| 1. Source: Networked_Performance |
| Item: I Spy: Surveillance and Security [Idaho] Date: 8 March 2010, 6:42 pm |
I Spy: Surveillance and Security examines the relationship between surveillance, security and privacy in the early 21st century. The attempted bombing on Christmas Day of a Detroit-bound flight reopened the urgent national conversation about security and surveillance that has been going on since September 11, 2001. Government today has unprecedented access into our lives. At the same time that we are debating how to balance civil rights against our need for security, corporations use hidden cameras and track our internet use to sell us their products. Millions of us willingly (or unwittingly) give up our privacy to participate in social networking sites like Facebook. How has increased governmental and corporate intrusion into our lives shaped our assumptions about what is private and what is public? How has our definition of civil liberties changed? What effect has the Internet and the boom in social networking sites had on our behavior? Are we safer now than we were before? Between 2003 and 2005, Deborah Aschheim created six installations she called Neural Architecture (a smart building is a nervous building). “Nervous systems” for architecture, these sculptural projects reflect our tendency to think about buildings in human terms. They also convey our ambivalence toward surveillance; technologies that initially seem invasive or Orwellian eventually become simple conveniences. The sculpture Aschheim presents in this exhibition is a recreation of one neural column from her earlier projects. Hasan Elahi has made his everyday life part of his artwork. Erroneously targeted as a suspected terrorist and interrogated by the FBI, Elahi decided that his best defense was to open up his life to public and governmental scrutiny. Tracking Transience: The Orwell Project is an online database that documents his travels, finances and even the meals he eats on airplanes. For I Spy, Elahi is creating a timely installation that considers security and surveillance in the world of aviation. Tracking Transience: The Orwell Project is a project of Creative Capital. The work of artist, writer and geographer Trevor Paglen explores the relationship between surveillance and security in a post-September 11th world. His long-distance photographs of secret military installations, badges from classified military programs and photos of U.S. spy satellites in orbit expose a world of secret operations and surveillance that sometimes exists in plain sight. From 2003 to 2007 Paul Shambroom photographed Homeland Security training environments like “Disaster City” in Texas and “Terror Town” in New Mexico. His images of personnel in their disaster gear, training in simulated settings, get at the difficulty we sometimes have discerning between legitimate security threats and paranoid fear. Shambroom is a 2001 Creative Capital Visual Arts grantee. Related Programs Lecture: Living in a Wired World: Can Personal Privacy Survive in the 21st Century? Lecture: The Role of Surveillance in National Security |
| 2. Source: Networked_Performance |
| Item: Video Vortex Reader II: Open Call Date: 8 March 2010, 5:32 pm |
In response to the increasing potential for video as a significant form of personal media on the Internet, the Video Vortex program examines key issues that are emerging around the independent production and distribution of online video content. With the rise of YouTube and alternative platforms, the moving image on the Internet has become expansively more prominent and popular. As a wide range of technologies is now broadly available, the potential of video as a personal means of expression has reached a totally new dimension. Following the success of the first Video Vortex reader (published late 2008, second edition, 4000 copies in total), recent Video Vortex conferences in Ankara (Oct. 2008), Split (May 2009) and Brussels (Nov. 2009) have sparked a number of new insights, debates and conversations regarding the politics, aesthetics, and artistic possibilities of online video. Since these issues develop with the rapidly changing landscape of online video and its use, we want to open up a space once again for interested people to contribute to this critical conversation in a second issue of the Video Vortex reader. POSSIBLE TOPICS Taking its lead from the first Video Vortex reader, and based on the issues raised at the latest three Video Vortex conferences as well as recent developments, possible topics include:
WE INVITE Internet, visual culture and media scholars, researchers, artists, curators, producers, lawyers, engineers, open-source and open-content advocates, activists, Video Vortex conference participants, and others to submit materials and proposals. FORMATS We welcome interviews, dialogues, essays and articles, images (b/w), email exchanges, manifestos, with a max of 8,000 words. For scope and style, take a look at the previous INC readers (Video Vortex Reader, Urban Screens, Incommunicado Reader, MyCreativity Reader) and the style guide here. This publication is produced by the Institute of Network Cultures in Amsterdam and will be launched early 2011. DEADLINE: May 10, 2010 SEND CONTRIBUTIONS TO: rachel(at)networkcultures(dot)org ABOUT THE READER SERIES The INC reader series are derived from conference contributions and produced by the Institute of Network Cultures in Amsterdam. They are available (for free) in print and pdf form here. |
| 3. Source: Networked_Performance |
| Item: Live Stage: Participation - A User’s Guide [NYC] Date: 8 March 2010, 4:46 pm |
All around us we see a search for other languages and other modalities of knowledge production, a pursuit of other modes of entering the problematics of “education” that defy, in voice and in practice, the limitations being set up by the forces of bureaucratic pragmatism: a decade of increasing control and regulation, of market values imposed on an essential public right, and of middle-brow positivism privileged over any form of criticality — matched by a decade of unprecedented self-organization, of exceptionally creative modes of dissent, of criticality, and of individual ambitions that are challenging people to experiment with how they inhabit the field, how they inhabit knowledge. Our notion of “Education Actualized” lies in the tension between these antagonistic spheres. If we think of actualization as the incarnation of an idea of “an education” within one particular educational system, we arrive at the duality we inhabit and work with. This issue is teeming with voices — angry and bewildered, critical and speculative, voices of ideas put to the test, producing fictions of impossible encounters — all efforts to grasp and locate, to actualize and inhabit this ongoing process in which we are all immersed. You will see that almost every one of the contributions here reflects an unease and a recognition of the dangers and limitations wrought by attempts to regulate and homogenize a vast range of education cultures. The marketing of education, which began in the U.S. and followed in Britain, has now taken hold on the European continent. The dangers inherent in education becoming a market economy geared towards profit and revenue, privileging a reductive notion of “outcomes,” “transferable knowledges,” and “entrepreneurship” are clear to all. But the emerging dominance of cognitive capitalism over European education systems and their inscription into capital economies of debt and credit, of self-support, of precarities for both students and professionals, is only one side of these developments. The other is the politicization of “education” to an extent we have not seen since the late 1960s. Not only are students — whose access and conditions have worsened considerably — being treated as paying clients with no say or part in determining their own education, they are also increasingly organized in effective and insistent ways. But many other spheres and strata of education have also been galvanized and linked up with the proliferation of self-organized structures that have emerged in the past decade of waning public-sphere culture and increasing privatization. This issue of e-flux journal aims to bring together and extend a series of projects and interactions taking place between 2006 and the present that involved extensive investigations into “education” as a site of knowledge production, alternative modes of questioning, new vocabularies, analyses of the conditions of contemporary education, and negotiations between institutional and self-organized cultures. The voices that make up this issue have all been involved with related projects: A.C.A.D.E.M.Y was a series of exhibitions and publications (Hamburg, Antwerp, Eindhoven) that saw life over the course of 2006–2007; “Summit – Non Aligned Initiatives in Education Culture” was a large-scale meeting held at the HAU theatres in Berlin in 2007; in other formations and in other conjunctions we met and collaborated through the “Dictionary of War” project, the “Edu-factory,” border academies, nomadic universities, committee meetings, conferences, discussions, and dinners. But, rather than document or build directly upon these activities, we wanted to bring about an “actualization” of these originary events—a constant process by which concepts acquire extensions and qualities. This does not purport to be a representation of this vast field of thought, action, and agitation — the work collected here is in dialogue with many other exponents of this field, part of a network of shared concerns and open collaborations. This might help to explain what could appear to be a fairly arbitrary conjunction of people who do not belong to any particular organization, institution, or profession. Some of us are academics, some activists, and others are artists, curators, or publishers; everyone seems to be turning their hand to forms of activity and articulation outside their typical sphere of operations. Our contact with “education” as a political platform, a polemic, and the site of much of our work seems to have stretched us in unexpected directions, as can be seen through the actual writing that has been produced for this issue. The focal point of the issue is the specter that haunts European higher education — the Bologna Accord on education, the so-called reforms of the system across the continent of Europe that aim to standardize it with comparable entry points, degrees, outcomes, credits, funding structures, criteria of excellence, and so forth. This has undoubtedly produced a very “Eurocentric” view of the map of education, but so great is the potential upheaval of “Bologna” that we decided to focus on this part of the world, but also to place it in dialogue with colleagues and collaborators in the U.S. There is equally a decisive “geopolitical” drive to Europe’s education policy that fuses the former East and the former West into one knowledge tradition, thereby erasing decades of other models of knowledge in the East and producing an illusion of cohesion through knowledge economies and bureaucracies. Our thanks to e-flux journal for giving us the space to elaborate the ideas included in this issue and for founding a platform hospitable to expanded discussions around creative practices. Our thanks to the Siemens Art Fund that initiated the A.C.A.D.E.M.Y project and to the Kulturstiftung des Bundes, Germany, that funded the “Summit” project, to Van Abbemuseum and MuHKA, which took part in extensive discussions and collaborated on these projects, and to the many other institutions, forums, and funders who have supported this work as it has progressed. My thanks to Susanne Lang who took on co-editing this issue, to Ashley Whitfield who took on its production, and to the authors who rose to the challenge and explored the numerous facets of “education” as a vital, critical, and communal space. — Irit Rogoff |
