installation of models for monuments 2014

Installation view of Models for Monuments to the Failed Future (2012-14), Luis De Jesus Los Angeles, January 2014.

Above, Model for Monument to Ambiguity Aversion (from Monuments to the Failed Future), 2012, found t-shirts, poly filling, wood base, and house paint, 49.5” x 20” x 20". Right, Vladimir Tatlin, Model for a Monument to the Third International, 1920, documentary photograph, Moderna Museet, Stockholm.

The future envisioned by the Constructivists never materialized. Today, with the rapid acceleration of our lives borne along by technological innovation, emotion has taken the place of dreams. This and the decentralization of power makes the monument superfluous. The proposed series of public works, Monuments to the Failed Future, are anti-Modernist: phantasmagorical, bloated, and irrational.

Momument to Ambiguity over Certainty

Monumnet to Ambiguity Aversion (Miracle Camps), 2013, gouache on digital photogravure print 9" x 13.5".

 

Above, Model for the Monument to Postponement Obsolescence (from Monuments to the Failed Future), 2013, found t-shirts, poly filling, wood base, and house paint, 45" x 24" x 13". Top right, Inspector’s House at the Source of the Loue, engraving after Lédoux by Van Maëlle and Maillet, 47 x 28.7 cm, Chaux Project, 1773-79, from Visionary Architects, University of St. Thomas, 1968. Middle right, J.H. Müntz, drawing of the Devil’s Bridge and Pluto’s Grotto at Wilhelmshöhe, Kassel, 1793, and bottom right, François-Joseph Bélanger, drawing of the cave with the temple frontispiece at the Folie Saint-James, from The Picturesque Garden in Europe, John Dixon Hunt, Thames & Hudson Ltd., London, 2002.

 

Monument to Postponement Obsolescence (Rancho Palos Verde, California), 2013, gouache on digital photogravure print 9" x 13.5".

Model for the monument to accelerating impermanence

Model for the Monument to Accelerating Impermanence (from Monuments to the Failed Future), 2013, found t-shirts, poly filling, wood base, and house paint, 40" x 30" x 23".

monument to accelerating impermanence

Monument to Accelerating Impermanence (Upper Falls of the Yellowstone), 2013, gouache on digital photogravure print 9" x 13.5".

Above, Model for the Monument to a Manipulated State of Well-Being (from Monuments to the Failed Future), 2013, new fabric and found t-shirts, ping-pong balls, poly filling, wood base, and house paint, 33" x 40" x 26". Top right, Quarters for the Rural Caretakers, engraving after Lédoux by Van Maëlle, 43.3 x 27 cm, designed ca. 1780. Middle right, photograph of Liubov Popova’s maquette for City of the Future, 1921, 168 x 242 mm, and bottom right, maquette for Capitalist Fortress, 1921, 168 x 238 mm, from Building the Revolution: Soviet Art and Architecture 1915-1935, Royal Academy Publications, 2011.

 

monument to a manipulated state of well being

Monument to a Manipulated State of Well-Being (Barstow), 2013, gouache on digital photogravure print 9" x 13.5".

Above, Model for the Monument to the Triumph of the Therapeutic (from Monuments to the Failed Future), 2013, found t-shirts, poly filling, wood base, and house paint, 44" x 37" x 18". Top right, Jan Kempenaers, Spomenik #4 (Tjentište), 2007, Roma Publications, Amsterdam. 2010. Bottom right, vintage postcard, Gateway, Garden of the Gods, Colorado, Pike’s Peak (Alt. 14,110 Ft.) in the Distance.

 

monument to the triumph of the therapeutic

Monument to the Triumph of the Therapeutic (Majestic Mountains), 2013, gouache on digital photogravure print 9" x 13.5".

Left, Landscape with Added Surprise and Impact #2, 2013, ink-jet print on fabric, graphite, and bleach, 6 1/2” x 10”. Top right, postcard of Albert Bierstadt’s Valley of the Yosemite (1864) ©1985 Museum of Fine Arts, Boston. Middle right, vintage postcard, Endless Beauty--Majestic Mountains. Bottom right, photo of my brother, my father, and me in front of the Grand Tetons, 1964.

“Endless Beauty--Majestic Mountains: Colorful meadows, enchanting lakes and streams combine to produce a lasting impression of nature’s finest triumph -- Grand Teton National Park, Wyoming.” Plastichrome by Colourpicture, Boston, Mass.

Left, Landscape with Added Surprise and Impact #1, 2013, ink-jet print on fabric, acrylic paint, and bleach, 6 1/2” x 10”. Top right, vintage postcard, Mount Rainier from Spray Lake, Washington. Middle right, Lake Chelan, Washington, Field’s Hotel in Distance. Bottom right, photo of me and my brother on a “buffalo” in Colorado, 1965.

“Mt. Rainier National Park, Washington State, Spray Lake: The Queen of the Cascades from this picturesque Lake, early morning vapor provides a 'mystic' painting effect.” Plastichrome by Colourpicture, Boston, Mass.