In Jerry Saltz’s article “Clusterfuck aesthetics”, he gives some examples to explain chaos theory through artists’ pieces and installations. The work of Mike Kelley and Jon Kessler instantiate the chaos theory, Saltz sates: “Installations come on in waves of wall-to-wall pandemonium and will strike many as unbearable. The echo architect Renzo Piano’s idea that harbors are “imaginary cities” where everything keeps moving. Clusterfuck aesthetics is a particular form of art and some artists use chaos theory in their artwork.”
One of the examples is Mike Kelley’s piece. His works colligate multimedia device with large-scale paintings. These devices are combined with his own text, sculpture, image, and performance. Another kind of form elements is always existed in his art. A state of mind or an attitude has also been retained which is the infatuation of chaotic state associated with youth culture. At one level, his works are sendup for the tendency of such as minimalist aesthetics. At the second level, people make the sentimental features that Kelley found in popular culture as a target. From the third level, the dolls with a faux suffering and the destroyed works about desire for warmth are innocent metaphor that represents the extreme trauma of juvenile delinquency. In the mid-1980s, Mike Kelly gained publicity around the U.S. and even the world-wide. Kelly used garbage to create works; mocked religious art and underground politics through imitation. He combined local traditional arts and high-end art through historical, cultural, and psychological research. His work once made people get confused, but also brought inspiration to the countless young artists at the same time.
Saltz uses other example of Jon Kessler to explain the chaos theory. Jon Kessler’s new site-specific installation work “The Palace at 4 A.M.” was made for the PS1 Contemporary Art Center in New York. The installation includes more than one hundred monitors with a lot of cable, posters, and sculptures. It is a political work that shows the global paranoia after the Iraq War and 911 terrorist attacks. People can see the meaningful images about the war through walking into the installation. Jerry Saltz explains: “Kessler’s exhibition is like an apocalyptic joyride through the news by way of Nam June Paik’s video psychedelia, Cady Noland’s pulverized historical vignettes and William Burroughs’s Naked Lunch. It is a pell-mell kaleidoscopic mishmash that reveals a schizoid utopia where all hell breaks loose all the time and human life is twisted as readily as metal. Where Kelley locates himself between high art and folk art, psychic phenomena and the psyche, Kessler casts his line into an ominous philosophical abyss.”
The work of Paul McCarthy’s visual style usually has oppressive feeling and insight, which make people feel shocked. Although his work is prone to violence, it has a good sense of humor. However, this apparent confusion of his work is not from his thought and nervous’ frenzy. In fact, all of his works are let us seeing the trauma of American society and culture. It makes people have to face their long time pent-up fear and desire. The New York artist Sarah Sze’s work focuses on the idea of how we can put ourselves in the space. We always find ourselves in the space and chaotically swing between two states by find direction and get lost. In each location, we can experience a period of evolutionary history’s company. Her works have a very high sensitivity for the work environment. Those works are always mixing collected materials at different times in different places.
I did some research on Jon Kessler’s work to help me to understand the meaning of clusterfuck aesthetics. I am interest in his exhibition “The Blue Period”, the exhibition was considered as an immersive device that features movable machinery, surveillance cameras, displayers, and cardboard silhouette carved life-size figures. The exhibition with full of video showed Jon Kessler’s interest in the supervision, alienation effect, and visual spectacle reached its peak. In this exhibition, Jon Kessler built a circumstance that completely in his control. The social relationships spread through an assembly type and inaccessible realistic picture. Camera captures some true and false of the audience, then display their images on intricate displayers. These players and the wall with a blue spray shape pattern produce a shared recourse and interconnected feeling of transience. Processor uses wave instead of the blue after every face looks like wave ups and downs, which makes audience to result in a sensation that they are floating in the real and imaginary sea. This kind of sensation is fleeting and then the audience begins to fall into a large amount of stacking images that seems like they were locked in a passive position and stuck in an infinite loop with peeping Tom.
In the center of the exhibition is a reversed model that showed with small video camera. This is the gallery in the gallery. Jon Kessler completed many large portrait collage works are hung in the wall in the Dieu Donné program. This would support his portrait is considered as creative metaphorical point of view. The huddles of monitors like a box watch some familiar actors with blue faces. These figures also unwittingly become a part of the work. Watch this kind of behavior and be watched become the actual theme of work.
Saltz says: “Kessler’s exhibition is like an apocalyptic joyride through the news by way of Nam June Paik’s video psychedelia. Cady Noland and William Burroughs’s work reveals a schizoid utopia.” For the final project, I used Photoshop to create a psychedelic scene through a dancing girl and many colorful and dark backgrounds. My intention was to make the picture effect looks like very amazing, colorful, and motivated. The image contains some fantasy lights, beams, and a layer of cloud background. Add color gradient overlay to the whole image. The girl seems like lost in a make-believe world and may be it is an illusory world in which nothing belongs to her. I tried to convey a vain feeling to viewer and make the image looks like a little bit chaotic. I make light strips in order to express the ethereal and mysterious feeling.
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