| 4. Source: Networked_Performance |
| Item: Turbulence Commission: “Black & White” by Liz Filardi Date: 8 March 2010, 4:33 pm |
One of the original cases of criminal stalking in America is retold within the framework of a social network called Black & White, which consists of two mirrored profiles, those of Laura Black and Richard Farley. The website extrapolates on the tongue-and-cheek usage of the term “stalking” to describe the accepted social protocol, a far cry from the original behavior that, in this case, lead to a massacre at a booming Silicon Valley company in 1988. This project points to new and different levels of trust, privacy and social order in our networked society, tells the story behind the first Anti-Stalking Law passed in California in 1991 in the language and structure of networks, and tragically binds together two tormented Americans, once at opposite ends of an ineffective restraining order. Liz Filardi received an MFA in Design and Technology from The New School, where she also worked as teaching assistant to Ken Wark and Orit Halpern. In 2008, she was nominated for the William Randolph Hearst Scholarship for Truth Recruit, a performance in which she visited a Bronx high school dressed as a military recruiter. Her performance video, Viral Conversations is currently on display with Iraqi Memorial at Sheppard Gallery in Reno, Nevada. Based in New York, Liz is a production manager and web designer at Kickstand Animation, Research and Design and has interned at Rhizome, Eyebeam and Rocketboom. |
| 5. Source: Networked_Performance |
| Item: Live Stage: Tetsu Kondo [Eindhoven] Date: 8 March 2010, 4:02 pm |
The next Upgrade! Eindhoven presents Albert van Abbe and MAD Artist in Residence, Tetsu Kondo discussing Kondo’s work and vision. Kondo is an artist, musician and researcher whose work includes drawing, installations and musical instrument design. He is currently teaching at Tokyo Polytechnic University. Kondo will also demonstrate his Dendraw, a software instrument he developed, that transforms the beauty of visual programming into live interactive sound performances. The Dendraw generates specific sine waves depending on screen position. The Dendraw concept is inspired by acoustic string instruments such as the guitar and violin. The Dendraw consists of 5-circular strings which generate tones as Kondo slides its points in the screen, sometimes creating harmonies with certain movements. |
| 6. Source: Networked_Performance |
| Item: Localitzats_PRIORAT Date: 8 March 2010, 9:59 am |
In this case, the work focuses on the Priorat region, a territory that allows the development of the project because of its size and small number of villages and residents. Localitzats_PRIORAT displays the first and last names of more than three thousand residents of Priorat that have been located on the Network. This information was obtained through a simple search by locality carried out in one of the many telephone contact records on the Internet. The Network and new technologies facilitate the indiscriminate emission of personal data by unsuspecting users, as well as the immediate collection of databases that report to various stakeholders. Services as common as a simple search for phone numbers are able to locate a person on a map. A search of combined words can provide details ranging from personal identification numbers to a diverse background, which may contain a complete record of works, personal relationships, crimes and offenses… A software as accessible as the popular Google Maps Street Viewer can allow us to gain access to the residence of a person we only know the name of. Regardless of the nature of our relationship with the Network, it is easy to imagine that our data are there. The final use of these data depends only on the interests of those who manage them. This can range from market research to all kinds of scams and swindles, all under the watchful eye of many agencies t hat are there to ensure the ever-recurring national security. |
| 7. Source: SeattleArtists.com Blog |
| Item: All Art Licensing FREE Live Event: LICENSE YOUR ART-OPEN DOORS AND CLOSE DEALS Date: 19 February 2010, 1:32 am |
All Art Licensing offers FREE live event: LICENSE YOUR ART-OPEN DOORS AND CLOSE DEALS on Wed, February 24th This comprehensive presentation with live audio and downloadable presentation helps artists understand the art licensing business and identifies the points of entry. Ever wondered how creators get their art on all those beautiful products in small boutiques and huge retail stores? Artists, Painters, Illustrators, Cartoonists, Animators & Graphic Designers — this is a fast-paced introduction to art licensing that will show you how to begin to expand your creative and income potential. If you want to increase your income and learn more about art licensing, then this FREE live event with downloadable presentation is a great starting point. Topics include: What exactly is licensing and how does it work – Types of licensing – What you MUST know about the retail marketplace BEFORE you start – Protecting your rights – Royalty rates – Artist requirements – Agent services – and much more! This class will run just under 1-1/2 hours with a live Q&A at the end. Register online below. Submit your questions for the live Q&A during the checkout process in the designated box at the bottom of the checkout page. J’net will answer as many questions as possible during this class. Upon registration for this event, you will be sent an e-mail confirmation of your reservation. The day before the event, February 23rd, you will receive an email with the call-in number, access code and presentation handout. Register at: www.allartlicensing.com/schedule.cfm |
| 8. Source: SeattleArtists.com Blog |
| Item: Do you want to do some painting, snorkeling, eating & relaxing in Hawaii? Date: 28 October 2009, 7:03 pm |
Here’s an email from Linda, who runs guided art classes & tours in Hawaii. The deadline is November 1st, which is next Monday, so you gotta get a jump on things! Aloha All, I am at Kealakekua Bay now, and today will be painting orchids, snorkeling, eating tropical fruits…life could be worse. If this sounds as nice to you as it is to me, peek at my website page: http://vorobikbotanicalart.com/HiPaintOrchids.htm and make sure to follow all links to see a variety of pictures, the syllabus, etc. Deadline is 1 November (soon!) for the Feb 2010 workshop. Flights are cheap now, so it is a good time to travel. And an OK time to leave the dreary northwest winter!
Mahalo! lav
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| 9. Source: SeattleArtists.com Blog |
| Item: Sell Your Artwork at The Holiday ArtStravaganza Date: 15 October 2009, 2:54 pm |
Call for Artists Artists are invited to participate in an art liquidation sale. Dust off unsold work and liquidate your inventory at the: Holiday ArtStravaganza Artist Liquidation Sale
855 Hiawatha Place South, Seattle
Sundays in December: 12/6, 12/13 and 12/20 – 10AM-6PM All art must be priced below $500.
Original work only.
Artists are provided approx. 5 1/2′ wide x up to 10′ tall hanging space and 3′ of floor space to lean art in front of your wall. Work must be labeled with price, artist and name of piece.
Submit by October 27 to c.artgallery@gmail.com:
(No obscene, gratuitous erotica or sexually explicit work will be accepted.) Additional Information: Artists will be selected as works are submitted and approved. Selected artists will be notified by Ocotber 29 and will be requested to send a 50% non-refundable deposit due by November 4 based on the fee structure below to secure your space. One Sunday Fee: $ 80 Deposit: $40 The balance of the participation fee is due November 15. The gallery will not receive any commission for the sale of work. Participating artists agree to set-up between 8AM and 9:30AM and be present or have a representative present during the course of the day through 6PM. The artists is required to remove all work from the premises each day unless other arrangements are made. C Art Gallery will be open 10AM-6PM each Sunday and will handle all transactions. Additional fees include service fees for sales transactions. Artist will be responsible for paying sales tax on work sold. Please e-mail c.artgallery@gmail.com or call 206-322-9374 for additional information.
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| 10. Source: ArtCal Zine |
| Item: Burgers at the Laundromat Date: 31 July 2009, 4:50 pm |
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Each participating artist has crafted a 'conceptual hamburger' that references the study of art history, or art-related concepts. The artists will be writing descriptions of their respective burgers for the menu, and cooking their creations for patrons. Founder and director of the Laundromat, Kevin Andrew Curran, sees the menu as a "tongue-in-cheek" opportunity for the artists to make commentary and fuel artistic discourse. Curran does not intend to teach visitors a formal lesson, but he does see the potential for artists and visitors alike to indulge in "some (serious) fun with the idea of creating and consuming hamburgers that are playfully engaging art history." The show also provides an opportunity for the Laundromat to display works from the space's rotating Flat File. Artists included in the File lend their work to the Laundromat for one year, after which the drawer may be offered to another artist. In this way, Curran hopes to increase the number of artists whose work may be viewed in the flat file, while simultaneously increasing the geographic diversity of the collection. The Burger Group Show will be held at the Laundromat gallery on Saturday, August 8th, from 6-10 PM. Participating artists include Chris Deo, Sarah McDougald Kohn, Maria Walker, Jonathan Allmaier, Scott Wilson, Ben Godward, Joe Protheroe, Ianthe Jackson and Liz Atzberger. Conceptual burgers will be on sale for $5 to $20, and visitors are invited to take home a copy of the menu. |
| 11. Source: ArtCal Zine |
| Item: Triumph of the Will at Anthology Date: 10 July 2009, 2:39 am |
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And yet, watching the film today, it is clearly not only a piece of propaganda, but the apogee of the genre. By turns horrifying and deadly dull, it is wholly without irony or self-reflection of any sort. Quite literally a masterpiece, it is responsible for creating an entire arsenal of cinematic techniques later employed by everybody from Josef Stalin to Barack Obama. In effect then, the distinction, between art and propaganda, which mattered so much to Reifenstahl in the films production, has in some sense vanished. Art not only became propaganda but perfected it, the distance she fought to maintain damning her all the more for preserving the unique power of her vision. Triumph plays at Anthology this Saturday at 6 and 8:30, its worth seeing, if you haven’t before; even if the technical achievements no longer impress, the relentlessness of thing remains striking and, god willing, singular. |
| 12. Source: ArtCal Zine |
| Item: Kathleen Cullen on "Tattoo" Date: 1 July 2009, 7:49 pm |
Installation view of Tattoo at Kathleen Cullen Fine Arts. Via gallery.
