Hey MC Blogmaster 5000,

Here I am again, getting back in the writing groove. Funny enough, just read a story in the last New York Times Magazine (August 3rd) about a group of internet pranksters that generally call themselves “trolls.” Seems they like to nuke web sites and mess with people very aggressively. One of them is quoted as saying that he “wants everyone off the Internet. Bloggers are filth. They need to be destroyed.” Guy seems like a real party. Too much free time, if you ask me.

But back to the arts.

The project has evolved significantly since we last exchanged thoughts this way. We’ve completed our first two-day workshop with everyone in the Team Building project and have been talking about what it all means ever since. Right after the second day concluded we went out with Lisa (Freiman) to discuss where this was going and exchanged some really interesting ideas.

Type A has always made work that respects the idea first and the medium second. Ultimately the medium we choose for a project must be in response to the concept driving that project, and, in fact, the medium ideally helps to inform and reinforce the concept. Different media can do different things well, and we would never choose video to do what a photograph can do, nor would we choose to make photographs when the weight and authority of a sculpture is what’s called for. In the end, then, the medium is simply a conduit and is chosen for its ability to channel the idea properly. Reveling in the medium makes sense only when it’s functioning as a good conduit. Once that purpose has been fulfilled, we can roll around in the formal glory of whatever medium we happen to be working in. In the end, the medium should practically disappear.

This is a way of working which has been liberating for us because it means we are free to use whatever path is best suited to the concept and can focus completely on developing that concept. Although we’ve always loved the OBJECT in art, whatever that object may be, in the end it is disposable and is in fact not the art itself. This is where the Team Building project comes in.

When challenged with developing a piece for the Art and Nature Park, we realized early on in the process that an object-oriented piece would never be able to achieve what we wanted. We are too concerned these days with the shortcomings of art-as-commodity and the dangers of institutionalized mediation and intimidation messing with the experiencing of art by the public at large. Object-oriented art reinforces this, with the aura of the object being preserved and augmented through access control, provenance, market fluctuations and an accretion of expertise that a very small community of people continues to guard as their own. In short, it is often intimidating for people to go into a museum and restrictions on how one can understand art are inferred at every turn. This can be reinforced by an institution or it can be challenged. There are now significant discussions at the IMA to lead things towards a more open way which encourages a sense of entitlement in how the community can access and experience art, and we are privileged to be a part of that.

You and I decided that we wanted to create a gesture as well as an object and that the gesture is the primary component of the project. The medium we chose is Experiential Education, one which has no physical result (other than minor injuries) and which is direct and unfiltered by the history or art or any other discipline other than its own. The Team Building project can’t be touched or held or bought or sold. It can be experienced, either as a participant or as a viewer. It has an presence beyond what happens within the core team of participants, but defining that is as elusive as defining an invisible man. You can only see his shape when something is draped on him, when some piece of fabric or a mattress or a bathtub full of water betrays his outline and weight and movement. In a sense we have done away with the object and the medium altogether and instead have started a relationship with a cross section of people at the institution which has invited us to make work. What happens within that group is the piece itself, the draped fabric that gives this invisible man shape. The work we do is based on a set of principles and ideas that’s constantly changing, but has a foundation in trust, respect, inquiry, playfulness and honesty.

The project does have an object-oriented component as well, and how. It’s going to be a huge sculpture (we think) and, as such, will function as a counterpoint to the experiences we are sharing as a group. At this point we are feeling an increasing need for the group to have a hand in the design and fabrication of the piece and that will play out in the weeks to come. Having a huge sculpture is arguably the complete flip side of the principles that inform the intangible, performative heart of the project. But is it incompatible? Are we having our cake and eating it too? Seems pretty clear that the answer is yes, but is that so bad? Don’t these two components complement each other and in doing so set the issues in relief?

There’s a lot to consider. This has been an amazing experience so far and we’ve got a long way to go.

