{"id":182,"date":"2014-06-16T10:36:20","date_gmt":"2014-06-16T15:36:20","guid":{"rendered":"http:\/\/www.harveststudioonline.com\/journal\/?p=182"},"modified":"2014-06-17T08:54:51","modified_gmt":"2014-06-17T13:54:51","slug":"palimpsest-iv-origins-of-absorption-the-gates","status":"publish","type":"post","link":"https:\/\/www.harveststudioonline.com\/journal\/2014\/06\/16\/palimpsest-iv-origins-of-absorption-the-gates\/","title":{"rendered":"Palimpsest IV &#8211; origins of absorption &#8211; The Gates"},"content":{"rendered":"<p>In winter 2005 I documented <a title=\"The Gates on the Cristo and Jeanne-Claude website\" href=\"http:\/\/christojeanneclaude.net\/projects\/the-gates#.U571rRYfGao\" target=\"_blank\">The Gates<\/a>, a massive transformation of Central Park in New York City by Cristo and Jeanne-Claude. It was a\u00a0study I undertook to prepare for a\u00a0plenary presentation and workshop \u00a0at a\u00a0summer institute for arts integration education at the <a title=\"Peace Center for Performing Arts - education and professional development\" href=\"http:\/\/www.peacecenter.org\/education_outreach\/show_listing.php\">Peace Center<\/a>\u00a0in Greenville, South Carolina. My purpose was to weave artifacts created by the artists into ambient sound and video of the installation. The\u00a0video preceded my presentation, which\u00a0focused on stages of accumulating documentation, as well as reflection on the limits of the camera frame vs. the full scope and complexity of an event.<\/p>\n<p><iframe loading=\"lazy\" src=\"http:\/\/www.youtube.com\/embed\/AZJMZuxCOcs\" width=\"490\" height=\"370\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-link=\"http:\/\/www.youtube.com\/watch?v=AZJMZuxCOcs\"><\/iframe><\/p>\n<p>I recalled the experience because The Gates superimposed a complete, temporary layer over the landscape of Central Park, inviting all the city to step into a new dimension\u00a0of familiar space. \u00a0It became a lens through which to view the park, to &#8220;see&#8221;\u00a0it underlying this\u00a0new\u00a0interpretation.<\/p>\n<p>It was beautiful. The color, movement of flags, and rhythmic placement of frames. The fact that you walked under the flags while viewing other flags along the pathways was mesmerizing. Having the experience, and documenting it, by stopping from time to time to &#8220;capture&#8221; another point of view or set of participants, is a way of seeing intentionally though the camera lens. It adds a\u00a0documentary layer \u00a0to the experience. One to\u00a0recover after\u00a0the physical\u00a0installation is gone.<\/p>\n<p>I realize that the Flock House project, of which the Omaha Project is a part, is this kind of\u00a0art making. A major difference is that the artist, Mary Mattingly, facilitates a community effort to create the lens. The planning group and work groups are co-designers and co-creators\u00a0of the physical material and objects\u00a0they bring into the New Market and Carver Bank landscapes.\u00a0Residents inhabit the objects.<\/p>\n<p>I realized that if I were to have a residency, I would want to open it to visitors, to engage them in making reflective documentation of their response to the Flock House as an object. I would also want to mirror Mary&#8217;s artist role by inviting\u00a0a team to plan and facilitate.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In winter 2005 I documented The Gates, a massive transformation of Central Park in New York City by Cristo and Jeanne-Claude. It was a\u00a0study I undertook to prepare for a\u00a0plenary presentation and workshop \u00a0at a\u00a0summer institute for arts integration education at the Peace Center\u00a0in Greenville, South Carolina. My purpose was to weave artifacts created by [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[21],"tags":[],"class_list":["post-182","post","type-post","status-publish","format-gallery","hentry","category-deepening","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p27IaX-2W","_links":{"self":[{"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/posts\/182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/comments?post=182"}],"version-history":[{"count":6,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/posts\/182\/revisions"}],"predecessor-version":[{"id":191,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/posts\/182\/revisions\/191"}],"wp:attachment":[{"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/media?parent=182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/categories?post=182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.harveststudioonline.com\/journal\/wp-json\/wp\/v2\/tags?post=182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}