Tattoo at Kathleen Cullen Fine Arts is a multimedia exploration of tattoo art and its ever-changing role in society. The exhibition includes paintings, photography, sculpture and film, as well as a few empty bottles of Jack Daniels littered about the gallery for an something like an authentic, tattoo parlor feel. We caught up with Cullen, the director of the gallery, and asked about her inspiration for the show and her take on tattoo art.-- S.K. Stephanie Korszen for ArtCat: What was your inspiration for situating the work of tattoo artists within the context of a fine art gallery? Kathleen Cullen: The inspiration is really the everyday. You need only sit down at a café or bar, or stand at a traffic light, to grant your eyes the opportunity to admire the body art on others' skin. Additionally, one of the artists I represent, Max Snow, served as the catalyst for this exhibition. In 2008, Max documented the stories of Latino gang members in L.A., for whom tattoo art serves an important role in self-identity. Max also wears part of his identity externally in the form of body art. In the 1930s, Herbert Hoffmann photographed people and documented their fantastic stories before they were sent to prison by the Third Reich. He developed a great respect for these people, whom he saw as hard-working and unpretentious. Many bore the simplest of tattoos on their arms and hands – historically a sign of degeneracy. Over the years, tattoos have broken free of this inherent link to all things degenerate, to the point where they now have the potential to serve as a status symbol on par with designer handbags. Bruce Willis, on the cover of W Magazine, sports tattoos. Supermodels adorn themselves with body art. We see biker motifs, as well as Maori, Japanese, and sailor themes – rich codes to decipher on other’s bodies. AC: You’ve discussed tattoo art as an intercession between the arenas of popular and high culture. How have you mirrored this comingling of cultures in your gallery space? KC: We have everything from a Keith Haring poster, graffiti tattoos, tattoo-inspired furniture AC: How did you conduct your research for this exhibition? KC: We began by researching books and articles on the tattoo subculture from the 1930s Also included is Larry Clark's Tulsa tattoo. Like Danny Lyons, Clark blurred the lines between observer and participant. Lyons photographed unwanted, hated bikers. A common underlying theme for the artists represented in the exhibition is the desire to share an emotional closeness with their subjects. The resulting works are not merely documents; they are empathetic portraits. AC: In presenting tattoo art, all of the works on display also portray the tattooed. Do you feel that the meaning of a tattoo is inherently tied to – and thus dependent upon – the individual’s identity? KC: The meaning of a tattoo is intrinsically tied to a person's identity, because without the individual, the tattoo is rendered meaningless. If the individual was done away with, the tattoo would become an image devoid of significance. |
| 13. Source: Art Competitions provided by Artshow.com |
| Item: CT+5, Annual Juried Exhibition - West Hartford, Connecticut |
| $1,000 Best of Show plus opportunity for one person show, other cash prizes and awards. Deadline: March 23, 2010 |
| 14. Source: Art Competitions provided by Artshow.com |
| Item: Without a Map, 8th Annual Juried Art Exhibition - Northbrook, Illinois |
| $2,000 purchase prize and other prizes. Deadline: May 31, 2010 |
| 15. Source: Art Competitions provided by Artshow.com |
| Item: 2010 Healthy Living Art Competition - Richmond, Virginia |
| $500-1st Place; $250-2nd Place; $150-3rd Place. Deadline: April 15, 2010 |
| 16. Source: Art Competitions provided by Artshow.com |
| Item: Third Annual Ambience Photography Contest 2010 - Online Exhibition |
| 1st Prize $500; 2nd Prize $250; 3rd Prize $200; 4th Prize $150; 5th Prize $100. Deadline: April 30, 2010 |
| 17. Source: Art Competitions provided by Artshow.com |
| Item: The Icon Prize: Book Cover Art Contest - Online Exhibition |
| Award of $1500 and the publication of the winning work on the cover. Deadline: December 31, 2010 |
| 18. Source: Art Competitions provided by Artshow.com |
| Item: 17th Annual National Watermedia Competition - Pawtucket, Rhode Island |
| $4000 in Total Awards; 1st Prize $1500. Deadline: July 16, 2010 |
| 19. Source: Art Competitions provided by Artshow.com |
| Item: 2010 California Open Exhibition - Santa Monica, California |
| Total Cash Awards $1,000. Deadline: June 26, 2010 |
| 20. Source: Art Competitions provided by Artshow.com |
| Item: New England Watercolor Society's 12th Biennial North American Open Show - Gloucester, Massachusetts |
| $5,000 in awards. Deadline: July 16, 2010 |
| 21. Source: Art Competitions provided by Artshow.com |
| Item: Art on Main - Hendersonville, North Carolina |
| $3,000 plus purchase awards. Deadline: June 1, 2010 |
| 22. Source: Art Competitions provided by Artshow.com |
| Item: Laumeister Fine Art Competition - Bennington, Vermont |
| First Place $4,000; Second Place $2,000; Third Place $1,000. Deadline: June 19, 2010 |
| 23. Source: Videos on Art |
| Item: Douglas Fishbone Date: 17 December 2005, 2:32 am |
click picture to watch |
| 24. Source: Frieze Art Fair |
| Item: Updates: The Cartier Award 2010: Call for Entries Date: 25 September 2009, 10:21 am |
| The Cartier Award is open to artists living outside of the UK. The recipient of the award will have the unique opportunity to present their work at Frieze Art Fair 2010. |
| 25. Source: Frieze Art Fair |
| Item: Press Releases: The Cartier Award 2010: Call for Entries Date: 25 September 2009, 6:49 am |
| CartierCallforEntries_Final.pdf |
| 26. Source: Frieze Art Fair |
| Item: Press Releases: The Cartier Award 2009: Winner Announced Date: 14 May 2009, 3:43 am |
| cartier_09_new.pdf |
| 27. Source: Frieze Art Fair |
| Item: Updates: The Cartier Award 2009: Winner Announced Date: 13 May 2009, 6:42 pm |
| Frieze Art Fair is delighted to announce that the winner of The Cartier Award 2009 is the American artist Jordan Wolfson. |
| 28. Source: Frieze Art Fair |
| Item: Updates: The Cartier Award 2009: Call for Entries Date: 1 October 2008, 8:40 am |
| The Cartier Award is open to artists living outside of the UK, up to five years from graduating from an undergraduate or postgraduate degree or under thirty years of age. |
| 29. Source: Frieze Art Fair |
| Item: Press Releases: The Cartier Award 2009: Call for Entries Date: 23 September 2008, 4:46 am |
| Cartier_2009.pdf |
| 30. Source: Frieze Art Fair |
| Item: Updates: The Cartier Award 2008 Announced Date: 12 May 2008, 7:09 pm |
| Frieze Art Fair is delighted to announce that the winner of The Cartier Award 2008 is Cuban artist, Wilfredo Prieto. |
| 31. Source: Frieze Art Fair |
| Item: Press Releases: The Cartier Award 2008: Winner Announced Date: 12 May 2008, 4:52 pm |
| Cartier_Award_2008.pdf |
| 32. Source: Frieze Art Fair |
| Item: Press Releases: The Cartier Award 2008 Date: 4 October 2007, 10:14 pm |
| Press_release_-_Cartier_Award_2008.pdf |
| 33. Source: The Independent - Reviews RSS Feed |
| Item: Henry Moore, Tate Britain, London Date: 27 February 2010, 7:00 pm |
On the night of 11 September 1940, Henry Moore was trapped in Belsize Park Tube station by German bombing; the so-called Shelter Drawings, which he began the next day and continued throughout the Blitz, were to be his best known and best loved works. |
| 34. Source: The Independent - Reviews RSS Feed |
| Item: Mat Collishaw, Tracey Emin and Paula Rego, The Foundling Museum, London Date: 24 February 2010, 7:00 pm |
The Foundling Hospital in Bloomsbury was created in the 18th century by a venturesome sea captain and shipwright called Captain Thomas Coram. It existed to alleviate the appalling suffering of the many wretched foundlings who were abandoned on the streets of London. Captain Coram's hospital took some of them in – alas, not all of them by any means. The great hospital itself was swept away in the 1930s, but there is still a Coram Foundation devoted to the needs of deprived children, and a glorious open space where the hospital once stood called Coram's Fields. One of the most entertaining public notices to be read in the whole of London is displayed at its entrance. This is not a public park, it reads. No adult is to enter unless accompanied by a child. We critics sometimes feel that way about exhibitions of contemporary art, that the sanity of a small child might help to refresh our eye. |
| 35. Source: The Independent - Reviews RSS Feed |
| Item: Gillian Ayres at 80: New Paintings and Works on Paper, Alan Cristea Gallery, London Date: 8 February 2010, 7:00 pm |
Late flowerings – that rage against the imminent dying of the light – are not especially unusual. Titian painted into his 80s; W B Yeats, late in his 70s, wrote, in the final stanza of a late, great poem, of nymphs and satyrs boisterously copulating in the foam. John Cowper Powys wrote the finest of his novels during his 70s. Call it, if you like, a kind of manic exuberance before the shutters come down. |
| 36. Source: Exhibitions - Philadelphia Museum of Art |
| Item: Arts of Bengal: Wives, Mothers, Goddesses Date: 25 November 2009, 12:00 am |
| November 25, 2009 - August 2010: Bengal (modern Bangladesh and eastern India) is a lush region of lotus pools, fish-filled rivers, and tiger-haunted forests punctuated by rice and banana fields, rural villages, and teeming cities. The domestic arts made by and for Bengali women during the 19th and 20th centuries include intricate embroidered quilts called kanthas, vibrant ritual paintings, and fish-shaped caskets and other implements created in resin-thread technique. |
| 37. Source: BAM/PFA - Art Exhibitions | |||
| Item: James Castle: A Retrospective Date: 18 November 2009, 6:28 pm | |||
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| 38. Source: Exhibitions - Philadelphia Museum of Art |
| Item: Jun Kaneko Date: 5 September 2009, 12:00 am |
| September 5, 2009 - April 18, 2010: Jun Kaneko, born in Nagoya, Japan in 1942, began his formal studies in art in the United States at the Chouinard Art Institute and continued at Berkeley and Claremont Graduate School. These four sculptures represent a larger body of work called the Mission Clay Project, which created a total of forty-one new sculptures. This project took three years to complete. |
| 39. Source: Rhizome Inclusive: News, Blog, and Digest |
| Item: 1 Question Interview with Hanne Mugaas Date: 4 March 2010, 12:30 pm |
![]() I tracked down curator Hanne Mugaas, one of the organizers behind New York's Art Since the Summer of '69, for a 1 question interview, à la Rafaël Rozendaal's One Question Interview blog. Mugaas is the first to curate a new public video art initiative in Stavanger, Norway called Public Screens. In the spirit of Boston's Lumen Eclipse or Creative Time's At 44 1/2, Public Screens presents video art around the city on large public screens. Mugaas's exhibition for this new project "Keep On Moving, Don’t Stop" brings together animations by a young generation of artists who grew up under the specter of the internet, television and video games. Artists include Michael Bell-Smith, Vidya Gastaldon, Ezra Johnson, Yui Kugimiya, Takeshi Murata, Adam Shecter, and Espen Friberg. (More shots of the exhibit after the jump.) Given the topic of the show, I thought it would be fitting to ask Hanne about her childhood exposure to animation. What was your favorite animated television show as a child and why? My favorite animation as a kid was Flåklypa Grand Prix (Pinchcliffe Grand Prix) from 1975. It was made by the legendary Norwegian animator Ivo Caprino. It's about the inventor Reodor Felgen who's living with his animal friends Ludvig, a nervous, pessimistic and melancholic hedgehog, and Solan, a cheerful and optimistic magpie. One day, the trio discover that one of Reodor's former assistants, Rudolf Blodstrupmoen, has stolen his design for a race car engine and has become a world champion Formula One driver. Solan secures funding from an Arab oil sheik who happens to be vacationing in Flåklypa, and to enter the race, the trio builds a gigantic racing car: Il Tempo Gigante—a fabulous construction with two extremely big engines. My dad used to show me this and another film by Caprino, Karius and Baktus (Caries and Bacterium), about two little trolls living in and destroying your teeth, on a film projector and projection screen in our living room. Here is a clip of Flåklypa Grand Prix (Pinchcliffe Grand Prix): And a clip of Karius and Baktus: ![]() ![]() |
