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 OPENING - OCTOBER 29, 2020

 

 

Curated by Exhibitions Coordinator Jose Krapp
Project Space
October 29 - December 11, 2020

Let us begin by looking at the human reception process in aesthetics; that is to say, why we react as we do to some inanimate object. Within the subconscious mind there lies an enormous store of potential reactions and ‘forgotten’ memories. This material is partly inherited genetically from a remote past and partly acquired by the individual himself during the course of his own life, mainly from apparently forgotten experiences- sometimes unpleasant ones.

Now our physical senses – sight, hearing, smell and touch – continually pass to our brains far more information about our surroundings than our conscious mind can accept or be aware of. But the subconscious is monitoring this information all the time and it is full of receptors and trip-wires which are liable to be influenced by every shape and every line, every colour and every smell, every texture every sound. We may be totally unconscious of this, but it is happening all the same and it is building up subjective emotional experiences within us – be the effects good or bad.

 

From “Structures or why things don’t fall apart” by J.E. Gordon

The Rubin Center presents a selection of key works from our permanent collection in this Project Space exhibition curated by incoming Exhibitions Coordinator Jose Krapp. Jose joined the Rubin Center team in June of this year, bringing with him more than 20 years’ experience in the field of visual arts. Jose is also a practicing artist who works with diverse  media including drawing, sculpture and site-specific installations. He was a 2004-2005 resident at the Border Arts Residency in La Union, New Mexico, and has exhibited in both solo and group exhibitions across the United States.

In his role at the Rubin Center, Jose will be in charge of coordinating design, installation and mounting of Rubin Center exhibitions, working closely with visiting artists from around the globe, local artists and consultants and with UTEP students in the Department of Art. He will have a leadership role in the Rubin Center’s on-site paid internship program providing training in museum standards and best practices in art installation and handling for our student staff, as well as overseeing our facility and our permanent collection. Torque, Stress, Compression, Expansion is a selection of works chosen by Jose in response to his first read of the works in our care. It includes pieces from Sam Francis, Claes Oldenburg, Alan D’Arcangelo, Ellsworth Kelly, Robert Rauchenberg and Maximo Gonzalez. 

In Jose’s own words “As a new member of the Rubin Center team I oversee the eclectic collection that the Rubin Center, though not a collecting institution, has acquired over the years. This group of works is a small snapshot of the many interesting works that are part of that collection. Most of these works might fit into the category of post-painterly abstraction with a few exceptions for contrast. Using line, color, and open composition these works weave in and out of abstraction. When viewed together they allow us to see more of the elements that comprise each work. The few representational objects allow the shapes and colors to stand out to the viewer while the abstractions make the “recognizable” images obvious. By placing these works together their differences allow us (if we try a little bit) to view them more deeply.”