April 1, 2012

ART REVIEW: Bell-Smith show a fascinating, fun look at technology in art

By DANIEL KANY

As a body of work, Michael Bell-Smith's videos, installations and objects at the Institute of Contemporary Art at MECA in Portland make for a fascinating and fun introduction to new-media technology in contemporary art.

click image to enlarge

"Return to Forever" by Michael-Bell Smith.

Courtesy of Michael Bell-Smith

click image to enlarge

"Action Hack" by Michael Bell-Smith.

Courtesy of Michael Bell-Smith

Additional Photos Below

INSTALLATION BY MICHAEL BELL-SMITH

WHERE: ICA at MECA, 522 Congress St., Portland

WHEN: Through April 8

HOURS: 11 a.m. to 5 p.m. Wednesday to Sunday; until 7 p.m. Thursday

COST: Free

INFO: 775-3052; meca.ed/ica

Bell-Smith covers a surprising range of serious issues considering the overall coherence of the show. The concept of appropriation is the most obvious and interesting.

One series of three video installations, for example, presents only the establishing shots from the "CSI" television shows based in Miami, New York and Las Vegas. The video gathered by Bell-Smith consists of stock footage (largely helicopter views) of the respective cities. The effect is odd, because it's all about giving a sense of identity, and yet it's so recognizably generic as to be laughable. Without the label information about the "CSI" franchise, the hour or so of footage would be completely ungrounded.

Unexpectedly, Bell-Smith adds some electronic squiggles to the video sequences. These happen in what appears to be the real time of gestural painting. While they appear more disjoined within this series than anywhere else, they are very much part of Bell-Smith's serious dialogue with painting.

In fact, the most impressive achievement of the show is the Maine native's seamless placing of his own work in the art historical continuum of post-war American art. The logic of Abstract Expressionism, post-painterly abstraction and Minimalism comes into play as well as the direct echoes of major artists such as Rauschenberg, Warhol and Lichtenstein.

Two of the most appealing works in the show are essentially digital landscape paintings. The odd thing about them is how immediately successful they are as paintings.

"Glitter Grade" is a basic landscape insofar as it comprises sky, horizon line and foreground. It feels like you are looking out at the nighttime sea. The sky is black but glows yellow and red at the horizon, while the foreground is essentially a sparkling grid in deep perspective. The effervescence is the result of a series of GIF animations created by Bell-Smith that were inspired by "digital bling" found on social network pages.

"Glitter Grade" is structured like a painting and acts like a painting. The strange thing, however, is that looking at it feels more like looking at the sea than at a work of art, because it sparkles like the actual ocean. While you could spend hours parsing its references and ideas about systems, etc., you can't escape its rare here-and-now presence and the fact that it's really nice to look at.

"Return to Forever" has a similar effect, except it's more deeply entwined with art historical ideas about 1960s abstraction and, specifically, the concept of "opticality" championed by Clement Greenberg.

Other works take different bites out of the appropriation pie: A series of canvases features prints of clip-art pages. It's particularly brilliant because most of us associate "clip art" with the digital world, and Bell-Smith employs digital techniques (championed by none other than musician Graham Nash) to print the series on canvases. Bell-Smith's back and forth between the pre- and post-digital-era ideas is a thing of beauty.

Another series of videos is based on explosions from Pokemon cartoons. These fun and painterly abstractions conceptually trump Lichtenstein's beaten-to-death take on comics he copied from Warhol.

Each of Bell-Smith's five videos in the ICA's middle gallery (complete with a remote and a comfy couch) is terrific. The first follows a product video shot of a fast-food hamburger through the series of built-in digital camera effects, begging the question: Just how special are special effects? Another compresses the entire 1925 film "Battleship Potemkin" by shifting each scene to an electronic dance beat of 120 bpm. (Watching the entire 12.5-minute video is hypnotically awesome.)

(Continued on page 2)

Were you interviewed for this story? If so, please fill out our accuracy form

Send question/comment to the editors


Additional Photos

click image to enlarge

"Art Tape" by Michael Bell-Smith.

Courtesy of Michael Bell-Smith

  


Further Discussion

Here at PressHerald.com we value our readers and are committed to growing our community by encouraging you to add to the discussion. To ensure conscientious dialogue we have implemented a strict no-bullying policy. To participate, you must follow our Terms of Use.

Questions about the article? Add them below and we’ll try to answer them or do a follow-up post as soon as we can. Technical problems? Email them to us with an exact description of the problem. Make sure to include:
  • Type of computer or mobile device your are using
  • Exact operating system and browser you are viewing the site on (TIP: You can easily determine your operating system here.)


 

Blogs

More PPH Blogs