| 40. Source: NEWS & EVENTS |
| Item: *APPLY* DESIGNER IN RESIDENCE W/ ALITE DESIGNS, SF Date: 4 March 2010, 11:06 am |
Who’s Eligible: Applicants can be current students, recent graduates, or established artists. Come Design With Us: Because we don’t require our DIRs to have design or product design backgrounds, we will assist you in the initial stages of developing your project and becoming better acquainted with product design fundamentals. Our current DIR has a marketing background. We’ll provide you with structure, resources and mentorship as well as studio space, a stipend, and financial support for your project. Although there is an openness to the program, we do encourage our DIRs to focus or relate their projects to our mission; getting people outside. Application: We do not accept applications electronically at this time. Please include the following: Statement of Purpose: Explain how the residency program will influence your work, and how you can contribute to ALITE Designs. Project Description: Describe the project or projects you would like to work on during your residency. Explain how long you believe your residency should be (3 to 6 months) and why. Resume/C.V.: Outline past projects or accomplishments, and where possible give examples of your work. For questions about the DIR program, please send an email to: smokey@alitedesigns.com ALITE Designs: Located in San Francisco, ALITE Designs is a design-driven, urban-outdoor company dedicated to the idea that everyone should be playing outside together. Defined by innovation, bold colors and a sense of humor, we thrive on creating products that make it simple and fun to connect with friends and the outdoors. To find out more about our company and become better acquainted with our products and aesthetic please visit our website: http://www.alitedesigns.com |
| 41. Source: NEWS & EVENTS |
| Item: *CALL FOR ENTRIES* CAUGHT LOOKING 2010 Date: 26 February 2010, 11:19 am |
*CAUGHT LOOKING 2010: Open call for CMU School of Art Students, Faculty and Staff.* Now is your chance to see your video on the biggest screen in Pittsburgh in front of a public audience! CAUGHT LOOKING is the 4th iteration of new one-minute video works on the “jumbotron” screen at PNC Park. In addition to videos by CMU students faculty and staff students, faculty and staff from Pittsburgh Filmmakers will also be submit their work. *Caught Looking 4 will be held on Wednesday, April 28th starting at 7PM at PNC Park*. Participate in this unique program! Make a FAMILY-FRIENDLY (SAFE FOR WORK) one-minute video. Please avoid profanity and nudity, as the PNC Park is a public venue, and a workplace. Note: The videos in the program will be selected by Jacob Ciocci of CMU and Andrew Swensen of Pittsburgh Filmmakers. All submissions will not necessarily be selected for the screening. *THE DEADLINE FOR VIDEO SUBMISSIONS IS APRIL 1st AT NOON.* *PLEASE READ THESE INSTRUCTIONS IN THEIR ENTIRETY!* These are the video settings: NTSC DV (720×480 Pixels), Anamorphic TO MAKE YOUR FILES *HOW TO DELIVER YOUR FILES (starting march 22nd): QUESTIONS, contact Jacob Ciocci |
| 42. Source: NEWS & EVENTS |
| Item: 3/17-20: THE WATS:ON? 2010 FESTIVAL - ADVENTURES IN VIRTUALITY @ CMU Date: 23 February 2010, 3:01 pm |
wats:ON? 2010 ABOUT [Sponsorship] THESE EVENTS MADE POSSIBLE BY THE JILL WATSON FAMILY FOUNDATION. The Jill WATSON FESTIVAL ACROSS THE ARTS honors Jill Watson’s commitment to an interdisciplinary philosophy as an artist and celebrates her accomplishments and reputation as an architect. Jill Watson was a Carnegie Mellon University alumna, adjunct faculty member in the School of Architecture and acclaimed Pittsburgh architect who died in the TWA Flight 800 plane crash on July 17, 1996. We thank the following for their generous support: SCHEDULE OF EVENTS MCCALL DRAMA HUHTAMO MACHINIMA FILM FESTIVAL ARCADE GAME NIGHT DISCUSSION FEATURING ʻCONICAL INTERSECTʼ GEHR |
| 43. Source: NEWS & EVENTS |
| Item: LAB A6 PODCAST: “BRADDOCK CROSS-POLLINATION” W/ AGNES BOLT & OSCAR PETERS (MFA’12) Date: 17 February 2010, 4:34 pm |
MFA students Agnes Bolt & Oscar Peters discuss their “Braddock Cross-Pollination Project” executed in Fall 2009 when they traveled from Braddock, PA to Braddock ND - the only two Braddocks in America. Tangibly, a photographic essay, “Braddock Cross-Pollination Project’s” true form lies in the social, psychological, political and metaphoric exchange between two small, economically struggling towns in America linked purely by a common name. This 1,300 mile drive from Pennsylvania to North Dakota and back was to deliver a message from stranger to stranger, and allow each town to reflect on its own existence via its doppelganger. Over 40 people participated in the project, from an urban African American teenager to a 70-year-old sunflower farmer living in the barren plains. ABOUT BRADDOCK(s): Braddock, ND is a farming community with a population of 19 people. Founded as a frontier railroad town, today its entirely Caucasian, Catholic, conservative and aging population will probably be the last generation to call Braddock their home; the school and post office closed down several years ago, the parish rectory building was literally being moved on a tractor trailer to another town while I was there, the only remaining establishments in town are the bar and senior citizen community center. The liveliest community may be the seasonal pheasant and deer hunters that return annually to Braddock. |
| 44. Source: World Art News at IrishArt.com |
| Item: Lowry Art Trickery? Date: 3 March 2009, 2:23 pm |
| Wigan Today reports that an art lover from Cheshire accused of tricking a dealer into buying a fake LS Lowry has told a court he thought the painting was genuine. Maurice Taylor - who calls himself Lord Taylor Windsor after buying the title on the internet for £1,000 - sold the Mill Street scene to businessman David Smith during a meeting in a Ritz hotel room in 2007. Mr Smith, managing director of Neptune Fine Arts, paid over £230,000 before discovering the work was bogus. Taylor, 60, who lives in a mansion near Congleton, had bought the snowy scene featuring matchstick-style figures three years earlier through friend and Lowry expert Ivan Aird. Mr Aird acted as an agent for the previous owner Martin Heaps who, the crown say, sold the picture for £7,500 with an invoice describing it as "After Lowry" because it was created by artist Arthur Delaney. Prosecuting at Chester Crown Court, Sion Ap Mihangel, said Taylor knew the picture was fake, invented history to boost its provenance, and doctored the invoice so it appeared he was sold a genuine work. Taylor admitted telling his buyer and auctioneers Bonhams he bought the painting several decades earlier from industrialist Eddie Rosenfeld. He said he did not know why he lied but claimed Mr Aird asked him not to say he bought the painting through him. He said Mr Aird told him the painting was genuine and said: "When he sold me that picture there was never a question in his mind. I didn't question him, he told me it was original." A team of experts from Bonhams later assessed the work and were taken in by it. They provided a £600,000 insurance valuation and laid on the red carpet treatment, hoping Taylor would sell it through them. Mr Mihangel said Taylor acquired the Bonhams valuation to strengthen his selling position and to ensure a private sale. Taylor denies denies six counts of fraud and one of forging an invoice. The trial continues. (For full source and full article click the Headline). Irish Art |
| 45. Source: World Art News at IrishArt.com |
| Item: Caged Art Recognised Date: 1 March 2009, 5:44 am |
| The New York Times reports that 1974 Tehching Hsieh, a young Taiwanese performance artist working as a seaman, walked down the gangplank of an oil tanker docked in the Delaware River and slipped into the United States. His destination: Manhattan, center of the art world. Once there, though, Mr. Hsieh found himself ensnared in the benumbing life of an illegal immigrant. With the downtown art scene vibrating around him, he eked out a living at Chinese restaurants and construction jobs, feeling alien, alienated and creatively barren until it came to him: He could turn his isolation into art. Inside an unfinished loft, he could build himself a beautiful cage, shave his head, stencil his name onto a uniform and lock himself away for a year. Thirty years later Mr. Hsieh’s “Cage Piece” is on display at the Museum of Modern Art as the inaugural installation in a series on performance art. But formal recognition of Mr. Hsieh (pronounced shay), who is now a 58-year-old American citizen with spiky salt-and-pepper hair, has been a long time coming. For decades he was almost an urban legend, his harrowing performances — the year he punched a time clock hourly, the year he lived on the streets, the year he spent tethered by a rope to a female artist — kept alive by talk. This winter, owing to renewed interest in performance art, new passion for contemporary Chinese art and the coinciding interests of several curators, Mr. Hsieh’s moment of recognition has arrived from many directions at once. The one-man show at MoMA runs through May 18. The Guggenheim is featuring his time-clock piece in “The Third Mind: American Artists Contemplate Asia, 1860-1989” through April 19. M.I.T. Press is about to release “Out of Now,” a large-format book devoted to his “lifeworks.” And United States Artists, an advocacy organization, has awarded Mr. Hsieh $50,000, his first grant. He is gratified by the exhibitions. But he judges the book, which is 384 pages and weighs almost six pounds, to be the definitive ode to his artistic career. “Because of this book I can die tomorrow,” said Mr.Hsieh. (For full source and full article click the Headline). Irish Art |
| 46. Source: World Art News at IrishArt.com |
| Item: "Nazi" Picasso's Stay In NY Date: 10 February 2009, 4:42 am |
Time/CNN reports that it may have been possible for Picasso's boy to lead that horse without a rein, but it appears that the Museum of Modern Art didn't have the famous painting on as tight a leash as you might have thought. For more than a year that 1906 picture, one of the high points of MoMA's art collection, has been the focus of a Holocaust restitution fight that also involved another Picasso, Le Moulin de la Galette, this one hanging at the Guggenheim. Yesterday both museums settled out of court with three plaintiffs seeking return of the paintings, which they claim had been relinquished under duress by their Jewish owner in the 1930s. As with most settlements the details of this one are sealed, so we may never know whether or how much money changed hands. And by itself the mere fact that the two art museums chose to settle doesn't mean they didn't have faith in their own arguments. (Or, for that matter, that the plaintiffs didn't have faith in their's.) But jury trials are a crapshoot and for the museums at least, the paintings were too important to lose. (For full source and full article click the Headline).
