The "dumb little pile" is very - Early Fluxus - anyone can do it with these simple instructions. I have enjoyed this theme over the past couple WB shows. Creed's instructions allowed the Trues to pick the lamp turning on and off and find the big and little dogs...

Man, I feel like I need to see this show in order to better understand this article and the show. "What they do and what they say are never the same," and, "Language beats plot" really struck me and I am curious to see how this aspect plays out in the show. I have a feeling though it would be a bit clearer to me (or who knows, perhaps blurrier) if I were to see and experience the show in person rather than simply reading about it.

I like the concept of this show for two reasons: It certainly succeeds in paralleling the mindfuckery of Shakespeare's Love's Labour's Lost and it requires the viewer to experience the art as opposed to simply looking.

In particular I love the allusion to the caves at Lascaux. Ancient art is fascinating in that it served a function beyond aesthetic looking or, in the case of the caves at Lascaux, an experience. The flickering of fire in the caves probably seemed to bring the figures to life and movement, much like the "meditative rhythm in the gallery, opening up a zone beyond dualism, beyond needing to choose between zooming in or out, and beyond the mirroring of contrasts. Each work has its own system of concerns that reverberates in this chamber." The caves at Lacaux have many theories, one of which is that they were chambers of spiritual function. I imagine, based on this article, that this exhibit must be at least something like what the ancients and, as the title of the actual piece suggests, modern man experienced: something meditative and perhaps even overwhelming given the transition from dark to light, in and out of the caves.

Or I could be full of it.

Either way, excellent and thought-provoking post. I would love to experience this show given the opportunity.

I like the concept of this show for two reasons: It certainly succeeds in paralleling the mindfuckery of Shakespeare's Love's Labour's Lost and it requires the viewer to experience the art as opposed to simply looking.

In particular I love the allusion to the caves at Lascaux. Ancient art is fascinating in that it served a function beyond aesthetic looking or, in the case of the caves at Lascaux, an experience. The flickering of fire in the caves probably seemed to bring the figures to life and movement, much like the "meditative rhythm in the gallery, opening up a zone beyond dualism, beyond needing to choose between zooming in or out, and beyond the mirroring of contrasts. Each work has its own system of concerns that reverberates in this chamber." The caves at Lacaux have many theories, one of which is that they were chambers of spiritual function. I imagine, based on this article, that this exhibit must be at least something like what the ancients and, as the title of the actual piece suggests, modern man experienced: something meditative and perhaps even overwhelming given the transition from dark to light, in and out of the caves.

Or I could be full of it, considering that I agree with Sucah13: I gotta see this to really understand what the hell this show is like.

That said, either way, excellent and thought-provoking post. I would love to experience this show given the opportunity.

Sigh. Sorry about the double post, guys. This class' use of technology will be the death of me.

Light bulbs, man-made sources of artificial light, placed next to a piece of natural wood provide a thought provoking juxtaposition. The way the objects are laid on the floor almost reflects a sort of timeline of technology, moving further and further away from nature and our original source of light, wood for fire. The specific instruction to remove the light bulbs from cabins only at the edge of forests forces the inhabitants to live completely in accordance with nature, rising and falling with the sun. Are humans innovative or are they just constantly fighting against what nature intended?

This seems to be one of those things that you can't fathom unless witnessed in person (field trip?). That said, the use of light as a subject manner, and the disorientating effects between the visible and invisible, is an interesting concept given that art is something to be seen.
However, It seems to be walking a fine line between art and "art" (aka bullshit). Mostly, the description of a "pile that can take any form— as long as it isn't arty", backed up with the excuse that the show is "a comedy the way Shakespeare's wordplay is a comedy: It is, and it isn't".
Then again, I can't judge until I see it for myself.

The attribution of meditative rhythms alongside a gallery, or any art space, is very (seemingly) compelling because it does in fact open up an area, mode, or dimension in allowance for an act of transcendence, so to speak. I would personally want to experience something like that in the space and explore the non-duality spoken of in this article. I would question now, and more so probably in the actual space, that if this space allows for such an emptying of these former dualistic 'this and that' qualities, what is left? What can we make of the space we are in and how is that so?

I find the the many cultural references flying in from different places very interesting. With a large group of artists they were able to combine notions of Shakespeare's work with Ali's words and and our current cultural obsession with google. Altogether very interesting ideas that make me want to feel the light.

I love the idea of unconfined art - not ‘trapped and framed’ - that permeates into the space of the viewer and the other works. Taking this to the extreme, the space in this case seems to be the actual art – the ‘stuff of light and dark’. The viewer can take a more active role, and experience the ‘meditative rhythm’. The viewer is invited to participate, especially in the case of Jason Dodge’s piece, where ‘anyone’ can follow the creational process of the ‘dumb little pile’ – enjoyed the first post’s reference to Fluxus. Definitely would like to go see/experience this... Not sure how I feel about the connection made to the show's title...

Directions: Go to a remote cabin and remove all sources of light even the light created by ambient heat. Then assemble these objects in a gallery. There is only one rule; the forms created by the objects cannot be arty. Wait, were assembling objects in a gallery and they cannot be arty? Isn’t everything set, hung, or assembled in a gallery inherently arty simply because it is a work of art in an art gallery?

