Allan Erdemann: Light and Sound
Allan Erdmann鈥檚 art shows a reference to Dada and its Readymade, nonsensical objects. In 1916 an international art movement known as Dada was born. The tenets of the movement included protesting 鈥渢he establishment鈥� which the art community believed marched the world toward the First World War. Marcel Duchamp was perhaps the best known of these protest artists who in defiance would take objects such as shovels, chocolate grinders, bathroom fixtures, and bottle drying racks and declare them works of art or 鈥渞eadymades鈥�. In essence Duchamp chose to remove the functionality of these objects in declaring them works of art. He placed aesthetic values on objects that had little to offer artistically. In a way this exhibition of Allan Erdmann gives a gentle twist to Dadaism. His work may look seriously electronic and appear to have once been a part of perhaps the space program. Erdmann鈥檚 use of Dada鈥漵 conceptual positioning is seen in the earlier works that run on batteries or electricity. Erdmann is a complicated artist hidden behind nonsensical machines that are really about sense perception, conceptually framed. Erdmann鈥檚 art after 1969 enters a new vision. He begins to power the sculpture with solar cells exclusively. He is now aligned with the art environmentalists of the late 60鈥檚 and 70鈥檚, and being concerned with the Art and Nature relationship in real time and space, he places the solar cell works outdoors. see a work on the 2鈥陈� floor beecher center stairwell that is currently being powered by sun light. Erdmann was a conceptual artist in terms of how he framed his work onto a vast time and space scale as evidenced in the titles of the solar cell works.
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Allan Erdmann鈥檚 art shows a reference to Dada and its Readymade, nonsensical objects. In 1916 an international art movement known as Dada was born. The tenets of the movement included protesting 鈥渢he establishment鈥� which the art community believed marched the world toward the First World War. Marcel Duchamp was perhaps the best known of these protest artists who in defiance would take objects such as shovels, chocolate grinders, bathroom fixtures, and bottle drying racks and declare them works of art or 鈥渞eadymades鈥�. In essence Duchamp chose to remove the functionality of these objects in declaring them works of art. He placed aesthetic values on objects that had little to offer artistically. In a way this exhibition of Allan Erdmann gives a gentle twist to Dadaism. His work may look seriously electronic and appear to have once been a part of perhaps the space program. Erdmann鈥檚 use of Dada鈥漵 conceptual positioning is seen in the earlier works that run on batteries or electricity. Erdmann is a complicated artist hidden behind nonsensical machines that are really about sense perception, conceptually framed. Erdmann鈥檚 art after 1969 enters a new vision. He begins to power the sculpture with solar cells exclusively. He is now aligned with the art environmentalists of the late 60鈥檚 and 70鈥檚, and being concerned with the Art and Nature relationship in real time and space, he places the solar cell works outdoors. see a work on the 2鈥陈� floor beecher center stairwell that is currently being powered by sun light. Erdmann was a conceptual artist in terms of how he framed his work onto a vast time and space scale as evidenced in the titles of the solar cell works.
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