Patrick Collier
cris bruch
Double J

categories

 

Book Review
Calls for Artists
Design Review
Essays
Interviews
News
Openings & Events
Photoblogs
Reviews
Video
Links
About PORT

regular contributors

 

Tori Abernathy
Amy Bernstein
Katherine Bovee
Emily Cappa
Patrick Collier
Arcy Douglass
Megan Driscoll
Jesse Hayward
Sarah Henderson
Jeff Jahn
Kelly Kutchko
Drew Lenihan
Victor Maldonado
Christopher Moon
Jascha Owens
Alex Rauch
Gary Wiseman

archives

 

Guest Contributors
Past Contributors
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
December 2006
November 2006
October 2006
September 2006
August 2006
July 2006
June 2006
May 2006
April 2006
March 2006
February 2006
January 2006
December 2005
November 2005
October 2005
September 2005
August 2005
July 2005
June 2005

contact us

 

Contact us

search

 


syndicate

 

Atom
RSS

powered by

 

Movable Type 3.16

This site is licensed under a

 

Creative Commons License

Wednesday 07.07.10

« Over it. | Main | Lonely Place (Second Weekend Picks July 2010) »

Cris Bruch at Elizabeth Leach Gallery

Bruch2.jpg
Cris Bruch’s exhibition, Gather and Wait at Elizabeth Leach Gallery, seduces with meticulous craft and sensuous forms that are nevertheless familiar. For anyone with a modicum of exposure to modern art, many of his sculpture call up the name of another artist, Martin Puryear, whose work has made this style of abstraction iconic. Associations can be made with Richard Rezac’s work as well; yet similarities can always be found between artists working with a particular material, and no single artist holds a monopoly on subject matter or form. It is what each artist does with the material and ideas that is ultimately judged.

In 2007, a twenty-year survey of Bruch’s work, How Did I Get Here?, at Lawrimore Project in Seattle, solidified his position as a major artistic voice in the Northwest. Initially known for his more performance-based sculptural work, early on he was seen as more of a talented curiosity with a decidedly political narrative than the commissioned abstract artist that he has become today. Yet, even with the recent survey, images of his earliest work were missing from the numerous reviews and articles in the Leach Gallery press package, and aside from a somewhat cynical remark by one writer about money, nor was there a sufficient rationale given for Bruch’s move from the politicized to the abstract. However, Bruch’s website provided some insight:

In the 1990's, Bruch's work began to integrate issues of consumer culture and social/economic disparity with a more formal aesthetic, characterized by the use of non-traditional materials and repetitive processes. This work was informed by an awareness of the unconscious, oft-repeated actions that, to one degree or another, form our lives and define who we are.

The described process of making is clearly perceived in the work, yet as what may be a hallmark of the unconscious, the motivations are less clear. While all of the sculptures involve a certain repetitive process or a number of processes, all must certainly require a very present, precise and patient mind. More a meditation than dream, the final pieces may inspire a psychic response, yet the precision involved, particularly in some of the wooden structures, calls to mind elaborations of mathematic and geometric equations.


Blind_Bruch_sm.jpg
Blind (2010)

This observation takes nothing away from the work itself; nor is it meant to suggest that a narrative is absent as inspiration, for some of the work is figurative, which may very well spring from the unconscious. Blind (2010) looks somewhat human and therefore allows a certain level of recognition, but were Bruch to place himself inside the piece (it is built on a scale to accommodate such an action), he would be at once sightless and unseen, a peculiar yet understandable position for an artist to take, as it speaks to the ambivalence an artist may have toward an audience. And it is within this context that we might approach the exhibit’s title. The work is gathered, and we wait. For what? Sales? Appreciation? Comprehension?

Bruch_Books_sm.jpg
Rejoinder (2010)

While Blind is certainly less abstract than other work in the exhibit, some pieces rely even less on abstraction. Rejoinder (2010) is comprised of two seemingly disparate aspects in its configuration. The bottom part of the piece, the plinth or shelf, if you will, is a bookcase that houses a library of books wrapped in butcher’s paper, much in the way someone would fabricate such a dust jacket for a book, the title of which one wants to keep private, thereby discouraging comments from passers by. Yet, each book has a title written on the spine that represents one in Bruch’s personal library. The top portion of the sculpture is an abstract wooden construction with the very same title, Rejoinder, from 2008, and is more minimal and very much in the style of his other curvilinear sculptures. One has to wonder why such a pairing has taken place.


