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SECAC Review,
November 2002
Southeastern College Art Conference
Exhibition Reviews, pp. 153-154
Michael Aurbach, The Administrator
Frist Center for the Visual Arts, Nashville, Tennessee, 2001
Though they now tend to transcend their historical context, great works
of art from the past often had immediate political implications for the
viewers of their time. Donatello's determined Judith beheading Holofernes,
for instance, offered 15th century Florentines a Biblical symbol of tyrannicide,
a forceful catalyst for their own resistance to the subtle, but dictatorial,
Medici. And Michelangelo's youthful David, courageously facing the giant
Goliath, provided another witness to the power of faith, galvanizing Florence
to resist the inimical Milanese then menacing the city from the North.
In the same vein, Michael Aurbach's installation, The Administrator,
makes a trenchant statement about contemporary academe, castigating the
nameless individual responsible for orchestrating the university's destructive
policies. Rejecting the drama and high seriousness of his forebears, however,
Aurbach relies on mordant satire and caustic wit to denounce obscuration
and its obverse, the privilege afforded to those in governance.
Aurbach defines the administrator "writ small" by a fortress-like
office filled with farcical "symbols" that satirize his cruelty
and ineptitude. This visual synecdoche creates an antic portrait of a
man whose spirit and stature are complementarily pusillanimous and undersized.
In the words of John Dryden, "The cowl might make the monk if it
were not for the satirist."1
Galvanized steel walls surround the administrator's office, interrupted
only by barred openings through which the viewer can peer. Needle-like
projections along the top further dissuade entry, each decorated with
fleur-de-lis, sign of the French sovereign, a ruler by divine right.
Steel "tiles," staggered in matte and shiny finishes cover the
floor, alluding to the practice of employing floor patterns to create
the illusion of deep interior space in Renaissance painting. Thus, the
artist underscores the proud artistic heritage he is tapping into. Hard,
metallic, and gray, striking emblems of tyranny abound. Kneepads indicate
the correct posture for supplicants; hoops in graduated sizes are arranged
for prescribed leaping through; vacuum cleaners hanging on the wall are
awards for subordinates who "suck up." An electric burner converts
the visitor's chair into a fasces, making visible the leader's power to
flog and decapitate.
The despotism, however, is but the other side of cravenness. The administrator
has mounted a security camera at his door and placed a telescope at the
window. This convoluted instrument, nonetheless, curves around to peer
at his own backside. Reminiscent of Pontius Pilate, a pitcher, basin,
and towel stand ready for "hand washing." Two mirrors on the
desk reveal an overt narcissism: he sees only himself. An array of stamps
shows characteristic institutional responses-"confidential,"
"delay," "rejected," "terminate," "deny."
On the desk lies A Field Guide to Invertebrates-indispensable for
anyone without backbone-while dangling puppet strings mark the administrator
as the instrument of those above him in authority. In need of counterfeit
power, consequently, the administrator relies on an electrical fuse box
affixed to the back of his desk. Such insecurity, the artist taunts, stems
from a piddling height: shoe lifts decorate the wall; a car jack hoists
his desk chair; another raises him to reach the telescope. Hinting at
the causes of his incessant volleys against academia, the artist includes
veiled suggestions that he has had personal confrontations with the administrator.
On a shelf lay a series of loose-leaf binders marked "Aurbach Incident
1," 2, 3, etc.-eight in all.
Aurbach's guerrilla skirmish with the individual wielding academic power
is but the latest in an ongoing campaign. In an earlier work, The Institution
(1997), he indicted the university as a whole. The Institution
greets the visitor with an outsized, mock-up triumphal arch encased in
unrelenting silvery galvanized sheet metal, held together with myriad
screws-both human and steel. The form mimics those set up by Roman emperors
at strategic places within a city to celebrate their military victories.
Aurbach's arch bespeaks an architecture harkening to the past in other
ways as well. Crenelations at the top evoke mediaeval fortified structures
and the sharp inverted "V" of the passageway is a spare interpretation
of a splayed Gothic arch. Notwithstanding its allusions to history, the
arch sports very modern, twinned message boards spelling out disclaimers,
each rapidly dissolving into the next: "We regret hardships created
by this situation;" "We have no comments at this time."
In addition to its visual messages, the installation engages viewers physically
as well. They enter the space, passing under the arch on insulating rubber
mats, tensing at the discomfiting sibilance of a motion detector whose
beam they have disturbed. They then encounter The Institution itself,
a metallic façade dwarfed by the gigantic arch. A miniature stand-in
for the administration building on the artist's own university campus,
The Institution's triadic entrance would fit exactly into the upside-down
"V" of the triumphal arch; it is "hand in glove,"
so to speak, with its grandiloquent images. The sightless "eyes"
of the entrance, moreover, suggests the slits in a Klansman's hood-cowards,
indeed. References to defensive masculinity multiply. In addition to being
"cut out" from under the arch, the triangular lines of the façade
entry imitate the inseam of a man's pants. Further, the markings on the
door are those of a big zipper whose flap at the top indicates that The
Institution is "zipped up" to exposure. Finally, a truncated
tower just behind provides a facetious doppelgänger type of the "little"
fellows who run things.
If tempted to pry into The Institution's secrets, visitors who
bend over to push aside the dark curtain, covering openings on the left
and right of the inhospitable entrance, see their own derriere on a screen
inside the cubbyhole. Spying on the "spy" is not without retribution!
Inside are signs of surveillance, all unused by their ghoulishly absent
operator-an array of switches, a computer keyboard, headphones, a wall
telephone-together with the ubiquitous message board reiterating institutional
propaganda: "Identify team players;" "Free speech need
not exist;" "Never reveal your sources;" "Alter personal
files;" "Avoid direct contact with employees;" "Monitor
all calls."
Aurbach's telling thrusts at The Institution's self-shielding pretensions
continue. Numbers meant to aid in judging an intruder's height are affixed
to the back of the arch. In addition, the façade's metal sheeting,
patterned with simulated rustication, refers not only to the stone work
of the artist's university but is, at the same time, the material that
covers the empty spaces under trailer homes, making them look more substantial
than they really are. Under certain conditions, moreover, the light-spilling
metal seems to dissolve, implying that The Institution is more
a fata morgana than reality. Then, too, its modular construction
allows for facile dismantling. Plumbing pipe supports the tower and the
metal sheeting rests on wooden frames. For all its impenetrable aspect,
the assemblage is one gigantic hoot.
In a kind of sculptural farce, therefore, Aurbach delivers incessant blows
to the institution's bland and unresponsive power and to the administrator's
arrogant incompetence. Aesthetic catharses, these works especially delight
those who have smarted under the weight of grinding authority. Eric Bentley
affirms that "in farce hostility enjoys itself,"2 so that one
can, with Charles Lamb, "wear [his] shackles more contentedly for
having respired the breath of imaginary freedom."3
Whereas Aurbach's works unmistakably reflect the policies of contemporary
academe, at the same time they mock the abuses of authority which transcend
time and place.
1. John Dryden, "Preface to the Fables," Essays,
ed. W.P. Ker (Oxford: London 1926), II, p. 260.
2. Eric Bentley, "On Farce and Satire," Comedy: Meaning and
Form, ed. Robert W. Corrigan (Chandler: San Francisco, 1965), p. 302.
3. Cited by Bentley, p. 303.
Dorothy Joiner, Lovick P. Corn Professor of Art History
LaGrange College
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