Yours in rubber chickens,
Blogwin

Dear B-Lo (again with a new name, this one with a trendy feel),

“Trolls” going onto the Internets to get everyone off the Internets? Hmmm, irony can be pretty ironic.

Anyhoo, it has been a while since our last blog-fession. What’s the penance for that? I’m guessing it has something to do with getting on Facebook.

So, in the last three weeks, much has happened, as you mentioned, with the Team Building project. The blog has the potential to be a place to expand our conversations, to continue to leave residue. I say “potential” mainly because we haven’t exactly… written. Instead, the ideas stayed where, I guess, they are more comfortable: in the ether just above our head waiting to be referenced. Holding the concept to be primary and leaving it formally undefined is a way to avoid losing it. Trying to contain ideas by writing them down, for example, can be a foolproof way of having the concept become slippery, more evasive. At the same time, I want to get some of this stuff down on paper (or, at least, on The Internets). The idea that things cannot be defined is a nice bit of theoretical play but winds up creating paralysis. Sure, no one can know exactly what I am trying to convey. So what? Trying is a noble failure.

So, on to the residue or, more specifically, the Invisible Man (I like to capitalize this as a proper noun since I prefer to believe he actually exists). He’s wrapped in bandages in order for his shape to be seen (he also wore those funny, goggle-like glasses and, if memory serves, a dashing smoking jacket). In order to be identified as a human, these “drapings” were necessary. Sure, no one could tell exactly what he actually looked like, but they could tell where he was and what the hell was holding that pipe up in mid-air (By the way, if he smoked or drank, wouldn’t we see the substance ingested? I mean, the invisibility didn’t extend to external objects, right?) From there, we realized that the “drapings,” or residue, can initially be acknowledged as a need for everyone else to know where the Invisible Man was at all time. Otherwise, he would be undefined, undetectable and, at some point, able to see them naked. Though the residue was for the protection of the visible, we soon realized that they were much more important for the Invisible Man himself. Without it, he would not know where he was. And that would be maddening (not in an irksome way but in a loony-bin way).

Without a sense of self, without the ability to have some identifiable aspect shown to someone or, more importantly, reflected back to oneself, there can be no sense of self. Sure, the reflection can only approximate and is inaccurate (Check this out), but they are somewhat beneficial reference points. And don’t get me started on Lacan’s Mirror Stage (You have read your Lacan, haven’t you?). Inaccurate reflections may create anxiety that sends us to analysis, but they do provide for some psychological stability. The alternative would be much worse. In art, we need our concepts to have a physical or psychological remnant. In a cynical way, art can be too interested in the physical object. People can use their knowledge of what the object “means” and what someone may or may not understand about it to create a culture of intimidation. The residue can, and often does, end up in the hands of someone with an agenda. This happens quite often when the artist is unreachable or, more so, dead. When the gap between artist idea/experience and audience is so vast, some feel the need to create authority in order to tell people when they are experiencing art. Perpetuating the myth that people need to be led through art in one way or another is a way to keep a lot of people employed (art consultants, anyone?). This has gotten us a bit P.O.’d. We’ve been around too many people who make such a point of being told what to see and, more specifically, what to buy. Now, we are definitely calling for a egalitarian, non-commodified, peace, love and understanding hippie like art world. But, we’d like to see a bit more direct experience as the rule, not the exception, right? This has been the driving force behind Team Building. Give some people some direct experience and see what happens. Let the art be made from that.

So, the project needs the residue. Without it, it could not be identified. More importantly, without it, we could not identify what we’re doing. We set up situations and then leave a lot to chance. But, the residue has become a prominent point for us to reevaluate and understand our need to get some of the ideas down. Without it, we would not be able to point to what we’re doing. And, without that, we would not be able to point to ourselves.

