Brian McCutcheon is a sculptor interested in using all kinds of media and techniques in the creation of his artworks. Besides working actively as an artist, McCutcheon also teaches on the staff of the Department of Sculpture at the University of the Arts, Philadelphia, in the United States. McCutcheon's most recent works, for example, reflect his current concern for everyday objects and experiences. He likes to process the symbols that he frequently sets forth in his artworks. Because of this, his works frequently appear to be three-dimensional paintings, or, perhaps, two-dimensional sculptures.

In this biennial exhibition, his works titled Flag, Dandy and No U-Turn, can be seen as a unified series. The three works, individually, carry one specific meaning. McCutcheon's conceptual framework is that of the current situation in America, in particular relating to the threat of terrorism and the xenophobic stances being taken toward certain races and citizens of specific countries. The essence of all this is that the current atmosphere of celebration of American nationalism is giving rise to a controversial situation. The nationalistic rhetoric meant to counter threats to national security and disturbance of America's values system, is, indeed, problematic. Outside of American regionalism, this rhetoric itself is perceived as threatening. Situations like this put the creation of art in a serious and difficult position in the midst of conflict and political interests. The creation of art in this kind of climate, confronts the artist with the choice of taking sides or of trying to remain neutral in the name of aesthetics. McCutcheon responds to this challenge in his own way.

All three of McCutcheon's works are so very well and pleasantly presented that the exceptionally beautiful character of the works is very apparent. However, at the same time, the objects employed in these works, which originate from popular iconography, are symbolic. McCutcheon's works are making clear statements - maybe also taking a side - albeit delicate ones. This series of works clearly reflect the suggestion of Walter Benjamin, "that it is impossible for a work to be politically correct unless it is also esthetically correct".

The symbolic aspects of McCutcheon's works clearly provide inspiration. In the first piece in the series, the image of the flag within a neon box is not only a sign of an attitude of respect, but also appears to be indicative of an advertisement. In the second piece in the series, the fragile ceramic figure subtly refers to the "dandy culture" with its roots in the bourgeois social class, a European tradition carried to the United States. While the last piece in the series is not only capable of being readily understood by the by the American and European cultures, but can also be easily understood by the entire modern world as a part of the signs of the existence of a modern civilization. In relation to this, McCutcheon has succeeded in setting forth a critique that crosses the line of the issue of regional nationalism. This criticism is also applicable toward the framework of values inherent in the entire scope of western civilization. McCutcheon's works speak of aesthetics, propaganda and alienation all at the same time

Rizki A. Zaelani

Born on November 29, 1965 in Traverse City, Michigan - USA.
Studied at University of Michigan (1988), Colorado State University (BFA; 1991), Cranbrook Academy of Art (MFA; 1995).

SELECTED SOLO EXHIBITIONS
1999 Woodmere Art Museum, Philadelphia, Pennsylvania.

SELECTED GROUP EXHIBITIONS
1998 Sculpture installation, Philadelphia Fringe Festival, Philadelphia, Pennsylvania.
1999 Birdpark, Sculpture Park Installation, Gallery Joe, Philadelphia, Pennsylvania.
2000 Biennial 2000, Delaware Art Museum, Wilmington, Delaware.
2001 Open House, Bemis Center for Contemporary Art, Omaha, Nebraska Contemporary Sculpture at Chesterwood, Chesterwood Art Museum, Stockbridge, Massachusetts.
2002 Majority Rules, Free Gallery, Glasgow, Scotland.
2003 "The Subversive Potential of Visual Pleasure: Brian McCutcheon and Matthew McConville", Goucher College, Baltimore, Maryland; "The Other Tradition: Alternative Representations and Eccentric Abstraction in Philadelphia 1967-2003", Rosenwald-Wolf Gallery, Philadelphia, Pennsylvania.
2004 "Spectacular Vernacular", School at the Art Institute of Chicago, Chicago, Illinois; "Wreckless", Rivera, Brooklyn, New York.

back to top