Artborne Magazine November 2016 - Page 29

Trumped, which deals with these events, was released in 2012, and Hargrove was able to view the fi lm in the UK. There was a strong reaction to it, and she reminded me how much people in Scotland dislike Trump. She also informed me that this is the fi rst year that she is able to vote in the United States presidential election. Hargrove became interested in the concept of golf courses when she realized “golf courses can be anywhere in the world. You can visit them all and not experience the world. A golf course in Florida can be made to look just like a golf course in Scotland, or China.” Hargrove manages to draw a connection between golf and war through the “applied rules and order to the landscape.” Both take what is natural and dig out dunes and trenches, creating a manmade landscape. Globalization and capitalization are apparent in both golf and war. “Capitalist greed is taking over nature,” and, because of so much urbanization, Hargrove describes how one can easily forget what the real landscape looks like. By combining international war-map markings with artifi cial aerial-landscape views, she transforms her manicured, beautiful paintings into something much darker. “Art is a good venue for conversation,” Hargrove explains. But even the experience of viewing art is at risk of disappearing as well. The gallery that represents her, Bridgette Mayer Gallery in Philadelphia, has become a private gallery and will no longer hold public shows. It is becoming more and more common for galleries to turn to this model, or even to become completely online businesses. Viewing work online compared to viewing it in person is a completely different experience. “When I was fi rst starting out, social media wasn’t a thing,” Hargrove tells me. Having an accessible website with images of work is important for artists today. She does tell me that she has enjoyed posting images to Instagram. It has given her the opportunity to revisit and share old bodies of work that have not been viewed online before, but social media can only go Orlando’s Art Scene, v. 1.5 28 Trumped, which deals with these events, was released in 2012, and Hargrove was able to view the film in the UK. There was a strong reaction to it, and she reminded me how much people in Scotland dislike Trump. She also informed me that this is the first year that she is able to vote in the United States presidential election. war through the “applied rules and order to the landscape.” Both take what is natural and dig out dunes and trenches, creating a manmade landscape. Globalization and capitalization are apparent in both golf and war. “Capitalist greed is taking over nature,” and, because of so much urbanization, Hargrove describes how one can easily forget what the real landscape looks like. By combining international war-map markings Hargrove became interested in the concept of with artificial aerial-landscape views, she transgolf courses when she realized “golf courses can forms her manicured, beautiful paintings into be anywhere in the world. You can visit them something much darker. all and not experience the world. A golf course in Florida can be made to look just like a golf “Art is a good venue for conversation,” course in Scotland, or China.” Hargrove man- Hargrove explains. But even the experience of ages ]HۛX[ۈ]Y[[Y][\\]\و\\X\[\[ ܛ[&\\[K KBH[\H]\\[\Y]BX^Y\[\H[[Y[XK\XYHB]]H[\H[[ۙ\XXœˈ]\XZ[[ܙH[[ܙH[[ۂ܈[\Y\\\[[ ܈][˜XYH\][Hۛ[H\[\\ˈY][ܚۛ[H\\YY][][\ۂ\H\][HY\[^\Y[K8'[H\; \\[] X[YYXH\۸&]B[8'H\ܛݙH[YK][[X\XHX]H][XY\وܚ\[\ܝ[܈\\^KH\[YH]H\™[YY[[XY\[Yܘ[K]\™][\Hܝ[]H]\][\BY\وܚ]]HY[Y]Yۛ[HYܙK]X[YYXH[ۛH‚