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Artist Exhibitions:
1993....University of Iowa
Musuem of Art, Iowa City,
Iowa. Fluxus Music Performance
Collaboration/ video
documentation with performance
event coordinated by Robert
Parades, video
1992....University of Iowa
Museum of Art, Iowa City,
Iowa. MFA Exhibition under
Hans Breder "Scream Walking",
video
1991....Multimedia Studios,
University of Iowa, Iowa City,
...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
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Commissions:
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Artist Statement for David Rubright
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I started working in the medium of video in the early 1980's as an experimental art form. At the same time, I started a series of drawings on a 'close-up camera view' of the body. Then I used video as a performance medium to express my philosophy and concerns about child development and pedagogy. By the mid 80’s the computer was on the scene and I began creating geometric works using a simple mirroring method, printing it to paper and hand coloring the results (see 'Tufte-esque Multiples'). I looked to traditional anatomical studies almost taking a path as a medical illustrator. Through the experience and studies in video and performance arts, increasingly I became interested in performance and sound. During my studies as a post graduate student in the 90's, one of my pieces layered sounds to create comments on war as a commercial entity. An easy reference from art history to German and Swiss dadaist during and after W.W.I, I spent time remixing commercial television.
I documented fluxous performances in an improvisational group of composers and forced the music academy to watch it. For some, the idea that sound and acting could be a composition distressed both the ardent music fundamentalist (extant academy) and social music activist (genre music?) when it appeared on their turf. The work was an in-camera edited documentation and composition of the improvisational group's warm-up.
With an interest in mixing formal geometric and information structures with abstraction, I found I would rather develop my own nomenclature (see 'doorway'). This in appreciation of letterism I experienced in galleries which form continues to focus my sense of direction.
The computer presents many options. 3D, animation and digital video are the current and future format for me (see 'Alaska Sunset'). "Flatland" continues its appeal, however (see 'page 1') as an example, view fractal art. Art is a way for me to visualize and communicate. I have discovered many ironies while composing video and sound. Sound can inform visuals. Still images can show the passage of time as they are gathered together (see 'Tufte-esque Multiples' and 'doorway'). Being more interested in creative aspects, I am less inclined to promote my work through commercial enterprise. I sense the broad spectrum of my work suffers from lack of audience. Yes, I am 'all over the place', but I see no reason for changing that.
Enjoy the work as it is. Let it warm your imagination and appreciation for nature. The code I go by is to 'work' and create in the tradition of DaVinci. DaVinci, living inside and outside the boundaries of the Academy and exploring what is now ‘science’, differentiated the creative and the boastful. The influences to my work are modernism (in terms of expressionistic thought verses history painting), Dada (there is no shared esthetic), postmodern design, and humility. I have had the blessing of studying under Stephen Foster (an editor of a series of books on the modern era and dada). I conjure the notion of 'revolution' in art once again, as a tribute. Today, the “digital revolution” is a commonly heard phrase.
On a practical level, I am blessed to have worked with Debra Burger, MFA (former director of Project Art) who taught me how to see art in the context of a collection, as a curator and agent. Lately, I have collaborated with composers now and then. I am looking to the web to disseminate, in a Warhol-esque fashion, my ideas through my work. I also embrace such esotery as spiritual experiences, philosophy, belief systems (see 'beyond the mind'), and love and relationships. I pay homage to Swiss Psychoanalyst, Alice Miller. And in Miller-ian fashion, I express my 'screams' (fears) in both the process of working with media and in creating illusions and metaphors (see 'middleman').
In reading about DaVinci, I discover and rediscover his genius, the master of classical art, anatomy and invention. He was also a military advisor and engineer, court decorator of sort, painter and sculptor. What surprised me were the many pieces he left as incomplete. He is the master and could claim fame in his time but in a pedestrian sense he failed some 'notion of the perfect artist' with patrons and commissions. There are many works DAVINCI did not complete. This makes me more comfortable with my own notions and expectations I have for myself, as an artist.
There are links to more work at the bottom of this page.
Edited: J.Rubright January 1, 2001
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