Irish Art |
| 47. Source: World Art News at IrishArt.com |
| Item: Joe Boyle's Art at Waterfront Hall, Belfast Date: 25 January 2009, 5:10 pm |
| There is a small number of artists that savvy Irish Art collectors should carefully track in 2009 - and Joe Boyle (a previous Conor Prize Winner at the Royal Ulster Academy) - is one of them. This Belfast Waterfront exhibition fuses three themes. The first is Boyle's response to a trip to China investigating 17th century dry brush calligraphy combined with Chinese contemporary aspiration for a western iconography. The second is the notion that the fragment can intentionally signify the whole - as part of an ancient object may be considered a work of art - despite that not being the original artistic intention. In this exploration Boyle chooses the Eye as the part that signifies the whole in a meaningful manner - presenting an opportunity to explore different ways of seeing aspects of change in Irish Society. The final theme is a response to Landscape which employs notions of metaphor, edge and parameter to explore emotions which we experience and are challenged by what is often a familiar and sometimes threatening environment. Joe Boyle - Solo Gallery 2 Waterfront Hall 2 Lanyon Place, Belfast Tel: 028 9033 4400 Opens Tuesday 3rd February (7pm- 9pm) until 27th February 2009 Irish Art |
| 48. Source: World Art News at IrishArt.com |
| Item: Irish Art Thieves Took Taxi Date: 10 November 2008, 12:43 am |
| Bungling Irish art thieves led Gardai to their door last weekend when they brought their loot home in a taxicab. Two men were apprehended at a residence in Kilmore following the theft of three paintings. It is believed that the thieves were easily located after they hired a taxi to ferry them, and two of the paintings home following the robbery. According to Gardai a plate glass window in Greenacres was smashed and paintings removed from the display. Gardai this week said that while investigations into the matter are 'not yet complete', they are 'not looking for anyone else in connection with the matter'. (For full source and full article click the Headline). Irish Art |
| 49. Source: TREND HUNTER - The Latest Trends |
| Item: Instant Poster Seating - The Kit Kat Chaoster is a Super Convenient Advertisment (VIDEO) Date: 9 March 2010, 11:50 am |
| 50. Source: Indianapolis Museum of Art Blog |
| Item: Discover the IMA using tags Date: 9 March 2010, 10:53 am |
The new IMA website provides many ways to discover works of art in our collection. Today I want to highlight how we have integrated tagging into the website to make each work easier to find and interactive. Tags on Artworks
Tags in the Collection Search
Latest Tags
How its MadeAll of the tagging functionality was built using the Steve Tagger software. The Steve Tagger software is being developed to provide tagging for museums and to make it easy. For full disclosure… I am one of the primary developers on the Steve Tagging project and the IMA is one of the grant partners. You can find more information about the Steve Tagger here: tagger.steve.museum
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| 51. Source: Indianapolis Museum of Art Blog |
| Item: Free Your Mind for Art and Nature Date: 5 March 2010, 8:37 am |
March is Disability Awareness Month. This year they are encouraging everyone to “Free Your Mind”. Last year my blog at this time concentrated on what we do in the gardens to make them accessible to as many people as possible. All of that information is still relevant so check it here. With 100 Acres – The Virginia B. Fairbanks Art and Nature Park opening June 20 I decided to take a look at it this year. Since it does not have an asphalt road running through it, or concrete walks, it won’t be as easily accessed for those with mobility issues as the rest of our gardens and grounds. But there will still be much to experience and enjoy. First you have to get there. One of the main access points will be the 38th street loop just west of the IMA’s 38th Street entrance. The parking area there will put you right at the Park. However, once there, you do have to cross a one lane road. On the other side an ADA compliant ramp will lead visitors down into the Park. Other access points will be crossing over the Pony Truss Bridge from the main IMA campus and, of course, the Canal Path that runs along the edge of the Park. Once inside, many areas in the 100 Acres will be accessible by way of crushed stone paths. Not as ideal as concrete, but much better than mulch or turf. These will lead you to the visitors’ center and some of the inaugural art pieces. Several mulch paths will give people even more opportunities to interact with nature and art. Those paths will quite simply require a different level of mobility. I really want to emphasize the nature side of the Art and Nature Park. At this point we cannot get everybody to all areas of 100 Acres. However, you will be immersed in nature no matter where you go. Native trees, shrubs, vines, grasses, and perennials will abound. We began replacing the exotic invasives two years ago with a major tree planting. This year over 70 species and cultivars will be planted in and around Alfredo Jaar’s Park of the Laments. Animals like beaver, squirrels, and turtles are common sights. Occasionally you might even glimpse a red fox or mink. Above all, it will be a great place to experience the joy of birdwatching. Waterfowl such as ducks and herons can be found on the lake, the canal, and the White River. Great Blue Herons show up regularly in the shallows of the lake. Birds of prey soar in the skies. Songbirds can be found throughout. I have been crazy-mad about pileated woodpeckers (Dryocopus pileatus) from childhood as they were frequent inhabitants of the creek-bottom woods where I grew up. We have at least a pair of these brightly colored crow-sized birds in the 100 Acres.
It’s not all about seeing the birds, listen for their fascinating calls as well. Our newly revamped website will also give folks multiple ways of getting information about the site, the nature, and the art. You can begin accessing information before you leave home! Heck, you can get information right now, over three months before the official opening day. Check out the 100 Acres page to learn about the geology of the site (work done with the US Geological Survey), the first eight commissions, or details of the opening week-end. Access is about more than physical attributes. The visitors’ center will be fully accessible with ramps leading to a surrounding deck. Drinking fountains and bathroom facilities are located in this building. Educational materials to be housed here are still being developed. The Visitor’s Center will also give shelter from the elements – like our sudden Midwest thunderstorms. Be sure and mark June 20 on your calendars. Free Your Mind and see you there.
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| 52. Source: Indianapolis Museum of Art Blog |
| Item: Vote for the IMA’s Next Top Blogger Date: 3 March 2010, 10:05 am |
THE CHALLENGE On January 6, 2010 we announced that the IMA was searching for its next blogger and outlined the rules of the contest.
THE FINALISTS After receiving dozens of submissions, the IMA narrowed the field to 5. Over the course of the last 5 weeks, we posted the candidates blog entries. Each had to answer the following questions:
Review the Finalist’s Posts… THE VOTE Whose voice do you want to hear on a monthly basis? Blog readers, it’s time for you to decide! From now until March 23 at 11:59 pm you can vote for your favorite finalist. The winner will be announced on March 24. Don’t forget, what’s at stake – The IMA’s Next Top Blogger gets a free membership to the IMA, invitations to special events throughout the year, and the opportunity to share her thoughts about art, design, the natural environment, and the IMA with the world. Note: There is a poll embedded within this post, please visit the site to participate in this post's poll. |
| 53. Source: Philly Gallery Guide RSS |
| Item: VOX POPULI Date: 30 May 2008, 2:38 pm |
| Exhibition Dates: Friday, June 6– Friday, June 27 Opening Reception: First Friday, June 6 FROM 6-11 PM This month Vox Populi presents Solid Gold, a group exhibition juried by Adelina Vlas, Assistant Curator for Modern and Contemporary Art at the Philadelphia Museum of Art, and Sarah McEneaney. Artist. Solid Gold Vox Populi is proud to announce the opening of its 4th Annual Juried Exhibition. This years exhibition entitled Solid Gold brings together 24 emerging artists from Philadelphia area and from around the country. Since Vox’s inception in1988, Vox Populi’s mission has been to support the work of new and emerging artists and to show new and emerging art forms. With this exhibition, the tradition continues. This year’s show includes work by: D. B. Stovall, Mike Smith, Daniel Payavis, Serena Perrone, Corrie Tice, Cara Erskine, Robert Goodman, Emily Denlinger, Nathan Prouty, Amy Lincoln, Rachel Frank, Jonathan Schoff, William Lohre, R. Nick Barbee. Mark Klassen, Daniel Gerwin, Hannah Smith Allen, Abby Donovan, Lee Arnold, Bang-Geul Han, Pamela Sunstrum, Edward Carey, Samuel Ekwurtzel, and Zach Rockhill. The artists were selected from a pool of over 250 applicants by Adelina Vlas, Assistant Curator for Modern and Contemporary Art at the Philadelphia Museum of Art, and Sarah McEneaney, Artist. Vlas and McEneaney selected a wide range of mediums- painting, sculpture, photography, drawing, interactive installation, video, ceramics- and artists who were investigating, challenging, and mastering those mediums the materials and techniques they employ. Concurrently, the artists in Solid Gold represent a broad range of subject matters, ranging from serious questioning of social issues and investigation of language and gender, to the creation of humorous and at times absurd scenarios. At Screening George Stadnik Primordial Soup George Stadnik’s 1975 video Primordial Soup, represents an early building block of video-art-history. Fusing the synaesthetic experiments of Thomas Wilfred (the creator of a form of light sculpture called Lumia) with the pioneering video synthesis techniques associated with Nam June Paik and Peter Campus, Stadnik’s combination of electronically-manipulated imagery and sound references the corporeal as well as the very genesis of video art. Primordial Soup was created on the Paik Abe Video Synthesizer at WGBH’s legendary program for the creation and development of experimental video art, the New Television Workshop, under a Rockefeller Foundation Grant. An original electronic score was provided by Bill Gangi, founder Kasner Gooch Multi Sensory Arts. In conjunction with International House, Philadelphia and Center for Visual Music: Friday, May 23 at 7pm Essential Visual Music: Rare Classics from CVM Archive Friday, May 30 at 7pm Essential Visual Music: New Visions |
| 54. Source: Philly Gallery Guide RSS |
| Item: PRINT CENTER Date: 30 May 2008, 2:36 pm |
| Opening Reception/Gallery Talk May 31 – August 2, 2008 The Triumph of Democracy: Inside the Studio: Benjamin Edwards 82nd Annual International Competition: Photography Juried by Joel Smith, Curator of Photography, Princeton University Art Museum Saturday, May 31 Opening Reception 3:00–5:00pm Gallery Talk by Juror & Awards Ceremony: 3:30pm |
| 55. Source: Philly Gallery Guide RSS |
| Item: PENTIMENTI GALLERY Date: 30 May 2008, 2:35 pm |