As for the sculptural element, this “big tower” that we’re constantly referring to, it is as necessary as we want it to be. It can be the largest bit of residue that our involvement with the IMA could produce. I’ve been struggling with the “having the cake and eating it to” thing as well. It’s always seemed like the Team Building and Tower endeavors were separate but connected. After our last meeting with The Group (capitalized for the same reasons), we’ve become much more focused on how the tower cannot be discrete from the experiential education. Each part keeps seeping into the other; and while it’s akin to osmosis to maintain homeostasis, the environment keeps changing. So, we continue to attempt to bring the various elements into balance while acknowledging that tension is necessary in art as it is in life. So, these seemingly antithetical elements maintain a stress but also provide a release. I have to believe that we have internalized Experiential Education’s message of self-challenge to such an extent that we are seeking out struggle as a choice to expand our lives and, by extension, grow. The two components don’t have to be resolved; that would be improbable, unrealistic and just plain misguided.

Our goal now is to continue to push to find ourselves in new situations providing new experience, tension and all. We can then offer ourselves and others the opportunity to drape something. To not do so would be insane.

AA

(stay tuned for a great way to experience the IMA grounds before the end of this post!)

A friend told me about how they went letterboxing on a recent vacation and was surprised that I’d never heard of it before. Letterboxing is similar to its more recent cousin, GeoCaching, and involves hiding small boxes with journals and stamps inside them. The idea being to bring your own stamp and journal with you to collect a log of all the treasures you have found! Letterboxers leave clues to the locations of boxes they have planted online for others to find. Experienced letterboxers can collect hundreds of stamps from around the country and individual boxes can stay alive for many years! As I began to learn a bit more about it… I was hooked!

A Brief History of Letterboxing

Apparently, letterboxing has been around for a long time. Wikipedia’s article on letterboxing says that it originated in England around 150 years ago! Letterboxing seems to have gained popularity in North America in the late 1990’s. In exploring this a bit more online, I was stunned to find out how many boxes exist right around the corner! One popular letterboxing website lists over 46,000 registered letterboxes in the United States and over 1000 in the state of Indiana. There are even 2 letterboxes close by for our blog readers in Zimbabwe… What… am I living in a cave? How could I have missed this one? The thought of all these stealthy hidden little boxes brings out the pirate in me… Arggh!

(A Google Map of Letterbox locations around Indianapolis)

Letterboxing Resources

I’ve found a few great sites to fuel your burning letterboxing habit! Lately, I’ve been looking these sites up on my phone as we sail around with the top down on the Jeep looking for stamps to fill our journal. A good primer on what you need to start letterboxing can be found on this “Getting Started” page.

When you’re ready to find some boxes to search for these are some great links to start with:

• Search Letterboxes on AtlasQuest.com
• Search for Letterboxes on Letterboxing.org

Letterboxing @ IMA

So, why talk about a crazy hobby like letterboxing on the IMA’s blog? Well besides the obvious craft involved in creating some of the stamps I’ve seen… I was stunned to find out that there are two, count ‘em, two letterboxes already hidden on the grounds of the IMA. I’d be breaking the secret code of letterboxers if I gave away their exact locations… but here are the links to the clues so you can find them yourself. We’ve found both of them in the last two weeks, so I know their both still safe and sound. I wonder if our grounds keeping staff knows about these?

• IMA - planted by “Trail Mail Junkie”
• Robert Indiana - planted by “Dream a Dream”

I’m thinking that we’ll have to take it upon ourselves as proud IMA-staffers to plant a few more of these puppies out in the Art and Nature Park before it opens! Any ideas of some good hiding spots?

Full contact rock paper scissors. Passing an ice bucket from person to person with only your feet. Hurling rubber chickens and stuffed monkeys. Primal screams. It�??s all in a days work at the IMA.

I will never deny that working in a museum is fun, but nothing has compared to Monday and Tuesday of this week. From playful games to thoughtful discussions, a group of IMA staff led by the artist collective (and former guest bloggers) Type A spent 2 full days participating in team-building exercises focused on the IMA�??s forthcoming Virginia B. Fairbanks Art and Nature Park. These games, challenges and discussions were meant to not only help strengthen the bonds between a diverse group of IMA staff, but ultimately to inform the final commissioned work that Type A will create for the Art and Nature Park.

