It is a rare thing to encounter another Humboldt State University alum, as I live in Wisconsin. But one week in 2013 was different, when my work at the Chazen Museum of Art on the campus of the University of Wisconsin-Madison actually brought a fellow lumberjack into town.
Michael Lucero (Art, 1976, a solid ten years before me, Art, 1986) lives in Tennessee. His art-making has taken him from California and undergraduate studies at HSU to an MFA at the University of Washington. He has lived in New York and Italy, and has taught as a visiting professor throughout the United States, such as a 1989 summer arts program at HSU (I attended the summer 1988 session, missing Michael’s stint by one year). His ceramic work was featured in a 1996 retrospective exhibition organized by the Mint Museum that traveled to four venues, including the Smithsonian’s Renwick Gallery of the National Museum of American Art.
Michael was in Madison to install a body of early work in the Chazen’s 5,000 square foot Rowland Galleries. During the installation we had a chance to talk about Humboldt and studying art. I was so pleased to learn that he remembered people I studied with at HSU: Ron Johnson in art history, and Mort Scott who taught sculpture. Michael also had many stories about his experiences in the galleries of New York and his friendships with well-known artists, teachers, and dealers.
During the week we worked with the Chazen preparators to install 17 wire and wood hanging figures, made in 1978-79 after the artist first moved to New York. The works were on loan from a private collector, and two museums that received part of the Dorothy and Herbert Vogel Collection: New Jersey’s Montclair Art Museum, and the Portland Museum of Art in Maine.
Reaching 8-13 feet in height, the figures are simultaneously fragile and imposing. Hovering just a few inches from the floor, they hung still when the gallery was empty, but they moved gently, responding to subtle air movement, even when anyone entered the room. They towered over whoever stood near, yet provided a chance for close investigation of their component parts: broken wood, crayon and paint, wire, mop handles, and broken furniture scavenged from the streets of the city.
The artist created new drawings for the exhibition, using sponges, fly swatters, shoes, toilet paper rolls, and foam noodles to stamp images onto cardboard, making bold, weighty figures that reference the hanging sculptures. He was also inspired by the gallery space, at the last minute adding a new work to the exhibition: two monumental figures stamped directly onto a large gallery door that had been painted to mimic the cardboard of the drawings. At first seeming so large, the drawings on cardboard were dwarfed by the newly painted wall figures, yet their textured surfaces demanded close looking. This was an installation both overwhelming and intimate, it played with scale and had so much to experience: subtle movement, shifting light, interesting textures, and spatial displacement.
In the re-purposed wood and furniture fragments, in the drawings made from available materials, is Humboldt evident in this work, or is it all New York City? In the quiet of the towering figures with their slight movements, walking among them all that is missing is the sound of water dripping into the ferns on the floor of the redwood forest. Maybe, or not. But it was fun, for one week in 2013, to conjure a connection between Arcata and NYC, to swap art world stories with another far-flung HSU alum, and participate in the installation and documentation of a truly wonderful body of work.