Meredith Danluck: Andrew Kreps Gallery - New York - multidisciplinary artist threads together set of American ideas in this exhibition

sum of two units arty scientists served as inspirations for this exhibition. single Robert Moog, designed electronic music synthesizers and completeed the words that served as an epigraph for the show: "Musical instruments provide the greatest in quantity efficient and refined interface between man and machine of anything we know." The other, Buckminster Fuller was a multidisciplinary inventor and practical philosopher best known for developing the light, vigorous and cost-efficient geodesic dome.

A formal geometry--fundamental to the couple the geodesic dome and the mathematically generated unbroken waves of the analog synthesizer--underlies Meredith Danluck's array of things which worked together so beautifully it was hard to imagine any individual element succeeding on its be in possession of Toward Thee Infinite Beat (all works 2003) which takes its name from a Psychic TV album, was a large MDF statuary at the center of the gallery that approximated an explod section of a geodesic dome. upon the walls, three "Energy Paintings" recalled Abstract Expressionism--specifically the angular lines of Hans Hofmann--with their grayscale palette and slashing brushstrokes. vagrant Rogue, a Moog Rogue synthesizer (the economy version of Moog's Prodigy) internally reconfigured thus that players had to unlearn any previous keyboard knowledge to make music, was sitting ready for experimentation upon the gallery floor. Finally, Circle Machine, which takes its title from a midcentury analog waveform generator, is a video montage of musicians and breakdancers and played upon a small monitor virtually at floor level

Fuller and Moog were Americans of a particular era and etho figures of their country's postwar veneration for technology while intellectually engaged with the fallout of European modernism (for Fuller the International Style; for Moog Varese, Stockhausen, and Xenakis). the two were artists (one an architect, single a musician) and scientists, driven toward practical applications for their inventions. And one as well as the other moved relatively freely between mainstream tillage and advanced, technology-based aesthetics.

Danluck herself is multidisciplinary. She's made art, clothes, and music and performs as a DJ In this exhibition, she threaded together a particular locate of American ideas: our characteristic discomfort with art, which does not generally demonstrate its practicality, and our fetishism of technological "know-how." Unraveling the sturdy beggar dismantling the geodesic dome, and slashing her way [i]or[/i] part of to the other late-modernist abstraction, Danluck paid tribute to Moog's and Fuller's shoot forwards while admiringly taking them apart. She also made a case for in what manner in America, science has repeatedly been a fitting, even indispensable, ally of art.--MS

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