| Pentimenti Gallery is pleased to present 2 solo shows by artists: Matthew Kucynski, You’re Apocalypse, paintings in the Main Gallery & Project Room and David Ambrose, The Braille Landscape, works on paper in the Annex Gallery. The exhibitions open on Monday, April 21, 2008 and continue through May 31, 2008, with a reception to meet the artists on Friday, May 2, from 6:00 to 8:30 PM. Matthew Kucynski. You’re Apocalypse. Paintings in the Main Gallery & Project Room. Matthew Kucynski uses a range of mixed media including, acrylic, oil, graphite and ink on wood panels to imply a narrative. Kucynski’s stories are based on children’s pop-up books and religious icons. In You’re Apocalypse, his characters rely on the comfort of modern technology to deal with a fictitious war within a ghost land. Each stories are interpreted and expressed with great fantasy and mystery. Matthew Kucynski is a graduate of the University of the Arts, Philadelphia (BFA). Kucynski exhibited in both one person and group exhibitions on the East Coast and in several art fairs: Scope, NY; Aqua Art Miami’07, FL; University of the Arts, Philadelphia, PA; Sundance Film Festival UT and Perkins Center for the Arts, NJ. David Ambrose. The Braille Landscape. Works on paper in the Annex Gallery. David Ambrose’s new watercolor on paper works are composed of intricate patterns. His patterns and shapes resemble in elements found in or on architectural facades, interiors or floor plans, paintings on hand stitched lace or pierced paper. Ambrose begins each composition by piercing repeatedly with a pin hole through a thick piece of paper building and repeating patterns as he goes. Eventually, once the entire surface of the paper has been worked over. The artist applies color to the surface. Control and chance are an integral element of the artwork. David Ambrose studied at Universita Italiana Per Stranieri, Italy and graduated at Muhlenberg College, PA (BA) and at the University of Pennsylvania, PA (MFA). Awards received: Rutgers Center for Innovative Prints & Paper; New Jersey State Council on the Arts, (Painting Fellowship). Ambrose’s exhibitions include: Kaiserslautern, Germany; Aljira, A Center for Contemporary Art, NJ; Jersey City Museum, NJ; Noyes Museum of Art, NJ and more. His work is in the following collections: Jersey City Museum, Jane Voorhees Zimmerli Art Museum; Atlantic Academy, Germany and Newark Public Library.WHEN: April 21 - May 31, 2008. Reception to meet the artists: Friday, May 2, from 6:00 to 8:30 PM.HOURS: Tuesday by appointment, Wednesday - Friday 11 AM to 5 PM, Saturday noon to 5 PM. |
| 56. Source: Philly Gallery Guide RSS |
| Item: MONTGOMERY COUNTY GUILD OF PROFESSIONAL ARTISTS Date: 30 May 2008, 2:34 pm |
| "Through The Eyes Of An Artist" is a juried exhibition presented by MCGOPA (Montgomery County Guild of Professional Artists). Patrick Connors is the juror. He is a painter, author, instructor and lecturer. He will jury for entrance as well as prizes. This show and sale consists of paintings, mixed media, and sculpture. It runs from April 18 to May 31, 2008. There will be an Artists’ Reception on Saturday, May 3 from 5 to 7 PM. Everyone is welcome to attend and bring friends. There will be wine and hors d’oeuvres. The galleries are always free and open daily. A representative will be present on Mondays and Fridays from 11 AM to 1 PM. |
| 57. Source: Philly Gallery Guide RSS |
| Item: MAIN LINE ART CENTER Date: 30 May 2008, 2:33 pm |
| Spring Fine Crafts Sale – April 29-May 4 Opening reception: Tues., April 29, 6-8 pm Wed. & Thurs., 10 am-7 pm First Friday May 2, 10 am-9 pm Sat., 10 am-5 pm Sun., 11 am-3 pm Main Line Art Center presents our Spring Fine Craft Sale. New artists and old favorites welcome you to view and buy beautiful jewelry, ceramics for the home and garden, hand-painted silks, fibers, glass, wood, hand-milled soaps, handmade paper and much more. Proceeds from the sale help support the Art Center’s outreach programming, which helps bring art to diverse and deserving populations. Visit www.mainlineart.org or call 610.525.0272 for information. All of the Art Center’s exhibitions are free and open to the public. Main Line Collects Philadelphia - May 13-June 10 Reception, Thursday, May 15, 5 – 7 pm. RSVP by May 7 to info@mainlineart.org or 610.525.0272 First Friday June 6, 6-9 pm Mary Anne Dutt Justice, Curator Local collectors have long recognized the talents of artists who have lived and worked in Philadelphia's vibrant art community. Anchored by the excellence of its academic institutions, many fine artists have flourished here. This exhibition, a selection of distinctive choices from Main Line private collections, focuses on works created since 1950 by Philadelphia artists. Sponsored by Bryn Mawr Trust Company. Visit www.mainlineart.org or call 610.525.0272 for hours and additional information. All of the Art Center’s exhibitions are free and open to the public. Children’s Art Festival – Saturday, June 7 from 10 am -3 pm Join the Main Line Art Center as we “Go Green” to celebrate nature and the environment. Art projects and entertainment take place throughout the day in our beautiful garden – the perfect inspiration for fun and exciting projects. Rain or shine, come for a fun-filled and FREE day of creativity and excitement. Visit www.mainlineart.org or call 610.525.0272 for more information. Sponsored by PECO. |
| 58. Source: Philly Gallery Guide RSS |
| Item: VOX POPULI Date: 8 October 2007, 2:32 pm |
| This month Vox Populi presents exhibitions by Vox Populi members Anita Allyn, Leah Bailis, and Charles Hobbs. The Video Lounge features a group show entitled Surveil, and in the 4th Room, work by Alexandra Newmark. Anita Allyn Periphery Anita Allyn's video projections imagine garden landscapes as cyclical, creepy and fantastical. Leah Bailis Stand Still Leah Bailis constructs inaccessible spaces – a chain-link fence, a window-less façade – the surfaces of which act as protective barriers between public and private spaces. These barriers underlie the tension between that which is judged worthy of protection or containment, and the perceived danger or risk, which the contained is protected from. Charles Hobbs Ain’t Lookin’ Back Ain’t Lookin’ Back presents a collection of ink drawings watercolor/ gouache works produced in rapid succession exploring death, god, relationships, nature, landscapes, and any other personal and embarrassing thoughts that crossed the artist’s mind. IN THE FOURTH ROOM Alexandra Newmark In the Forest Since 2001, Alexandra’s work has been solely made from Mohair yarn. The work is focused on narratives of interdependence, and a framework of self-containment. Her work reflects the conventional expectations of womanhood—caretaker, mother. The forms themselves conjure thoughts of motherhood gone awry, at the same time the work serves as a remembrance of the extreme vulnerability of childhood while the softness of the mohair yarn evokes the innocence of that time. Alexandra Newmark received her MFA in Sculpture from Bard College in 2001, and her BFA from Parsons in 1998. In 2005, she was awarded a Pollock-Krasner Foundation Grant. In the Video Lounge Noah Klersfeld, Luciana Lamothe, Bennett Morris, and Raphael Zollinger Surveil Surveil features work by a diverse group of artists who analyze how we experience, comply with and relinquish our privacy to the camera. Noah Klerfseld's (USA) I Want to Get You Out of my Head walks us through life with the intimate voice of the Big Brother. Negotiating visibility, Luciana Lamothe (Argentina) broadcasts her trangressive acts of mischief with Testa, a record of an accion against the 70s Brut architecture of famed Buenos Aires architect, Clorindo Testa. Bennett Morris's (USA) Intercept Station Version 2.0 Feed 00.00-09.31 hypothesizes our fate when we relinqush our privacy and information to inanimate technologies. Raphael Zollinger (South Africa) spotlights our continuous coverage of individuals, events and locations and resulting (mis)information with the interactive installation, Ignoratio Elenchi: A News Feed. Screening Takeshi Murata Untitled (Pink Dot) Screening is very proud to present Takeshi Murata's Untitled (Pink Dot) in the artist’s first solo exhibition in Philadelphia. Building on a keen knowledge of avant-garde film history (including a particular affinity for psychedelic auteurs Jordan Belson, the Whitney Brothers and Stan Brakhage) and a staggering command of digital video techniques, Murata creates vivid, lysergic videos that oscillate between damaged representation and pure abstraction. Untitled (Pink Dot) employs action-hero imagery from Sylvester Stallone's 1982 cult/camp/classic First Blood as fodder for an eye-popping electronic meltdown in which images of our war hero John Rambo collapse under their own weight, transmuted to the point of obliteration, leaving an American icon reduced to a puddle of rainbow pixels. Takeshi Murata was born in Chicago in 1974 and currently resides in Saugerties, NY. Since earning a B.F.A. in film, video and animation at The Rhode Island School of Design, his work has been shown widely, at venues including the Museum of Modern Art (NY), Museum of Fine Arts (Houston, TX), Yerba Buena Center for the Arts (San Francisco, CA) and Taka Ishii Gallery (Tokyo). Murata’s distinctive approach to the medium most recently earned him a solo exhibition at the Hirshorn Museum and Sculpture Garden (Washington DC), and can be seen currently in the exhibition Mail Order Monsters at Deitch Projects (NY). |
| 59. Source: Philly Gallery Guide RSS |
| Item: PROJECTS GALLERY Date: 8 October 2007, 2:25 pm |
| Projects Gallery is pleased to announce the First Friday reception celebrating the continuing exhibition of Jen Blazina's "Recollection" and the opening of Frank Hyder's "Odyssey", Friday October 4th from 5 to 8 P.M. There will also be a Second Thursday Artist's reception for "Odyssey" Thursday, October 11th from 5 to 8 P.M. The receptions are free and open to the public. In Projects Sotano will be "Recollection", a mixed media installation by Philadelphia-based artist Jen Blazina that makes use of the gallery's unique subterranean space. A new artist to Projects Gallery, Blazina’s installation will feature glass and resin objects that incorporate vintage images. "Recollection" crafts an experience that investigates issues of memory and the communal personal past. While on a glass fellowship at the Creative Glass Center of America, the artist was inspired by its one-room schoolhouse. Using steel and cast glass, Blazina fabricated replicas of the antique desks with old class photographs as the desktops. Internal lighting projects these images as an ethereal presence in the nostalgic environment. Frank Hyder's Odyssey takes us on a journey through his use of the woodblock and gives a glimpse into his experimental three-dimensional forms. The work, as a whole, is strongly connected to the Taoist philosophy of man's place in nature and the role of energy in nature's composition. The rhythmic images of his painted wooden carvings present a poetic reference to Hyder's time spent living in the jungles of South America and experiencing space without a horizon. His contemplative mark and overlapping figures reflect insight and energy while providing a sense of serenity. The spiritual essence of this work is revealed as we are pulled into the depths of the quiet. In Hyder's woodcuts, what appears close is incised and what appears flat is lush and heavily layered. The carved lines are gilded, suggesting a divine presence as they twist and turn forcefully before us, creating an image both visual and visceral. As remarked by Edward Lucie-Smith in Hyder's catalog from his recent New York solo exhibition, "Hyder is a master of . . . woodcut." Known for his color and mixed media reconstructed images, this body of work is pared down to an elegant, minimal simplicity. Borrowing construction strategies from indigenous cultures, the artist assembles simple structures. Reminiscent of forest shelters, the sculptural pieces also connect to modern architectural forms such as those found in the works of Gego. Exhibiting these core architectural works together with the carved blocks creates a poetic balance between flat and round, finished and raw. Hyder steps into new terrain here neither as solely painter, printmaker or sculptor. Odyssey is truly a spiritual and intellectual quest that the artist has undertaken through his use of the block, the print and now the elemental form. Concurrent with Projects Gallery's Odyssey, Hyder will be exhibiting across the U.S. with solo shows in Portland, OR and Atlanta, GA, as well as being featured in both the Toronto and Maracaibo international art fairs. Hyder has participated in over 80 solo exhibitions and 150 group shows throughout North, Central and South America. A Senior Fulbright Award in 2001 sent the artist to Venezuela for a year, where his experiences abroad inspired him to produce a prodigious body of work, which was displayed in Venezuela's three major Contemporary Art Museums. |
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| Item: UNIVERSITY CITY ARTS LEAGUE Date: 8 September 2007, 11:14 am |
