Michael Salter

Salter began college as a marketing major[9] before narrowing his focus to the visual and creative aspect of design. He earned his BFA from Miami University, Oxford, Ohio, with to a double concentration in sculpture and graphic design. He received his MFA in studio art from the University of North Carolina at Chapel Hill.[3]

After spending some time as a successful graphic designer, Salter became disillusioned with the consumer culture his work was contributing to.[10] As a member of the artist collective Team Lump,[11] in 1998 he began participating in Lump Gallery group shows,[8] creating what one reviewer later described as "whimsical parodies of corporate logotypes and manufactured objects", using the language of institutional-style graphics to "spoof" them.[6] Two years later, he displayed a photo series: discontinuous editing, which depicted uninhabited industrial landscapes.[6] Both the "irrational" icons[8] and the images of unpopulated urban or sub-urban landscapes would become recurring motifs in Salter's work, reemerging in three-dimensional and animated forms in Salter's later work.[5]

Around 2003, inspired by their "mechanical" shapes, Salter began using pre-formed styrofoam packing materials to construct a six-foot tall robotic sculpture.[12] Over time the Styrobots have grown with each successive show, expanding to fill their available space.[5] The tallest Styrobot to date was created for a group show at the San Jose Museum of Art in 2008, "Robots: Evolution of a Cultural Icon".[12] Rising to a height of 22 feet, the massive figure was surrounded by and appeared to be looking down at a number of smaller Styrobots at its feet.[12] Later that year, a solo show at Rice University titled too much featured a Styrobot nearly as large in a much smaller space, crouched in a defeated position in the corner, surrounded on all sides by walls plastered with scores of images culled from Salter's collection of graphic icons.[13]

From the beginning, Salter's gallery installations have included a variety of stylized images, often referred to as "icons", but perhaps more properly called pictograms.[5][7] Executed in the simple, generic, black and white style of international signage, they seem at first familiar, yet their surrealistic content defies explanation.[8] In the words of one reviewer, by parodying the near ubiquity of corporate logotypes and institutional style graphics, Salter "calls attention to what he calls the 'invisible fabric' of random, banal images and objects which threatens to smother us with its mind-numbing profusion."[6]

"The chair as a symbol of authority has literally been turned on its head," said critic Woody Holliman of Salter's circa 2000 work l'arc des'chaises, an "anti-heroic spectacle" of ten small plastic children's chairs bolted together in a semi-circle and flipped upside down.[6] Two years later, the kinetic sculpture epilepsony featured recorded music with a vibrating figure on a tray under bright light.[4] Pick Me A Winner, in 2008, literally embodied its title, as a motorized finger relentlessly aimed for a small molded nose.[5] Disembodied appendages also feature in Finger Lickin' Good: a tiny kinetic sculpture in which "the pointed finger rotates on a single axis gently brushing against a tiny rubber tongue. The rubber tongue slightly bounces when it licks the finger, coming to a complete stop before lickin' again."[14]

Salter has exhibited works in solo and group shows nationally and internationally.[3] His 2008 show at the Jeff Bailey Gallery in New York was reviewed in the October issue of Art in America that year. The show, entitled Are You Sure, featured a variety of elements from his ouvre, including the fourteen foot tall Styrobot, a series of digital C-prints titled Situations Unknown depicting empty suburban landscapes containing a single improbable element, and a collection of porcelain figurines dubbed Subzer-o: a series of static humanoid figures, each branded with its own logo, packaging, and text describing its particular depressing attributes.[5]

Informatics and The Styrobot Face Off, an installation at BLK/MRKT Gallery in 2006, included a central space filled with two opposing Styrobots mirroring each other's aggressive posturing. Grouped around these oversize figures were a number of smaller works in a variety of media: lighted panels displaying Salter's "spoofs" on graphic design and corporate logotypes, a shelf of colorful toylike monsters in tubes, two imploded oil cans covered with glossy paint and appliqués, a series of images depicting surreal suburban environs, small sharks apparently swimming into a wall, and the kinetic sculpture Finger Lickin' Good.[15] This piece and the appropriated oil cans would reappear the next year in the group show Introduction, the inaugural exhibition of the think.21 gallery in Brussels, Belgium.[16]

In 2009, Salter would install a solo show at think.21, If You Don't Buy It From Us, It's Not Our Problem[17] which included a pensive looking seated Styrobot and the "absurd" figure of a giant singing yellow banana whose pants had fallen to his ankles.[9]

For his solo show as the New Britain Museum of American Art featured "New/Now" artist in 2012, Salter displayed commercial-like signage with ominous undertones, an oversize graphic image of a delicate hand pinching a denuded flower, small chimera-like sculptures made of toy figurines, and two Icon-o-lots - panels covered with what one reviewer characterized as "subversive glyphs that seem to exist just beyond one's ability to perceive them."[7]