Considered the “father of the ceramic Funk movement,” Arneson was not afraid to redefine the use of clay and transform it from a craft into a fine art. He explored unconventional ideas daringly, and confronted sensitive topics about race, sex and politics. His works depicted physical pain and psychological expression in a way one could even say was cathartic. Using wit and irony, Arneson stayed true to his desire to “make high art that is funny, outrageous and also reveals the human condition, which is not always high.”
Arneson’s works are in public and private collections around the world. In the Oshman Family Gallery, Cantor showcases six.
“Primary Discharge” (1990) is a ghostly white mask with red, yellow and blue effluvia streaming from the eyes, nose and mouth. The mask is cracked, and the stream of primary colors brings out the grooves of the facial features while emphasizing the hollowness of the face.
“Assassination of a Famous Nut Artist” (1971) is one of his better-known self portraits – a subject he explored throughout his career. Like many of his works, this piece depicts a far from heroic subject on a traditionally heroic portrait bust. Produced while getting his divorce, Arneson mocks himself and portrays the psychological pain of the experience using physical objects depicted from comics and cartoons.
“His and Hers” (1964) was made at the time of the sexual revolution in the 1960s. Like many Funk works of that period, Anerson transformed the inert object into part body, part machine. In this piece, two skin-tone-colored toilets are placed side-by-side, with the “male” side sporting an erect bright red penis as a flush handle and the warm colored “female” labial-shaped toilet seat resting beneath a water tank of breasts with maroon-colored nipples.
In “Flip and Flop” (1978), Anerson rests an overturned cracked head on a pedestal labeled “Flip” and flips a head without a neck on a pedestal labeled “Flop.” The reversal of labels is comical yet questioning, and speaks to the idea of reversals and ironies. During the production process, Anerson dropped the sculptures as the clay was drying to create natural bumps on the sculpture. The heads look at the same time sleepy – as if the head has been asleep throughout the process of being dropped – and in pain, cringing.
“Wolf Head” (1989) has a giant bronze rendering of an abstracted wolf sitting atop Pollock’s furrowed crown. Paying homage to Jackson Pollock, Anerson made deep carves for the facial features, hiding the eyes in the shadows of the brows.
“Global Death and Destruction” (1982-83) was one of Anerson’s loudest anti-nuclear statements. A detached and battered head that alluded to an atomic mushroom cloud is placed on the globe that is set atop a pedestal of ruins inscribed “War Memorial.” Anerson protests against the destruction of earth with nuclear weapons. The left eye of the head is crossed, almost like it was a target for the weapon, and the rest of the facial features are twisted and abused, bearing the wounds of the nuclear blast.
“Fatal Laughs” is a short exhibition that leaves viewers with much food for thought. At first glance, most pieces are comical and aesthetically captivating. On second look, you are privy to the deeper emotions and thoughts that are molded into these clay sculptures.
“Fatal Laughs” is on view at the Cantor Arts Center until Sept. 28, 2015.
Contact Bao Jia Tan at baojiatan ‘at’ stanford.edu.