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East Wing Gallery
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1220-B Linda Mar

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PSEUDO SCIENCE curated by Philip Linhares

Bernie Lubell

Michael C. McMillen

June 17 – July 30, 2005

Opening Reception on June 17 from 7-9

Curator’s Talk with Philip Linhares on Thursday, July 7 at 7pm

Bernie Lubell makes interactive installations that focus on the intersection of science and the arts, but his work is adamantly low-tech. His installations use no computers or video or motors and are entirely powered by visitors to the show. As visitors work to animate the mechanisms they create a theatre for themselves and each other. By requiring participation, touch and manipulation Lubell gets the audience to engage their bodies as well as their minds. As they play, participants tap into the vast reservoir of knowledge stored in each of their own bodies and they become active partners in constructing an understanding of the artwork. Lubell’s constructions feature soft woods that are ill-suited to be machines and yet they do work. Hovering at the line between working and not, gives the mechanisms that tenuous yet tenacious character which mirrors control issues in our daily lives. In “Pseudo Science” Lubell will create an interactive installation that allows viewers to touch, look into, and move the sculpture in order to experience the work. Lubell’s pieces are funny, friendly and personal even as they tackle serious issues such as the nature of consciousness, or the origins of life.


Michael C. McMillen’s work shows an astonishing level of craftsmanship and technical expertise in his unique installations and intricate constructions. His work is interactive and evolving in a continuous process of discovery and invention. Elenore Welles writes of his work “McMillen juxtaposes objects to evoke associations and to investigate the fine line between illusion and fiction. The transmutation of matter, how it disintegrates and is reborn, inspires his art. Scientific logic and the nature of matter are terrains that often remain obscure. But he attempts to demythologize them. In the process of building his imagery he plays with the psychology of perception and the ideas those images might convey. However, trying to penetrate obscure concepts and make them conscious is certain to lead to ambiguities. Deceptive realities can offer provocative perspectives if the viewer is committed enough. The works demand more than a cursory glance to connect all the visual fragments. Although they tend to initiate more questions than answers, the reward lies in layers of associative visions.”