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Women Weed & Weather

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Women Weed & Weather, 2013 Archival Inkjet Print Mounted Between Aluminum And Plexiglas 40 X 60 Inches © Courtesy the artist and Carrie Secrist Gallery, Chicago
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Squiggle and tube , 2013 Archival Inkjet Print Mounted Between Aluminum And Plexiglas 18 X 26 Inches © Courtesy the artist and Carrie Secrist Gallery
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Plan for a garden , 2013 Archival Inkjet Print Mounted Between Aluminum And Plexiglas 40 X 60 Inches © Courtesy the artist and Carrie Secrist Gallery
Women Weed & Weather

835 W. Washington Blvd.
60607 Chicago
IL
US
November 16th, 2013 - February 1st, 2014
Opening: November 16th, 2013 5:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.secristgallery.com/
NEIGHBORHOOD:  
River North/Near North Side
EMAIL:  
info@secristgallery.com
PHONE:  
312.491.0917
OPEN HOURS:  
Tue-Fri 10:30-6; Sat 11-5; or by appt
TAGS:  
landscape, pop, sculpture, photography, mixed-media, installation, conceptual
COST:  
Free

DESCRIPTION

Carson Fisk-Vittori examines the aesthetic use-value of nature and explores the devices through which we see and attempt to manipulate our environments. In Women Weed & Weather,installations integrating photography, sculpture, and objects analyze the complex failures of anthropocene, the current geological era characterized by the significant effect of humanity on the earth’s ecosystems. Satirizing our relationships with the natural world, Fisk-Vittori’s image making presents an alternative perspective to a consumer-based economy.

Fisk-Vittori’s newest still lifes appropriate the aesthetic of stock photography, embracing advertising style and technique to create representations stripped of context and function. Represented objects operate on purely formal terms: A snake in a paper towel roll, a Windows phone as the centerpiece for floral design. Fisk-Vittori’s arrangements, intuitive yet calculated, draw our attention to surface and shape, thus rendering common things strange and new. At the same time, this photographic work accentuates the idealization of feminine beauty ubiquitous in contemporary mass media while dissecting the use of natural references in branding.

In addition, Fisk-Vittori debuts a new body of sculptural objects that represent a condensed idea of weather. Shaped from established international weather symbols used by meteorologists and cartographers, the artist’s stacked forms and playful juxtapositions evaluate weather as a commodity.  Of course, the very materialization and multiplicity of these weather symbols underscores humanity’s obsession with limitless economic growth. The act of selling weather futures on the stock market, in particular, highlights our alienation from the idea of weather as a folkloric or mythical entity.

Finally, the artist’s gestural installations scrutinize the results of human-imposed alteration of ecology in the face of global climate change. Pond forms and ripple fountains consider landscape design as a societal requirement. The artist probes, ‘What does your front yard say about you?’ A perfectly manicured icon of American prosperity, the lawn is, after all, an invasive species.

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