| University City Arts League (UCAL) presents The Brandywine Photo Collective in a group exhibition titled THE SECRET LIFE OF WATER October 5- 27, 2007 University City Arts League (UCAL) is pleased to present The Brandywine Photo Collective in an exceptional group exhibition, THE SECRET LIFE OF WATER featuring works by several award-winning local photographers. The photo show debuts Friday October 5 with a reception 5:30pm -7:30pm and runs through October 27. UCAL's gallery is located at 4226 Spruce Street, Philadelphia, PA. Admission is free and the public is invited to attend. For more information, contact 215-382-7811 or www.ucartsleague.org. THE SECRET LIFE OF WATER features works by 14 photographers: Sarah Barr (show organizer), Kathy Buckalew, R. A. Ciurlino, Lisa Tyson Ennis, Mickey Freed, Jim Jones, Kitty Jones, Peter B. Kaplan, Stephanie Kirk, David McClintock, Bill Pepper, Danny N. Schweers, Jeffrey Steen, and Beth Trepper. Based on the theme of water, the show consists of 16” by 20” or smaller framed photographs showing a plethora of techniques, subject matter and aproaches. Selected images include Barr’s Playing Out Back (2007) a chromogenic print made from a 4” by 5” negative featuring two young girls playing. Ciurlino’s Bohomia River detail (2005), on traditional silver gelatin photographic paper, reflects water’s mysterious power. Ennis’ Nine Poles (2007) focus on the reflective quality of water. She notes, “Water can be like a giant mirror reflecting the sky, doubling images -- like a shadow with detail that offers a unique upside down look at the world.” Kitty and Jim Jones are boaters and their work investigates the calming and healing power of water. Mickey Freed’s images reflect his early days in the Pine Barrens. Beth Trepper is a NEA Opportunity grant awardee who resides in Delaware and the Caribbean. Her Waveny, as the fog lifted… (2007) is part one of a triptych, 10" x 20", original hand-bleached black & white photograph portraying her fascination with fog. Another distinguished highlight will be viewing work by long-time photographer Peter B. Kaplan. Kaplan’s credits include studying with Ansel Adams, having his photos placed in time capsules under the Empire State Building for its 50th Anniversary and the Brooklyn Bridge for its 100th Anniversary, and also in the spire of the Chrysler Building during its 50th Anniversary Restoration. Kaplan has been featured on the Today Show, Good Morning America, Sunday Morning with Charles Karult, P.M. Magazine, Cable News Network and Real People just to name a few. He has appeared as a spokesperson for Eastman Kodak, Nimslo 3D Camera, Soligar Lens and Nikon Cameras and his photos have appeared in photography magazines worldwide. Kaplan is also the President of The Brandywine Collective, a loose-knit band of photographers intent on learning to see better and, through the medium of photography, to share that vision. The group of (at times) more than 20 photographers are active in the Brandywine area called a river in Pennsylvania and a creek in Delaware. In addition to the UCAL exhibition, the collectives’ works can be seen at the Delaware Art Museum (The Cultivated Eye), the 100th Arden Fair and the Great Neck Center for the Visual and Performing Arts. For more information on the collective and artists, visit www.brandywine.org. |
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| Item: GALLERY JOE Date: 31 August 2007, 10:29 am |
| ASTRID BOWLBY: A certain density September 15 – October 27, 2007 Reception: Saturday, September 15, 4 – 6 pm Gallery Joe is pleased to announce a show of ink drawings by Astrid Bowlby. A certain density, Bowlby’s third solo show at Gallery Joe features 18 pen and ink drawings, ranging in size from 8 ½ x 11 to 30 x 40 inches, her largest works to date. In the Front Gallery Bowlby introduces a new series of drawings called “Dark Garden,” suggesting a primordial soup, hovering between a fecund sea floor and a mysterious midnight garden. In addition, she shows new variations on several familiar series, including “Strange weather”, and “Variegated lace”. In the Vault Gallery is a group of seven drawings from “A certain density,“ a series of densely drawn black rectangular grids Bowlby began developing in 1999. Line upon line, layer upon layer, she methodically applies the ink to the paper creating rich surfaces of extreme density. While it remains apparent in some of the drawings, in others the grid appears to fade into a solid black field. Bowlby is a recipient of a Pew Fellowship in the Arts for works on paper, 2005 and four Pennsylvania Council on the Arts fellowships, 2000, 2002, 2004, and 2007. Recent exhibitions include: This Place is Ours! Recent Acquisitions at the Academy, The Pennsylvania Academy of the Fine Arts, Recent Acquisitions: Prints and Drawings from Dürer to Doig, Philadelphia Museum of Art, Philadelphia, PA, and 2007 Portland Museum of Art Biennial, Portland Museum of Art, Portland, ME. Astrid Bowlby lives and works in Philadelphia. |
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| Item: LINEAGE GALLERY Date: 24 August 2007, 11:58 am |
| Forgotten Lands features the work of Greg Craola Simkins and Naoto Hattori, two modern pop surrealists who use their unique visions to take viewers into a world of endless possibilities where logic and reason become obsolete and bizarre creatures become commonplace. In these fantastic journeys you will discover a world full of new species, mutated creatures and lost civilizations living among the fauna of these Forgotten Lands. Greg Craola Simkins paintings are full of curiously playful characters that are carefully designed to capture viewers imaginations. With his cartoonist sensibility, fresh visual vocabulary and razor sharp design Simkins brings a fresh new style to Forgotten Lands. Simkins has his own blend of character based surrealism. Old cartoons, books, animal documentaries, and music become the inspiration for Simkins wonderful world. In his world you will find a whole new cast of odd little creatures that find refuge in the equally odd environments that he invents for them. These paintings come together only after a long process of observing the world, sketching ideas, taking notes and searching out visual materials to use as a reference. All of this is done before he even puts a brush to canvas. Once the concept is realized Simkins builds his image from the ground up and the composition begins to take shape as he adds layers upon layers to allow all of the pieces to come together. He then adds a final layer of clear finish to help even out the surface. The long and involved process is somewhat unconventional for a painter. But this designers approach is just one of the many things that sets his work apart from the rest. His paintings are like fully realized dreams that Simkins is able to bring to the surface and each one has its own wonderful story within a story. In recent years Greg Simkins work has appeared on skateboards, album covers, clothing and most recently on a limited edition lunchbox series. His work can be seen in galleries all over the country and is much sought after by collectors. Simkins is published regularly in magazines such as High fructose, Beautiful Decay, Concrete Wave and Juxtapoz (just to name a few). Greg Simkins is a graduate of California State University Long Beach. He currently lives and works in Southern California. This is his first major exhibition on the east coast. Enter the world of Naoto Hattori where imaginary animals, peculiar objects, and extraordinary environments make their way from the pages of the artists mind, through his brush and on his canvas. Hattori is continually searching new frontiers within his own imagination. He paints what he sees and uses this as a way to express ideas that sometimes can not be put to words. He finds his inspiration in some very unusual places. Nature plays a huge role in shaping Hattoris imagery. He focuses his attention on details including anatomy, color, light and shadow. Having a strong understanding of how these things work in nature helps him to better understand how to manipulate them later on his canvas. Naoto Hattori studied at both the Tokyo Design College, in Tokyo, Japan as well as the School of Visual Arts in New York City where he graduated with a B.F.A in Fine Arts and Painting. This unique educational background and set of influences has helped Hattori to develop his signature style and his own method of storytelling. This is all reflected in his work that seems to be equally influenced by Japanese design as well as western traditions in modern art. In his new work Hattori explores the landscape in which these creatures live and breathe. He continues to experiment with biomorphic forms and finding interesting ways to present them on his canvas. His work appears in magazines, galleries and in private collections all over the world. He calls both New York City and Tokyo, Japan home. Forgotten Lands is his second major exhibition with Lineage Gallery. |
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| Item: THE FABRIC WORKSHOP AND MUSEUM Date: 24 August 2007, 11:57 am |
| The Fabric Workshop and Museum presents Senga Nengudi: Warp Trance 9 June – 26 August 2007 Opening Reception: Friday, 8 June 2007, 5:30 – 8 p.m. Artist Lecture: Friday, 8 June 2007, 6 p.m. Exhibition Location: Pennsylvania Academy of the Fine Arts, Morris Gallery he Fabric Workshop and Museum is pleased to present Warp Trance, a new project by Senga Nengudi on view at the Pennsylvania Academy of Fine Arts' Morris Gallery. Nengudi, an artist-in-residence at The Fabric Workshop and Museum (FWM), collaborated with FWM to create an installation that employs a 3-channel video projection of rhythmic sounds and images derived from industrial weaving mills to evoke ritual and trance. Senga Nengudi: Warp Trance opens on Friday, 8 June with an artist lecture at 6 p.m. and a reception from 5:30 – 8 p.m. The exhibition is on view through 26 August 2007 at the Pennsylvania Academy. Nengudi is best known for her performance, installation, and sculptural work involving movement and the body. During her residency at The Fabric Workshop and Museum, Nengudi became interested in Pennsylvania's, and FWM's, rich history with textile production. She visited several local textile mills including MTL, in Jessup, PA, and Langhorne Carpet in Penndel, PA, as well as Scalamandre in Long Island City, New York, and was fascinated by the repetitive motion and sounds of the mills. During these visits, with the generous cooperation of the mills, Nengudi collected video footage and sound recordings as well as hundreds of Jacquard punch cards. She then asked the composer Butch Morris to take the audio recordings from the textile mills and turn the ambient sounds into a composition to accompany the video projections. The resulting installation, Warp Trance, leads the viewer into an almost trancelike state through repetitive motion and audio and visual rhythm. Warp Trance is Nengudi's first work involving video. She has primarily been drawn to discarded, everyday materials with farther reaching associations than the viewer might initially assume. The Jacquard punch card panels onto which the video footage is projected in Warp Trance fit perfectly into this category. As well as being a revolutionary step in textile production, the Jacquard loom was also the first machine that used punch cards to control a sequence of operations. Consequently, the cards are considered the first important step in the history of computing hardware as well as a key conceptual precursor to the development of computer programming. Nengudi's Warp Trance touches on the history of technology, ritual dance, contemporary music, and the politics of labor, but, for the artist, it's really about the interaction between the viewer and the piece. Nengudi wants the work to encourage us to move and dance removing us from the everyday through Warp Trance's mesmerizing rhythms and visual patterns. About the Artist Born in Chicago in 1943, Senga Nengudi currently lives and works in Colorado. She received a B.A. in art and dance and a M.A. in sculpture from California State University in Los Angeles, CA. She also studied Japanese Culture at Waseda University in Tokyo, Japan. Nengudi was at the forefront of the African-American avant-garde in New York and LA in the 1970s and 80s and has had solo exhibitions at various locations including Thomas Erben Gallery (which represents Nengudi) in New York (2005). Her work has also been included in numerous group exhibitions including Out of Action: Between Performance and Object, 1949-1979, Museum of Contemporary Art, (LA MOCA) Los Angeles, CA (1998), the 54th Carnegie International 2004-2005, Carnegie Museum of Art (2004), Double Consciousness: Black Conceptual Art Since 1970 at the Contemporary Art Museum, Houston, Texas (2005), and Role Play: Feminist Art Revisited 1960-1980 at Gallery LeLong, New York (2007). In 2005, Nengudi received both the Anonymous Was a Woman Award and the Louis Comfort Tiffany Foundation Award. Nengudi's work is featured this spring and early summer at LA MOCA in the traveling group exhibition WACK! Art and the Feminist Revolution (2007). The exhibition's next venue is P.S.1 Contemporary Art Center, Long Island City. Exhibition Location Pennsylvania Academy Morris Gallery, Historic Landmark Building Pennsylvania Academy of the Fine Arts 118 North Broad Street Philadelphia, PA 19102 [T] 215.972.7600 [F] 215.569.0153 www.pafa.org Morris Gallery Hours Tuesday - Saturday, 10am–5pm Sunday, 11 am–5 pm Closed Mondays and legal holidays Admission: Adults: $7, Seniors & Students: $6, Youth ages 5-18: $5, Members & Children under 5: FREE Also on view At The Fabric Workshop and Museum's temporary space, 1222 Arch Street, through the summer are rotating window installations by contemporary artists including Mark Bradford and Marie Watt, as well as selections from The Fabric Workshop and Museum's permanent collection. |