I�??m not gonna lie. I walked into the first day of team-building exercises skeptical. Eating my blueberry bagel at breakfast on the first day, I asked myself: �??What are 2 artists going to be able to teach us? Wouldn�??t it be more beneficial to actually work on the plans for the Art and Nature Park than discuss them and play games?�?? I assumed there would be a lot of hugging and praising and not a lot of actual progress. Really and truly I don’ t mind the hugging and praising, but ultimately I�??m a person who prefers to just do something rather than talk about it. However, I�??ve been impressed and surprised; talking about concepts and goals can ultimately lead to progress. Type A has done a really great job of blurring the lines between artists and facilitators.

As Adam and Andrew often asked us, �??What were the lessons we learned?�?? I�??ve had a few days to ponder the question and here�??s what I�??ve determined. Stated simply: I have a better understanding of the struggles, stresses and successes of my colleagues. I have a greater appreciation for the teamwork and collaboration necessary for a project as small as creating a postcard and as large as creating a 100 acre park. I also have a richer knowledge of my unique role as part of the Art and Nature Park team.

I�??ve learned a lot and will take a lot with me from this week�??s activities. Beyond the important life lessons, I�??m going to have to find a way to incorporate the rubber chicken and full contact rock paper scissors into my daily job functions at the IMA. Or perhaps, just the primal screams�?�

In September the IMA will launch a special web presence for Type A�??s project that will provide documentation of the work that we�??ve all done (video, pictures, etc.) as well as serve as a forum for discussion. In the meantime, you can check out some of the participant�??s photos by visiting the Type A Flickr Group.

Dear Co-Blogger Dude,

And so it begins, writing for IMA blog. Never blogged before, and I’m not quite sure what to write about. I think it comes down to two possibilities: our Team Building project at the Art & Nature Park or music. I’m gonna choose a combination of the two.

Although our tastes in music differ quite a bit, there’s quite a lot of crossover. Shared music includes Clutch, Secret Machines, Radiohead, Dragonforce, Vast, Sugar, Sigur Rus, The Good The Bad and The Queen, and host of others. My most recent purchase is by “Battles.” It might end up on heavy rotation at the studio. (*)

I grew up with classical music as much as you did with rock. While I was being taken to Symphony Hall in Boston you were being taken to hear Zeppelin or the Eagles or the Stones. I think you got the much better deal. In any case, I ended up with a love of classical music that surfaces from time to time, and last week was one of those times. On Friday I took Gaby to hear Emmanuel Ax and the New York Philharmonic perform Beethoven’s Fifth Piano Concerto. It’s a piece that’s moody and masculine, moving through thunderous and aggressive passages into delicate intricacy, and back again. It’s one of my favorite pieces of music and it was the first time I had a chance to hear it live. I was blown away. What I took away wasn’t measurable, wasn’t tangible. In fact the music itself doesn’t really exist except in the performance. The score isn’t the piece, a recording of the piece isn’t the piece either. The piece exists only when a group of people agree to do what it takes to perform it. This got me thinking about a word that came up recently regarding our work: “residue.”

The project we’re doing for the Art & Nature Park involves working with a team of 26 people from a wide variety of departments within the museum. Working within the basic methods of Experiential Education, or Team Building, we’ll play games and solve problems and talk about work and art and taking chances and respect over the course of several meetings in the months to come. In the end we are hoping that the group will be better positioned to successfully open the inaugural show of the park, and we will have collectively shifted the culture of the museum for the better. We were describing this project during a recent studio visit with John Hanhardt and he was trying to understand what tangible artifacts will remain after this project, what the “residue” will be. The fact that there will be not measurable residue seemed to fascinate him and defined the project for him as completely contemporary. Being at that concert last week gave this assessment a completely new meaning.

Lack of residue in art is nothing new. While the traditional parameters of art and criticism emphasize the presence of the object and consequentially the artist’s hand, music is one medium in which these two are not necessarily connected. We would no sooner represent the Team Building project with our notes and documentary photographs than a composer would present a score as the complete work and leave it at that.