Bruch has in the past worked as a carpenter, a trade at which he was/is undoubtedly very talented. The bookshelf speaks to that history and the fundamentals of the craft, and with the addition of books, is perhaps a bit ‘precious’ in more than one sense of the word. Although these books represent titles in the artist’s library, the books under the covers are in fact not his books or the tomes the jacket titles suggest. Because Bruch did not wish to part with his property, the bargain books on the shelf are merely there as part of the piece and as such, for sale. Still, the artist very much wants the viewer to know personal details that are more literal than figurative, and even less an abstract representation of a concept.

The two halves of Rejoinder may illustrate a conflict of sorts for Bruch, occasionally, or increasingly reconsidering from whence he came, and wondering if there is a way to bring some of those earlier, more explicitly social impulses back into his work.


by Patrick Collier

Posted by Patrick Collier on July 07, 2010 at 8:32 | Comments (5)


Comments

I can't lie, I LOVE Martin Puryear... he's consistently great but I actually prefer Bruch's work when he is farthest from him.... when he has a slightly Tom Friedman kind of constructive playfulness. I don't see too much of that in this show.

Rejoinder is my favorite piece in this show. I like the act of re-authoring the work of others here and the a priori hierarchies the various shelves seem to suggest.

Overall it's a very earth bound show and I feel like the craft is sometimes a crutch... for Puryear it's always pure poetry. For Bruch it sometimes is.

Posted by: Double J [TypeKey Profile Page] at July 7, 2010 09:57 AM

I appreciate your comments and insights- thanks. The title, Gather and Wait refers to how I work- gathering impressions, cheap materials, ideas, and lots of waiting. I don't hunt, but I think of my process as being related- waiting quietly, paying attention and interpreting a lot of information, sorting it for relevance, delaying action until it becomes necessary.

Blind also refers to my process- interiority, even isolation and deprivation are essential to getting to certain realizations.

Rejoinder came about as a response to what I see as an indifference to materials and making in much of contemporary art. The pairing of the abstract form with the bookshelf does a couple of things- it clarifies the piece as a position statement of sorts, by showing a small part of how I came to think about art the way I do; and, it puts the sculpture at a better height.

I too love Puryear's work. It was his show at the Hirschorn in 1991 that showed me that there was a way to work with abstract forms that made sense to me. Prior to that I had rejected and derided abstraction, thinking that only socially engaged art was justified. At the time that I saw his work, I had come to question my motivations, commitment, and effectiveness in that realm. The change in my work was an attempt to reconnect with a more basic, personal curiosity coupled with a love of working with materials.

Maybe this isn't the place for this kind of extended monologue. Thanks for the opportunity to reply, though.

Crs

Posted by: cris bruch [TypeKey Profile Page] at July 9, 2010 11:02 AM

Cris,

Thanks for the insight. Perhaps my comment about 'meditation' is appropriate; and I have a clearer idea of your intentions for "Rejoinder.".

I would hope that I have not given the impression that I did not like the work, for I did. Meaning for a viewer, as you must surely be aware, more often comes through that individual's constructs in relation to the work. Hence, the plethora of qualifiers in my review.

P

Posted by: Patrick Collier [TypeKey Profile Page] at July 10, 2010 12:40 PM

Patrick,

Hey, don't worry, you're a critic! I'm actually less interested in whether or not people like my work, than in what thoughts are prompted by it. I always appreciate a good critique.

A viewers participation in making meaning is essential to art, maybe the core of it. The point for me as an artist is to leave the right amount of space for that, to not overly complete the thing and close off possibility.

Sorry to be so slow in responding- I'll try to check back here, in case the conversation continues.

Crs

Posted by: cris bruch [TypeKey Profile Page] at July 14, 2010 02:22 PM

Cris,

I'm a critic? He he, I guess I occasionally am.

I agree with your notion of making work in such a manner that meaning develops beyond your intentions. It's the dance we do as artists, eh?

I look forward to following your work in the future.

P

Posted by: Patrick Collier [TypeKey Profile Page] at July 15, 2010 07:22 PM

Post a comment

Thanks for signing in, . Now you can comment. (sign out)

(If you haven't left a comment here before, you may need to be approved by the site owner before your comment will appear. Until then, it won't appear on the entry. Thanks for waiting.)


Remember me?


s p o n s o r s
Site Design: Jennifer Armbrust   •   Site Development: Philippe Blanc & Katherine Bovee