Mike Simi’s roboticpuppet, titled Mr. Weekend,saw action in Detroit as a mechanicalNachi arm constructing the Chrysler 300 automobile. Now obsolete, the machinehas been recycled into a contemporary piece of art as a 13-foot-tall puppet.
Like several otherartists in “A Sense of Humor,” Simi captures both the comedy and tragedy of hissubject. The idea of talking to a monstrous puppet whose mouth and torso moverealistically appears hilarious on the surface, but the puppet’s past lifeechoes the experience of millions of unemployed people during this seriouseconomic recession. Is Mr. Weekend merelyfunny, or a compelling work of contemporary art?
Bill Amundson continuesthe ambiguity while using colored pencil and graphite to comment oncommercialism and suburbia. Amundson’s TuscanLandscape with Starbucks depicts the hilly Italian countryside dotted withcommercial cafésan especially amusing thought, given Italy’s history ofproducing its own delicious coffee products.
In a completelyirreverent use of ceramics, Charles Krafft revisits the decorative arts with Martha Stewart Commemorative Prison Plate,whichparodies the famousblue-and-white consumer collectibles with hand-painted expertise. Exhibitedalongside Krafft’s porcelain MarthaStewart Skateboard,modeled afterDelft tile, both objects offer a sardonic commentary on American celebrity andculture.
The renowned WilliamWegman presents a video and prints of his beloved Weimaraners from his privatecollection. This includes a 1991 color Polaroid featuring his pet dog in aflowing dress.
Laughter is said touniversally relieve stress and lower blood pressure, yet humor itself differsfrom person to persona concept that is explored throughout this exhibition. Anintroductory warning informs viewers that certain artworks “may not beappropriate for all audiences,” but each piece still embodies artisticintegrity. And the Kohler Arts Center proves that exploring society’sproverbial “funny bone” can lead to adventurous territory.