What did the audience leave with last week? How did they represent the effect they experienced from the concerto? How did that experience influence them socially, if at all? If culture is defined by ideas and experiences, rather than objects, what is the role of monuments? How does that define the role of the sculpture we are building for the park? The tangible, the intangible, and the role of the artist’s hand — and consequentially the audience’s touch or lack thereof — is where the project rests right now. It’s a lot to think about.

Yeah, so I wrote about our work. Dammit. I thought I’d write about anything but, but… I couldn’t help myself.
Later,

Bordo

(*) REVISION: Since hearing Battles for the first time two days ago, it seems there’s no way in hell this will happen.

Dear Clogger (thought I’d create a hybrid term for us),

Music is the perfect place to start. Experience and preference regarding the medium are not only intensely personal but also largely intangible. You can tell so much about someone by how they regard their music collection. And if they don’t have one…God help them.

When you write of the concert you attended, it is completely understandable. And not in the “I understand what you mean” way but in the “I understand it” way. We’ve always talked about art’s ability to affect an audience as being located in the intensity and focus put into the art and not in the content. That’s why if someone makes art about a grand, sweeping idea like Love, for example, it’s easy to get lost and remain unattached to the potential of that subject matter. Too vague. If someone makes art about a particular idea like love of angora sweaters (as Ed Wood did), then we, the audience, have a much better shot of relating to it. It’s the obsession, the intensity that binds us (whether you like angora or not). So, you saw a performance of a classical piece. To someone who doesn’t like such music or just isn’t familiar with it, that may sound like a snooze. But the emotional response, that’s where that person comes in. When you mention the aggression and the intricacy that was conveyed, I immediately think of the Testament show I caught a few months back. For those not in the know, Testament is an 80s Bay area thrash band. Aggressive and intricate it certainly was. Classical…less. So the content is not as essential as is the passion to convey and connect. And it’s at this point of connection that the idea of residue begins.

Yes, there can be much documentation or proof that something occurred. But residue? That is trickier. With Team Building, we are seeing through a gesture that began with our desire to connect with and affect people. We want people to experience something and have that experience lead somewhere. Where? We don’t know. That’s up to the person doing the experiencing. There doesn’t need to be a physical or tangible manifestation of the experience. In fact, there can’t be. So the residue from the project will be unquantifiable. We know there is the potential for it but cannot, or will not, try to control it. The people involved will hold on to it in whatever way they want. Some may not hold on to anything. If any residue exists, it will seep into people’s minds and, perhaps, into their lives.

We, as artists and performers, will give to the audience. We will get back whatever energy they give and whatever experience they afford. It’s a bit of a dance. The effects of it are sent out to influence in any way that it might. Can culture be affected? Yes. Will it? That’s not the point. Or at least our point. Our goals are to create an experience not determine an outcome unless that outcome is to create a desire to experience more.

Therein lies the connection with music and live performances. We put on a show. The audience comes to see us. We give and get. They give and get. When it’s over, it’s over. Until the next concert.

You can, however, buy a t-shirt on the way out.

AA

When I started at the Indianapolis Museum of Art in the fall of 2004, the opening of the Virginia B. Fairbanks Art & Nature Park seemed so far in the future it was laughable to me that we even had meetings about it. Fall 2009 seemed like an eternity away. For God’s sake, I thought to myself, I’ll be nearly 30 years old when the park finally opens! Now with the recent proliferation of my first gray hairs, 30 doesn’t seem that far away, and with the plans for the park taking shape neither does opening day.

The Virginia B. Fairbanks Art & Nature Park has always seemed a bit ambiguous to me. With the solidity of the Museum and its galleries and history of Oldfields-Lilly House & Gardens, the Art & Nature Park seemed like the elusive Holy Ghost of the IMA’s trinity. Scheduled to open in the fall of 2009, The Virginia B. Fairbanks Art & Nature Park has a history that goes well beyond my time at the IMA. Discussions about the use of the space have been ongoing for decades. However, over the last few months, plans for the park have really come together and as we get closer and closer to the opening date, I can now see more clearly the future of the 100 acres of woodland, wetland and meadows adjacent to the Museum.

