29 Linden Street, Geneva, NY

JJ Nicholson III, “Analog” – 2011 – Installation, found objects, reel-to-reel tape deck and G13 literature. Linden Street Storefront – Geneva, NY

 

 

 

 

JJ Nicholson III “Flexibility of the Vacated Space” (2014) – found art object installation in 29 Linden Street

http://portfolios.sva.edu/gallery/18088649/Installation-Flexible-Space-of-The-Vacated

 

 

 

Storefront facade of 29 Linden Street, Geneva, NY (2013)
0821A292-9ED6-45E3-A185-88A19DEAADF3
“Glow (Reflectance)” – 2011 – steel frame chairs and recycled license plates – Linden Street Storefront – Geneva, NY
Geneva City-20120504-00445-1
JJ Nicholson III, 2012. : “Cantilevered Pieces”. Foam, Wood, Plexiglass, Acrylic Paint, Office Supplies.

JJ Nicholson III, 2012. : “Cantilevered Pieces”. Foam, Wood, Plexiglass, Acrylic Paint, Office Supplies.
IMG-20120511-00543-1

This social installation exercise, both sculptural and living-mural, resided in a vacant building along a moderately busy street, in Geneva, NY between 2010 and 2014. It utilized found objects, scavenged from a local farm scrap metal pile and other sites around Geneva.  Additionally, the conceptual artist’s own collection served as display pieces as well as what other artists who participated in “Storefront” brought into the space. The dialectic emphasis of non-site, passive study, was situated to partially study social awareness of the occupant artist, and to examine perceptions upon the changing installation art, often showcased in the window storefront. The work, the artist feels, is akin to the movement “Fluxus” as it is in the deliberate aspect of non-conformist approach of art installation, in a semi public space, while confronting notions of what is acceptable regarding representation of conceptual art or within codified aspects of zoning and community characterizations. The installation was presented somewhat anonymously, as a “visual hors d’oeuvre” to the Linden Street scene-to-be and in relation to the initial mindset of the assemblage construction. The artist candidly defends the work as “streetside whimsy” while perhaps concealing the diagnostic latency of the non-ubiquity of recognizable materials being composed otherwise unsuspected implicitly – in peculiar installation. The work had also been documented by periodically collecting information from passerbys’ volunteered time to discuss various literature which had been part of the installation’s large bookcase. Blogging, and photo documenting were frequently a part of the conceptual art. Coincidentally, one aspect of this show has  been published in 2014 by curators at School of Visual Arts online portfolio using selected photographs regarding the piece “Flexibility or the Vacated Space”. Thus, a sociological feedback is also appreciated from this work’s context and attachment (and semi-detachment) to the public: as exposed to worldwide online portfolios, travel leisure, digitalization, and geo-capturing thanks to the internet.

The building’s interactions will hopefully be seen as progressive dialectic and philosophical tenet within place, and within urban landscapes.

JJ Nicholson III, 2017

Discarded aggregate form and sub-symbiotic materiality 
are not necessarily intended by industry standards, 
but are gestures on mankind nonetheless. Ambient 
relationships of form are altered by the transgression 
of humans on environments. Destroyed, they are 
once again re-used or reborn as art, and architecture 
akin to patterns or phenomenological idiosyncrasies. An 
experiential module is placed at intersections and the 
users are encouraged to make changes to them as they may 
see fit. This, in turn, may be neglected or recorded, or 
relayed, to any chance personal encounter – by subsequent 
users; and histories of fragmented places are 
honored – and made purposed by each identifiable salient. 
De-Ambient mechanisms or deconstructivism is unintended 
but is the alternate domain of "piece". Mortar and harmony, 
thorough investigations, simultaneous to the sinuous 
patterns of crafted time – are everyday philosophical precepts used to seek out a experimental architecture rich with self implication towards survivalism. Disparate transformative agritectural and archicultural conditions (livable permacultures), through the conveyance of the virtual and a non-obtrusive architecture, based from the salvaged and/or neglected spaces between where we "go" and where we grow food - instill hope amidst the disarray... Rhetorically, this designer asks if sustainability is attainable or does it dwell within a solution toward the epitome of the apparatus? Are there ways of using food as architecture, if waste=food? What means can be extrapolated from those often associated with food production, containerization, and commercial landscapes - and infrequent or frequent exchanges to acquire it? 

In the quest for a primordial zone - the kindred spirit of the acquisition of food accompanies latent architectures, converging in some dystopian formats ripe for interpretations... The virtual work and possible environments are: 

Experimental + Conceptual Artist; Architectural 
Designer + Draftsman; Composer + Writer... 
For example, using a concept art prototype to 
define the following in deeper hypotheses: 
Exploring site spatial application towards 
societal awareness through subtle or blatant 
artistic performances. Attempting to generate 
non-conformist or quasi subversive languages 
used, within this concept-art. Extracting 
recognizant themes through assembled applications 
in recognizable habitual passages of times 
and meanings when placements are made. Taking 
concept art forms off-road while minimally masking 
it from full obscurity.
Geneva City-20120509-00500

Continue reading 29 Linden Street, Geneva, NY