This project brings two objects—work by David Goodman and a new collaborator with each limited edition zine, into dialogue with each other prompted by the idea of Devices. Neither are created as a result of the other.
1. Phenomenological Devices. 2014. David Goodman and Saul Ostrow. Limited Edition Phenomenological Devices (Zine limited edition 100) produced for Out To See. NYC, Curated by Sara Reisman. Installed 254 Front Street. NYC. March 2014.
On Devices and Their Content. Saul Ostrow, Feb 2014. NYC
I’m interested in the work of art as an apparatus – a device – a contraption – a form of tool that performs a particular function – as a such a means to expedite the conversion of one type of knowledge or data into another – in this case, more often then not the results are an assemblage that combines the qualities of the conceptual, and the visual. In this context the artwork as a physical object may be thought of as a phenomenological device – capable of establishing a variety of physical and syntactical as well as semiotic relationships, which form a system of encryption as well as a key by which the “thing” may be deciphered both aesthetically (experientially), and conceptually. Obviously the former is self-reflexive in that it concerns sensory appeal – via patterning and structuring. The latter references the various contents implied or explicated by how the chosen Subject/subject comes to be ordered and which aspects of it may come to be emphasized or deferred in accord with the attention given to the apparatus’ function and ability.
The art work as device is not a medium – a mode of conveyance but a structure whose inherent qualities both limit and facilitate the object – the artwork’s ability to serving its designated function (the work of art) or not – be these to be as simple as being merely appealing or as complex as being intellectually and aesthetically challenging. What is ironic about this is that the qualities of the device per se – this mechanism’s that permit it to perform are in themselves sublimated by the very content it orders and presents.
My interest in the artwork as a family of devices – apparatus – contraptions and tools intended to serve a particular function, is structuralist in nature. My concerns are predicated on the notion that the traces, and residue of the thing’s coming into being form a subtext – a metonymic structure – that resists the general tendency to assign the object a metaphorical or analogous meaning that undermines the literalness of its organizational principles.
Given the nature of this brief exegesis concerning the work of art as being that of a device – Self-reflectively I understand my writing in turn is also an apparatus – capable of transforming the physical, pictorial, and informational relationships stored in the metronymic’s of the object into fractured, sequential and serial narratives. Given these understandings for this project I would write a text that self-reflexively addresses its own making.
Consequently this text as an apparatus – a device – a contraption – a form of tool performs a particular function – it too converts one type of data into another – in this case, more often then not it de-structures the assemblage that is a thing – dismembering those combined conceptual, and the visual qualities. The task or function of a text like this is to decipher the aesthetic (experiential), and conceptual information that has been encrypted within the object by seeking out, isolating and identifying the references implied or explicated relative to the chosen Subject/subject. The text as a device emphasizes and defers in accord with the attention given to the writer’s function and ability. The text therefore may function as an anatomy lesson, a prop or a means to undo the object and replace it with a representation. In this context physical objects consisting of a variety of physical, syntactical as well as semiotic relationships are converted into a sequence of events.
The text as device is not a medium – language itself is the mode of conveyance, the device style whose inherent qualities both limit and facilitate the text’s ability to serving its designated function or not – be these as simple as being merely describing the object as a series of events or as complex analysis which intellectually and aesthetically challenges our comprehension of it. What is ironic about this is that the qualities of the text per se – its mechanisms, which permits it to perform its task are in themselves sublimated by the very content it orders and presents – unless these are the text self-reflexively observed.
Given the nature of this brief commentary concerning the work of art and its text as being devices – Self-reflectively, I understand this writing is an apparatus – whose physical, and informational relationships have been fractured, sequential and serial narratives. Given these understandings, for this project I have chosen to write a text that self-reflexively addresses its own making.
Saul Ostrow
Feb 2014
NYC
Installation. 254 Front Street, NYC. March 2014
DAvid Goodman 