Historically, art has reflected the various twists and turns that humanity takes. It records our loftiest accomplishments, examines our most ardent dreams, and delves into the origins of our greatest fears. Regardless of the place or time, art accompanies humankind's journeys.
On September 8, The Gallery of Contemporary Art at
Sacred Heart University opened its current season with a unique and adventurous exhibit called “What Survives.” The public was invited to attend the opening and artists' reception on September 8 from 1 to 3:30 p.m. The exhibit continued through October 9, 2002.
The exhibit featured works created directly on the walls by:
Vincent Baldassano of South Salem, New York, Michael Cipriano of New Britain, Connecticut, Judith Corrigan of Trumbull, Connecticut, Renee Kahn of Stamford, Connecticut, Anne Seelbach of New London, Connecticut, and Jeffery Smith of Windsor, Maine.
As a part of Sacred Heart University's remembrance of the events of September 11, “What Survives” was comprised of six works of art created on site in the Gallery. Each artist was allotted a section of the Gallery and will create a specific and particular artistic vision.
The challenge presented to each artist was to create a work that, by its very nature, would become obsolete at the end of the exhibit. Instead of the traditional process of producing a work that then lives on after its creation, these works went from the artist's mind, to the execution of the work, and then to its destruction at the end of the exhibit.
Much as the events of September 11th have caused people to rethink and reexamine what has value in their lives, the art that occupies the Gallery during the time period of the exhibit questioned the concept of value as it relates to art itself.
Since the works were ephemeral, and would not exist past the timeframe of the exhibit, what is their intrinsic and extrinsic value? Once created and viewed, the art will exist in the memory of those who have seen the works, as well as in any type of documentation that exists – film, photography or digital images. What, then, is its ultimate value? Much like the ephemeral components of art whose roots are in exploration of technology, works created using sound or in beams of light aimed at the night sky, these works are defined by their existence, not their collectibility.
Though each was created predominantly of traditional materials, they ceased to exist at the end of the exhibit. The Gallery walls were then washed and painted, and prepared for the next exhibit. As a result, inherent in “What Survives” was an act of creation, an act of destruction, and a renewal of the space to its former pristine condition.
Does this alter the value of the art that was created? Does it cause us to value the art more or less? Since it cannot be sold, cannot be carried away and used in any fashion, what is its ultimate value? And what have we learned about ourselves through the experience?
“When the focus of this exhibit was being developed, we were aware of the risk involved in allowing disparate artists to simply create works in the available space,” said Gallery Director Sophia Gevas. “It is a given that, much like the responses to the events of September 11th, it is impossible to anticipate or govern the reactions that the artists have from outside stimuli.”
“When the focus of this exhibit was being developed, we were aware of the risk involved in allowing disparate artists to simply create works in the available space,” said Gallery Director Sophia Gevas. “It is a given that, much like the responses to the events of September 11th, it is impossible to anticipate or govern the reactions that the artists have from outside stimuli.”
As a result, the genesis of the project and the freedom that the parameters allow means that the exhibit becomes a grouping of individual artist's visions that occupy the same space and time. Much as the personal reactions to the events of last September are unique and different, so the representations of those thoughts and feelings are individual and specific.
“Unlike traditional exhibits,” Gevas continued, “these works haven't been carefully curated to present a consistent point of view. What is consistent, though, is the quality of the artists and the confidence that they will create works that are both interesting and stimulating.”