MICHAEL CORRIS
at Liliana Bloch Gallery // by Todd Camplin
I have always admired the craziness of the Dadaist. They were extremely reactionary to the political and social insanity of the first world war. When critics came out to declare in the 1960’s a Neo-Dada movement, they seemed to forget the original roots of Dada. Sure the surface of Robert Rauschenberg’s and Jasper Johns’ resembled Dada, but not much else. Allan Kaprow’s happenings arguably came closer to the spirit of the artists performing at Cabaret Voltaire. Personal I think the Fluxus artists best took the mantle of Dada. Their anti-art movement smashed most of the last bits of the romantic ideals of Modernism. So, who is continuing the tradition, while innovating in light of current political and social upheaval? I would offer up SMU Professor Michael Corris as a candidate for keeping the fire burning for Dada ideas.
Of course, saying the Michael Corris is a new Dadaist would oversimply his work. He has the history of Pop art, Minimalism, Conceptual art, and a host of other art biz word movements mixed up into his work. Corris deconstructs the use of font, clip art, and color to create works that reference graphic design while eliminating product placement or promotion of an event. Unless the product/art is itself an ad for the book which in turn is also an ad for itself. These products/artworks are not like the Pop art (with the exception of the Dagwood cartoon piece). These works don’t simulate the popular products, but rather Corris has created an internal system of product/art that only references itself as the product using the language of graphic design.
A theme that runs through many of the works are the cartoon men that are illustrated with smoke for heads. These men are talking without listening and blowing smoke everywhere. I think of the #metoo movement where so many men are blowing smoke out in denial or offensive counter to the movement. I think of the politicians that try to distract people from the obvious solutions in order to keep a small wealthy group happy. The men are releasing hot air. Corris recreates a Dagwood cartoon that sums up the brutality of the current power structure. Dagwood is being kicked by his boss. His boss yells, “is that definite enough?” If you have read many Dagwood strips, he often is bullied by his boss. His boss thinks he is superior to his subordinates.
The most political shot across the room is the flag with the words, “don’t tread on me.” Often used by Tea Party Republicans that have a libertarian bent. Most of the Tea Party support less of everything when it comes to government. That means less of providing services, maintaining or expanding regulations, and fewer taxes. The smoke at the bottom gives Corris’ opinion of their political and social positions.
Corris clearly sees less is not more. I think Corris is far more subtle than Dadaist like John Heartfield but no less politically passionate. Michael Corris’ art and book show will be over March 24th at Liliana Bloch Gallery.