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roswell artist-in-residence program
& the
 roswell museum and art center

present in the Marshall Gallery

October 1 - November 13, 2005

    

     


      I build devices which function either actually, or metaphorically. The collaboration between user and tool results in an experience/experiment; the duo act as a machine. The object may be seen without its user; it’s obfuscated intention existing as mere possibilities. Is it different than viewing historical devices, with inventions and innovations far removed from our digital world in the 21st century? Upon examination they may reveal information which is certainly obscure and perhaps esoteric.

    The work is a “collection,” classified, ordered, and displayed as a museum: Instruments of Calibration and Ascertainment.  Its construction reveals the speculative and subjective nature of ontology, undermining the authority of ‘science’.   What can one truly ascertain about reality?  As modern museums dispense with outmoded taxonomic disciplines and “can mount displays which turn artifact into art objects, to be savoured more than studied,”* I turn art objects into artifacts, their function apparently expired, their curious intentions to be studied.

    The ‘present moment’ has always evinced a fascinating, modern world at the height of technology.  It is an uncanny thing viewed with the benefit of hindsight.

Christy Georg

Quote from John Pickstone, “Objects of Modern Medicine” in the book Medicine Man: The Forgotten Museum of Henry Wellcome

Nips
 
mahogany, aluminum, brass, steel, 8" x 4.5" x .75" , 2005

Duet Suites
teak, Brass, steel, photographs, 7.5" x 3.25" x1", 2004

Eartrumpet
aluminum, copper, ebony, basswood, cotton, 15" x 6" x 6", 2005

This instrument functions as an analogue amplifier. It harnesses the 
physics of a particular shape and volume to funnel sound into a concentrated 
area. A previously popular accoutrement of the aged and wealthy, this device 
has fallen from fashion with culture’s desire to suppress the visibility of an 
imperfect physiognomy.

Three of a Kind
aluminum and ebony, 2005, 6.5"x.75"x.75" each

These instruments suggest both a scraping and collecting function with their spoon-like ends, as well as a measuring function for calibrating small volumes. Their delicate style and material construction also suggest uncommon use for special occasions

 

 



Doser
copper and maple, 7" x 4.5"x 2.5"

This instrument measures out single doses of liquid. It expresses an offering, 
when held in the hands of the administrator, to an open mouth. 
Its dispensation results in an intimate exchange between the administrator 
and receiver of the dose, while suggesting some alchemical transformation in the exchange. It exists more for theoretical than actual use.

Triple Doser,  
maple and butternut woods, lead, cotton, 34" x 30"x 44", 2005

This instrument measures out three simultaneous doses upon collaboration with a dosing administrator. The kneeler, which accommodates three supplicants, suggests a ceremonial ritual whose privilege is belied by the potentially poisonous lead lining of the dosing apparatus.

Monitor Shirt and carrying case from Monitoring the Dunes 
embroidered shirt, painted wood and vinyl case

Stethoscopic Crutches from Monitoring the Dunes
aluminum, brass, painted steel, plastic
Monitoring the Dunes
mixed mediums, 2005

Used in an endurance performance in White Sands National Monument, September 2005. The “monitor” and her instrument case are in white, blending in to the environs. The instrument is unpacked and assembled on site in the dunes. It consists of two large stethoscopes, which press against the sand and connect to the monitor’s earphones via tubing. This device is housed in tall forearm crutches, so that when in use, the monitor pulls her body off the earth, and only her ears (via their extensions) are connected to the earth. The monitor’s endurance determines her ability to sonically monitor the dunes.
 

           

Embroidered Cloak from Serenade for Bob Goddard
 
cotton, embroidery
Cobbled Phonograph #1 (for Serenade)  
Victrola parts, wood, and steel, 30" x 20" x 40 

Serenade for Bob Goddard
 
"This instrument was used in a brief performance during the opening reception of this exhibition in the Roswell Museum. The artist, clad in the embroidered cloak, traveled with the phonograph from here through the Robert Goddard wing, and back in serenade/elegy for the innovative rocketeer. The selected song was “Fly Me to the Moon” by Bart Howard, performed by Frank Sinatra and the Count Basie Orchestra, the same version played during the landing sequence of the Apollo mission in 1969. This was the first music to play in space. Goddard was an early pioneer of rocketry, intent on reaching “extreme altitudes,” sending a rocket to the moon and possibly to mars. He died in 1945, when the probability of such missions was still viewed with skepticism."




The artist's studio at the Roswell Artist-in-Residence Program

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