STATEMENT OF PURPOSE

Liz Nofziger is currently working toward a new large-scale site-specific installation for Columbia College’s Glass Curtain Gallery in March 2007. Designed by William Le Baron Jenney (widely considered to be the “father of the skyscraper”), the Ludington Building (1890-91) is his earliest-surviving, steel-frame building in Chicago. The structure was commissioned by Mary Ludington to house the American Book Company and currently is a major part of the Columbia College campus, housing, among other facilities, the Glass Curtain Gallery and the Center for Book and Paper Arts (an appropriate return to origin).
During her AIR residency Nofziger aims to thoroughly examine, document, develop, and challenge her process of working site-specifically, with this exhibition as the outcome. Since a first site-visit in June, she has been compiling information on Jenney and the space itself, considering its various histories within the context of current events, and thinking about the viewer’s experience within the space. By compiling an in-depth documentation of the development of a large-scale site-specific work Nofziger will create an important experimental trace element. It will serve as a type of evidence that reveals and solidifies the sometimes circuitous, and often invisible, paths of investigation and planning.
Liz Nofziger is a Boston-based multimedia artist who received her MFA from the Studio for Interrelated Media department at Massachusetts College of Art. Raised in a Mennonite community in rural Indiana, she lapped up the vulgar, showy world as soon as she caught a glimpse of what she might be missing out on. Her work has been shown nationally and internationally, most recently at Kult 41 (Bonn, Germany), The Boston Sculptors Gallery (Boston, MA), The Cheekwood Museum of Art (Nashville, TN), Montserrat College of Art (Beverly, MA), the Sante Fe Art Institute (Sante Fe, NM), and at the Contemporary Artists Center (North Adams, MA). Nofziger has received numerous prestigious nominations and awards, including funding from The Massachusetts Cultural Council and the St. Botolph Club Foundation. She will exhibit new work at Vox Populi (Philadelphia, PA) in Fall 2006, and is currently working toward a large-scale solo exhibition in the Glass Curtain Gallery at Columbia College in Chicago in Spring 2007.
Posted: October 9, 2006
Posted: October 18, 2006

a good gathering last night at the opening despite the rain. was able to introduce myself and a look at some past site-specific projects and give a look toward what i'm investigating at the Berwick (while questionably articulate, was able to convey some idea nonetheless). was given good feedback and directions to look for others who've worked w/ vibration....artists (audio and visual), scientists, etc. I felt welcomed and supported...thank you.
this morning imagining physical ways to take/make sensual core samples of the building in the gallery space. sketches to come. also thinking of some raw material i've never managed to work into a project which may become part of this....a series of photos of my friend inside a chemical reactor (late night research laboratory intervention)—an 8 foot tall plexi tube w/ impellers, cleaned, filled w/ water and lit w/intense color. they're embryonic, erotic, test-tube, jello salad, scary, gorgeous. maybe the kore/korai preserved. we'll see.
last meeting i announced 2 concrete goals for myself to meet by next week, Oct. 24. I will present a physical vibration experiment, and some edit of the volcano/lava flow footage. evidence to follow.
Posted: October 27, 2006

Time is passing too quickly. The conundrum of research as project continues...how to meet and discuss and be critiqued on loosely woven findings alone? I need to improve on articulating the connections that I see and want the viewer to find in the various strains of investigation.
As i discuss my progress and the process at the Berwick with Götz, he totally relates....as the one who continually witnesses my process, he is the one who usually wonders what the hell i'm heading toward and how to respond/give feedback.
The idea at the Berwick is to upset/disturb/reinvent/meddle with the process and see what happens. it's an experiment, and it may or may not be a success but i'll certainly learn something along the way.
so, an attempt at how to crystalize some of the nebulous research/thinking/gathering: for our next meeting, I'll have a physical (in the scale model) and/or drawn representation of how the concrete installation could look. this will force me to make hard (tho' momentary) decisions and i will need to be able to explain why i edit and construct as i do.
and i may have a completely different rendering of another outcome at the following meeting. by fleshing ideas out to a more developed stage, I'll have to decide more/learn more, and will provide something actual to discuss.
back to work...