Friday, June 29, 2012

Jason Judd

A Simple Metaphor for Death

Posted back in 1/2/11 on Art Review
Out of all the artists I have reviewed, Jason Judd is the most conceptual in his work. Although the work attempts to defy a style label, I see thematic ideas that are based off of Judd clear interest in science. Some of the work uses technology, but I can see the work references the technology and doesn't really just use the tool as just a means to an end. Some of the work is difficult to approach. The work, 'To your desires. To your loves,' is two tissues that have been sneezed upon and then discarded. This work is in the vein of Duchamp's idea that an artist can point to anything and make it art, or John Baldessari's idea that an artist is always making art with every action. However, as with Baldessari demonstrated in his own work, not all art made by an artist is a masterpiece and some works are worth displaying more than others. This work really pushes these ideas, but falls flat into a more Post-Modern lazy art attitude.

In the piece, 'One chair, two legs in a garage,' Judd is not only setting up a trap for a potential sitter, but his statement clearly indicated his understand of the space he choices to install the piece. This work has more thought out than the tissue piece and the added danger to the viewer adds to the interest in the piece.

The found video approach is another dangerous approach, because of the legal pitfalls and the promotion that produced media should be shared and reshaped to make something new. The collage is another Dada innovation and Judd is taking and applying the technique to video. In 'Nightsongs,' Judd takes 'from Youtube from various amateur astronomers filming the night sky from their home telescope.' I enjoy this collage and reference to astronomy. The question still remains, what credit if any does this collage of the original source videos needs to be made? How would the story of obtaining permission add to the creation of the final work?

All in all, I find the work attempting a lot of experimental aspects related to Dada sensibilities, but I think I would like to see more current concerns addressed in the work. A few works can be reduced to 'one liners,' but most of the work is helping to further advance some key ideas that have shaped the 20th century. However, is being an iconoclast enough any more? Judd work leads me to believe he is on the right path, but only time will tell.

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