Want to learn more about the Art & Nature Park?

1. I would suggest visiting the Art & Nature Park section of the IMA�??s Web site to read up on the basics. Find out what has been done already. Learn about the inaugural artists commissioned for the park. And discover some of the goals and plans for the space.

2. I highly encourage you to come to the Art & Nature Park Public Forum tonight at 7:30 PM at the IMA. Here�??s the official description of the event: Maxwell L. Anderson, the Melvin & Bren Simon Director and CEO of the IMA, will welcome the audience and give an overview of the vision for the Park. Mark Zelonis, the Ruth Lilly Deputy Director of Environmental and Historic Preservation, will present an overview of the nature found at the site. Lisa D. Freiman, senior curator of contemporary art and director of the Virginia B. Fairbanks Art & Nature Park, will present an overview of the artist projects and the visitor center.

Following these brief presentations, those present will have the chance to ask questions of key players about plans for the park. Special guests will include representatives from neighborhood groups and representatives from environmental organizations.

3. I would love for you to share your thoughts on our blog. Let’s start an online dialogue about The Park. To date, what have been your experiences with The Park? What interests you the most about the space? What are your concerns and comments about the project? Please feel free to share your thoughts here.

I hate being stuck on a machine in a gym, just staring at the back sweat of the guy in front of me. To combat this, I have been taking an opportunity of the gorgeous weather and walking the Monon. Now, I am not an outdoorsy person, but being outside in the sun and fresh air is fulfilling- just add some bird chirps and I really feel like I am communing with Mother Earth. The trail provides changing scenery and a different experience each time, something missing from the gym.

My main walking partner left on Saturday for a month-long camping and road trip with her family in Montana (talk about outdoorsy!) and I have been looking for new walking routes to mix it up in her absence. I was very excited to discover the Central Canal Towpath and its connection to the trail around the 35 acre, man-made lake at the IMA�??s Virginia B. Fairbanks Art and Nature Park.

While I had heard about the more formal building that will be opening in 2009, I thought that all of this property was closed until that time. I was surprised when I found out yesterday that the peaceful, shady trail that runs around the lake is open and accessible from the IMA grounds, as well as the towpath.

I walked down to check it out yesterday, making my way down the path and across the bridge. I thought I had turned the wrong way because the trees get pretty dense, and it really doesn’t seem like there could be such a large lake in that direction. Suddenly, you come into a clearing, with the lake in front of you and a beautiful meadow to the left.

I had just started exploring when a flash of lightning appeared in the suddenly ominous clouds, and I headed for the museum. Thank goodness, I just missed a total downpour! I am looking forward to walking the full loop someday soon, so I can let you know what is on the other side. For now, I’ll share what I have already learned…

• The Art and Nature Park, Canal Central Towpath and red bridge can be accessed any day of the week by a road between the museum building and the Lilly-Oldfeilds house or a flight of stone steps connected to the Oldfeilds gardens.
• The Art and Nature Park can get very muddy after it rains.
• The red bridge connecting the IMA to the Central Canal Towpath and the Art and Nature Park was built in the 1870�??s and restored in 1999.
• In a vegetation survey, 187 plant species were observed in the Art and Nature Park.
• There are rumors of a naked jogger using the paths.
• Naked joggers are neither art nor nature.
• There is a public forum at the IMA about the Art and Nature Park on June 19th, 2008.
• It�??s about 1 mile around the path loop at the Art and Nature Park.
• It�??s about 2.5 miles from the Butler University campus to the IMA along the Towpath, including once around the Art and Nature Park path loop.
• It�??s about 5 miles from Broad Ripple to the IMA along the Towpath, including once around the Art and Nature Park path loop.

Do you have any juicy tidbits or stories to add about the Art and Nature Park?