The difference between being a curator and a juror becomes apparent when you consider that there are no generative or interactive video works in this exhibition. A juror is stuck with the pool of submissions, while a curator gets to choose the participants. While the choices here are pleasing, the stated ethos for the exhibition seems to be overly ambiguous and not necessary. Consider that everybody deals with "love, loss, romance, conflict, war and identity" at some point. Even with such a questionable premise, the works displayed are provide an excellent snapshot of the narrative genre in contemporary video art.
Debra Baxter and Zack Bent display their collaboration from the University of Washington's Coupling project on an old-school analog television set. "Getting the Love Want (Practice)" consists of two heads joined by a strand of bubble gum. Both heads make an individual bubble that becomes joined in this one-minute piece.
Jennifer Levonian occupies the pride of place with a rear-projected series of four videos suitably framed by a hanging, freestanding screen. The animated stills were created by watercolor painting, and evoke the illustration style of the Readers Digest from the late '60s or early '70s. Witty, captivating and smart are the certainly appropriate monikers to describe this work. Tails of Colonial Williamsburg and the ephemeral nature of the act of writing history are served up in a wry, spicy stew for viewers to enjoy.
This send-up of the global environment that is Starbucks proves so compelling you wonder why this idea has not been touched on before. Here is a storyteller with poise, talent and artistic excellence. Try to view the cycle of videos at least twice to appreciate the incredible amount of detail in each offering.
Ellen Lake has two intensely personal pieces on hand, where she mixes cell and digital video with 16mm film pulled from her grandmother's mementos of the 1930s and '40s. The traveling across time from past to present makes you see the vibrant woman from the films as an old woman. When she speaks in the present day, notice her eyes and you will see the younger woman in them. You will loose your heart to this work
Brooke White's "Winterspring," from 2003, does not work so well in this setting, although it is by itself a strong piece. The same can be said for Shannon Benine's Moth. With so many works shoehorned into the gallery, it is hard to isolate the experience that both these works require.
Hye Yeon Nam's "Self Portrait" is an excellent example of new technology visiting old forms. The three, small screens are placed on a vertical axis with a separate video channel for each. Formally, the wires and the connectors that power each video unit add a skeletal structure to the work. Self-portraits have been used traditionally as a way for the artist to mark different points in their practice. It will be interesting to see if the artist continues to use this form in the future.
Zach Rockhill presents "This Side Down, Damn if I Know" where the artist is in a room that has severe changes in air pressure causing the artist and his papers to go flying in different directions.
Julia Gail Oldham's work gets lost in a corner. This seems a shame, since, again, it is strong piece of work.
Jennifer Campbell chooses the portable DVD player as a device to serve up arresting and haunting works. Her projection "Playher" from 2007 captivates, with repeating video loops against an angled screen. The implied motion over time can cause you to loose many minutes in the grasp of this mesmeric piece.
Crawl Space once again proves that it sets trends by taking on such an ambitious project. If you are looking for good examples of narrative contemporary video this show is a must-see. The problem of having so many works placed in such a small space is a distraction, and while an attempt at greater inclusiveness, does a disservice to the artists and their work. Still, such crowds definitely shouldn't keep you away.
Crawl Space is located at 501 E. Denny Way, No. 1, 9 (behind the wooden fence). Gallery hours are noon to 5 p.m., Saturday and Sunday and by appointment. The exhibition runs through March 16. For more information, or to set up an appointment, go to www.crawlspacegallery.com
Steven Vroom writes about the Visual Arts monthly for the Capitol Hill Times. He is the host of the Visual Art pod cast "Art Radio Seattle" at www.VroomJournal.com. He can be reached at editor@capitolhilltimes.com.
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