Jason Dodge, please instruct me to go to a cabin and remove all sources of light and then assemble a non-arty pile at the Western Bridge. Why stop with, “the bulbs and such” when I could bring back the whole cabin. If wood is considered a source of light in Darkness falls on the Kelly Cabin, Hwy 109, Copalis Beach, WA 98535 then the entire cabin has the potential to be a huge source of light. The pile created by placing a cabin within the gallery would not be arty; it would be changing its place, essentially moving a found object and what is “arty” about that? Sorry, Duchamp.

Overall, I really enjoy the experimentation with light sources in Light in Darkness, and the connection to Shakespeare through comedy. Pushing it even further like zooming more for our personal satisfaction by really stretching what a light source is would be an interesting way to discover our boundaries for what constitutes a light source.

This work typifies postmodernism in its ironic approach (meditative, unclear space accomplished through found objects). Like everyone else has stated, this is something that must be experienced in order to be fully understood, but this article provides an imaginable picture, (despite the lack of clarity in the show itself). The Shakespearean element allows a parallel between past and present, and reveals the timelessness of irony.

The rejection of dualism present in the work is something of interest, especially considering that the majority of contemporary art is defined by a constant battle between the rejection of popular conventions/beliefs in art and the need to still be considered art.

Seeing this show on the opening night, I definitely had a very strong experience. The Western Bridge does a great job of creating a space separated from the outside world (in a good way). Meaning, they make work that needs to be talked about, your opinion cannot just stay nestled ugly solitude in your head.

Luckily I went with many friends, & had the opportunity of talking about plenty of the pieces in great length. (Not to mention eating amazingly addicting food). As for the article, gaining that extra information definitely sheds more light (haha) on the intentions of the artists themselves. Sometimes I appreciate this, other times I don't. As for the "Darkness Falls on..." piece, it definitely helps me understand it more, & appreciate it more, seeing how I only gave the piece a small bit of time during the opening.

The theme Light In Darkness brings in so many starters for conversation, it's amazing. YOU MUST SEE THIS EXHIBIT IN PERSON, it will make a huge difference, especially because the architecture of the space adds immensely to the piece. Exhibits in Western Bridge are not just set in, they fit.

Seeing this show on the opening night, I definitely had a very strong experience. The Western Bridge does a great job of creating a space separated from the outside world (in a good way). Meaning, they make work that needs to be talked about, your opinion cannot just stay nestled ugly solitude in your head.

Luckily I went with many friends, & had the opportunity of talking about plenty of the pieces in great length. (Not to mention eating amazingly addicting food). As for the article, gaining that extra information definitely sheds more light (haha) on the intentions of the artists themselves. Sometimes I appreciate this, other times I don't. As for the "Darkness Falls on..." piece, it definitely helps me understand it more, & appreciate it more, seeing how I only gave the piece a small bit of time during the opening.

The theme Light In Darkness brings in so many starters for conversation, it's amazing. YOU MUST SEE THIS EXHIBIT IN PERSON, it will make a huge difference, especially because the architecture of the space adds immensely to the piece. Exhibits in Western Bridge are not just set in, they fit.

I really like the idea of bluriness in the exhibition. Everytime you look at a blurry object you see something different and this is how it (should) be with art. The first time we look we see only the simple visuals of what is there. Everytime we look again we see something new. Just as when we look at a blurry object multiple times we are slowly able to piece together a larger image, that is how it is with art.

I do feel that I need to see this exhibtion to fully appreciate it though.

I love artwork that is inspired by literature. It definitely adds another dimension of connection with the piece or show. I also appreciate this approach because though the concept of the show might be directed towards a certain generation, the Shakespeare reference can bring in a whole new crowd of people and create meaning for them as well. I really need to see this show.

I love artwork that is inspired by literature or film. I feel like it adds a whole other level of relate-ability to a specific piece or an entire show like this one. So often group shows are directed at a certain subgroup or generation and I appreciate when a reference, like Shakespeare, can bring in and create meaning for a wider audience. I definitely need to see this show.

This is one of the more bizarre instances of sock puppetry I've witnessed.

@samktg: It's not sock puppetry. I just confirmed that it's students in a Seattle University Contemporary Art History (SUCAH) class. And I love it! Actual comments about art!

Yet in Love's Labor Lost we start out with a royal decree that women - femininity - is a danger to reason and thought - and discover that masculinity sans femininity is sterile.

Thus the light and the darkness must not only co-exist, but the existence of both represents the Yin and Yang of totality of art.

I DON'T GET THIS SHIT.

I really like the fact that this entire post has actually been about the art for once. Impressed.

@27, Ah, I see. That possibility didn't at all occur to me. There typically aren't near so many people commenting on the arts articles, and the only possible explanation for so many thoughtful comments in my mind seemed to be one or two artists trying to get people in the gallery.

Anyway, my apologies, SUCAH students. Please pardon my cynicism, genuine engagement with art is all too uncommon.