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Harry Shearer speaks on Silent Echo Chamber Friday at the High

Written By Jeremy Abernathy on November 16, 2009 in Events

James Carville

A video still of TV pundit James Carville from Harry Shearer's the Silent Echo Chamber. Photo courtesy the Atlanta Contemporary Art Center.

The final event listed for this year’s Atlanta Celebrates Photography (ACP) festival presents another brush with celebrity, an artist lecture at the High Museum by the multitalented Harry Shearer, the actor and satirist most widely known as the voice of Montgomery Burns and at least 11 other Simpsons characters. Shearer is responsible for the Silent Echo Chamber, a video installation at the Atlanta Contemporary featuring roughly a dozen politicians and media pundits sitting in dead silence.

Brush

A scene from "Brush with Greatness," a Simpsons episode where Marge is intimidated into creating a portrait of Springfield's most "excellent" man. Trivia: "Brush with Greatness" achieved a Nielsen Rating of 12.0, which made it the second highest-rated show on the Fox network the week it aired.

I’m curious to hear Shearer’s defense of his work. (Cathy Fox’s summary last week called it “disappointing” and “a yawn.”) As a member of the entertainment establishment, how does Shearer perceive his own place beside the faces he appropriates in the video? Originally conceived as a response to the 2008 presidential election, the Silent Echo Chamber captures candid footage of Dr. Phil, Larry King, Sean Hannity, Bill O’Reilly, Hillary Clinton, and even Barack Obama sitting in the long, lonely minutes before cameras go live. How does Shearer’s experience as an actor inform his point of view and, further, his understanding of the work’s merit as contemporary art?

The discussion panel, featuring Harry Shearer, Jim Clancy of CNN, Michael David Murphy of ACP, and moderator Stuart Horodner of the Atlanta Contemporary, is scheduled for Friday, November 20, from 7-8:30PM at the High Museum. Tickets are free, but seating is limited. Please contact the High for more info.

The final viewing of the installation, the Silent Echo Chamber, is on view at the Contemporary this Sunday, November 22.


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  • Update

    Actually, the High Museum just informed me that the lecture is now sold out. Ouch!
    -Jeremy

  • http://www.ktauches.com ktauches

    though I hate to prefer the celebrity artist. . .Harry Shearer’s work was my favorite, by far.

    (this show is not really a curation. . .but three separate galleries of solo work. I’m not that convinced of grand overarching connections, out of context, other than it all being photography. ( dutiful compliance, perhaps with that maniacally annual ACP!).

    I might have preferred to see remnants of Corin Hewitt’s Whitney installation, instead of the framed artifacts (photos) hung traditionally on the wall. where the mess, where’s the process which is perhaps the most interesting part of the show? and, Rogan’s work is quaint . . .he presents a somewhat predictable, or rather ubiquitous subject for recent photography.

    I read cathy fox’s critique of Shearer’s work, and it seems she has more of a problem with the title/intellectual framing of the piece. she may be right in this analysis. Shearer’s work is not so much about identity, but about looking behind the camera or into the pre-official subconsious gestures of our leaders. I really enjoyed the opportunity to gaze at our most powerful talking political heads in the moments before they performed. it revealed, whether truthfully or not, something about their inner characters. my vote for most absolutely chilling person is Karl Rove. . .for minutes, he does not move, not at all, no flinch, no hair adjustment. he only blinks, ever so sinisterly. ultimately, I disagree with fox, in that I really liked the installation of the video screens together on one wall in that empty room, regardless of the textual framework. nice move on that one, Horodner.

  • http://www.ktauches.com ktauches

    hey, here are a few good links

    npr: Shearer interviewed about the work:
    http://www.npr.org/templates/story/story.php?storyId=99084576

    nytimes: http://www.nytimes.com/2008/12/31/arts/design/31shea.html?_r=1
    (“Silent Echo Chamber” at the Aldrich Contemporary Art Museum in Richfield, CT)

  • BPJ

    The Shearer was my favorite of the three shows as well. It’s a quite revealing form of portraiture. It also reminded me of why I like Joe Biden (go see for yourself).

    It’s definitely three separate galleries of solo work. That’s usually the case at The Contemporary, although there are occasionally intentional connections, as when there were three politically-themed exhibits in fall of 2008. And sometimes there are fortuitous, unforeseen (I think) connections.

  • http://www.ArtscritiATL.com Catghy Fox

    I liked your thought about the Hewitt presentation, and I have a question for you about the Shearer. To bring home the silent echo chamber idea, wouldn’t it have been better to mount the monitors in the round or in a square so that visitors would actually be in a chamber, rather than mounted all on one wall?
    Or do you think that’s too obvious?

  • http://forums.next.lv/memberlist.php?mode=viewprofile Krystle Bateman

    I just signed up to your blog RSS. Will you post more on the subject?

  • http://www.ktauches.com ktauches

    glad to have further conversation about this show, which has stayed with me a bit . . .
    (& thanks cathy for responding)

    actually, I think the multiple monitors on the far wall, instead of in the round, is effective in this case. . .it brings home the 2-dimensionality of speeches and interviews on screens. It looks like a television control room. It pushes our power buttons, with the one-way communications style of television. (. . .you know, power people targeting the audience directly, and also slightly from above which is always a position of physical authority)