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| Item: DELAWARE CENTER FOR THE CONTEMPORARY ARTS Date: 24 August 2007, 11:57 am |
| DCCA Events: Tuesday, May 15, 5:30 –6:30 p.m. - second lecture in series “Tree Souls and Iconic Souvenirs: Recurring Themes in the Work of Alison Saar” Professor Amalia Amaki. Call 656-6466 x 7112 to register. FREE to students. Fee for general public. Wednesday, May 16, noon: Art Salad, DCCA studio artist Felise Luchansky will discuss her digital work. (photo: Waxing and Waning, attached) Thursday, May 17, 5:30- 8 p.m.: Young Contemporaries’ Night featuring Foolscaps and Inkshed with special guests A.R.S. Trio. An interstate historical romp of an evening curated by Robert Wuilfe and presented by Philadelphia’s Landmarks Contemporary Projects. FREE to DCCA YC members and Philly Car Share members. $10 general public. (photo: playing telephone with ghosts, attached) Gallery Listings for Delaware Center for the Contemporary Arts, 200 S. Madison St., Wilmington. 302 656-6466. $5 adults, $3 students (with ID) and seniors (65 and up), children under 12 free. Free admission, 10 a.m. to 1 p.m. Saturdays. www.thedcca.org Opening May 18, MFA Biennial (photo: Paul DeMarco, Earthly Delights, 2006, Mixed Media, 96 x 69 x 72 inches) Through June 17, “Tessella,” Michele Kong, multimedia installation Through July 8, “Advance & Retreat,” Karin Birch, embroidery Through May 20, “Virtues and Vices,” Carrie Ann Baade, paintings Through August 5, “Contemporary Woodcuts,” Phillia Yi, woodcut prints April 20-August 5, “Duped: Prints by Alison Saar,” Alison Saar, woodcuts, etchings and monotype prints |
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| Item: NEXUS FOUNDATION FOR TODAY'S ART Date: 24 August 2007, 11:57 am |
| NEXUSselects is a juried competition for seniors graduating from the many art colleges and universities in Philadelphia and the surrounding region. The juried exhibition seeks out the best and most compelling young artists and at the same time illuminates the trends and styles emanating from our region’s art schools. The opportunity to install and exhibit work in a high profile gallery serves as a milestone in these young artist’s careers. Nexus member artists Jennie Thwing and Bilwa served as jurors for NEXUSselects 2007 along with Greg Kelly and Steve Weber from 201 Gallery and Nexus executive director Nick Cassway. Nine artists working in five different mediums from four different schools were chosen to exhibit a body of work for NEXUSselects 2007. This year’s exhibitors include: Melissa Biddle – Tyler School of Art, Photography; Jennifer DiCocco – University of the Arts, Photography; Raphael Fenton-Spaid – Temple University, Art and Art Education; Jennifer Gin – University of the Arts, Crafts; Colleen Keihm – Drexel University, Photography; Jong Kyu Kim – Tyler School of Art, Sculpture; Sarah Koziol – Tyler School of Art, Fibers; Penelope Reichley - Tyler School of Art, Sculpture; and Missy Sweet – Drexel University, Photography. NEXUSselects was developed as a vehicle to help situate graduating art students in the professional art world at this transitional point in their careers. NEXUSselects also includes an educational component, which takes place every spring in the form of a comprehensive schedule of professional development workshops. These workshops are open to all graduating art school students and are presented free of charge by Nexus’ education committee. Students gain crucial knowledge and experience in such areas as writing artist statements and resumes, preparing media/press packets, publicity and networking and learn what it takes to establish a successful art practice after college. NEXUSselects 2007 Friday June 1 through Sunday July 1, 2007 Opening Reception – Thursday June 7 - 6 to 9 PM also open First Friday 6 to 9 PM The Gallery's regular hours are 12 to 6 p.m., Wednesday through Sunday. Admission is free. |
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| Item: UNIVERSITY CITY ARTS LEAGUE Date: 24 August 2007, 11:57 am |
| University City Arts League (UCAL) presents West Philadelphia visual artist and writer Jill Maio in a solo exhibition titled: Jill Maio Constructions 2004-2007 June 8- July 7, 2007 University City Arts League (UCAL) presents local artist Jill Maio in Constructions 2004-2007, a collection of wood/mixed media works, sculpture and paintings. Jill Maio’s ambitious exhibition debuts Friday, June 8 with a reception at 5:30pm and runs through July 7. UCAL's gallery is located at 4226 Spruce Street, Philadelphia, PA. Admission is free and the public is invited to attend. For more information, contact 215-382-7811 or www.ucartsleague.org. Jill Maio’s process begins with salvaging found objects such as wood from renovated or destroyed houses. Materials are sawed and whittled into scraps that are then assembed in a relief form on a plywood base. The process occurs in several stages that include breaking down the object into smaller parts, rebuilding, reshaping and painting. Maio notes, “To me, a piece under construction is the world in which I reside in for the months it takes to make it, and the forms are the architecture of that world: generally simple in shape but mysterious in function.” Maio’s works are large scale featuring paintings/constructions 24”x 60” and 48”x 60” and smaller sculptures approximately 24”x 8”x 8” that hang on the wall. Commanding pieces such as Oddgard #6 are circular in structure with numerous layers of wood, some portions reminiscent of a rustic and secretive world. Maio earned a Bachelor of Fine Arts from Massachusetts College of Art in Boston and graduated with Highest Honors. She received a Master of Fine Arts degree in Creative Writing from the University of Virginia, where she was a Henry Hoyns Fellow and a Jacob Javits Fellow. She has been awarded residencies at Vermont Studio Center, Can Serrat International Arts Centre, and Santa Fe Art Institute, published in literary journals such as Ploughshares and Virginia Quarterly Review, and shown artwork in galleries and museums from Boston to New York to Houston. Locally, Jill was a resident artist in Philadelphia’s 40th Street Artist-in-Residence Program and has recently shown work at the AIRspace Gallery and at Woodmere Art Museum UCAL Gallery hours are Mon.-Thurs. 1PM-6PM; Friday 1PM-5PM; Saturday 9:30AM to noon and Sunday by appointment. Next at the gallery opening Friday, July 20, 5-7pm is 'Animal Art Adventures' A collection of art created by participants in the UCAL Animal Art Adventures Summer Camp, a joint program presented by UCAL and The University of Pennsylvania's Veterinary School. |
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| Item: F.U.E.L. COLLECTION Date: 24 August 2007, 11:56 am |
| JUNE>>Drexel University: Senior Photography Exhibition June 1 ? 30, 2007 Opening Reception: Friday, June 1 @ 6PM. The exhibition will showcase the photographs of seventeen different emerging artists. This work represents a year-long project by the students, whose diverse interests are evident in the wide range of ideas and approaches seen in this exhibition. The Drexel University Senior Photography Show has been an annual event for over a decade and has gained the attention of critical praise. Drexel?s student work have won numerous awards including publication such as Communication Arts Magazine, Graphis Design Annual, The PDN Annual Awards and The New York Times Magazine. For more information about the show contact Paul Runyon 215-895-2932. |
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| Item: JAMES OLIVER GALLERY Date: 24 August 2007, 11:56 am |
| James Oliver Gallery presents, Occupations, a show with three varying interpretations of the subconscious. Including painting and sculpture, Occupations, demonstrates different ways in which art inhabits a space, impacting the way in which one views art, in addition to the way art impacts the subconscious. Artists Mathew Davis, James Enders, and Shane Leddy contribute three diverse styles to the show; each revealing the artists' own subconscious layers. Please join us for the opening reception of Occupations, Saturday, June 23rd, from 6-11 pm. The James Oliver Gallery is running the show through July 28th. Mathew Davis, a former architect, has transformed his talent for creating new spaces for people to occupy into an emerging art career. After working across the globe, observing the way in which other countries and cultures occupy their own space, Davis began working with video and multi-media, but is currently exhibiting in painting. Davis categorizes his own work for this show as the "emergent topography of the subconscious". Using his former skills as an architect and urban designer, Davis maps out his paintings in such a way that the viewer moves through his work in one fluid motion. James Enders incorporates both sculpture and painting in Occupations, using an awakening range of colors. Citing nature and the subconscious as his inspirations, Enders constantly shifts is color palette, media, and design scheme; believing that it is quite unnatural to remain stagnant in one specific genre, media, and mindset. Claiming that he uses the brush as an extension of the subconscious, Enders allows his brush to travel through many different moods and styles. Enders looks to Dada as one of his favorite movements, and it is clear that artists such as Marcel Duchamp, Pablo Picasso, and Keith Haring influence some of his work. Shane Leddy creates images influenced by tiles, piecing together similar blocks of colors and images to form one cohesive piece. Attempting to search and travel through the subconscious through meditation, Leddy's paintings pursue an essence of truth and peace only found in the subconscious. While more spiritual, and much less biased, than Freud, Leddy similarly believes that the subconscious controls one's impulses and actions. Leddy's paintings tell a story, an arc of the subconscious and how it impacts us. Also active in music, Leddy combines his talents in music and art, each one affecting the other, both occupying equal places in the subconscious. Open gallery hours are Wednesday through Friday 5-8 pm and Saturday 12-8 pm, or by appointment – please call 267-918-7432 or 215-923-1242, or visit us on the web at jamesolivergallery.com. |
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| Item: DAVINCI ART ALLIANCE Date: 24 August 2007, 11:56 am |
| BATIK PAINTINGS AND PHOTOGRAPHY EXHIBIT AT DAVINCI ARTALLIANCE SET FOR JUNE Batik Paintings and Photography will be featured at the DaVinci Art Alliance for themonth of June by two Pennsylvania artists, Lenore Fiore Mills and Francine Douaihy.The exhibit will open with a meet-the-artists reception on Sunday, June 3rd from 1 to 5p.m., 704 Catharine Street.Batik is the medium associated with designing fabric for functional purposes. TheProcess is an ancient one of applying wax and dye in alternating layers to completion.Ms. Mills early work in batik did consist of simple designs, but her style has emerged asa more intricate one. The knowledge of what to expect after repeatedly combining andlayering dyes provides for harmonious compositions.Many of the paintings are based on the diversity if city neighborhoods and the eventsindigenous to them. Ordinary, contemporary life is represented in this unusual medium,difficult to grasp and perfect. Ms. Mills captures the intrinsic essence of the moment. The photography of Francine Douaihy encompasses surrealism and abstraction, as well asrealism, unretouched and of the moment. Using a digital camera, she uses thephotograph to create a painting-like essence emphasizing texture, color and composition.She is also inspired by the writings of Edgar Allen Poe, Kahil Gabran, and CharlesDickens and incorporates these writings in her work.Douaihy also features the beauty and grandeur of cities and has photographed London,New York and Ottowa, Canada. She captures the details that sometimes go unnoticed butare of artistic merit to her.She is especially fond of photographing grafitti, dissecting and reinventing its imagery.Natural objects and events are another subject for Ms. Douaihy—a puddle of rain water,A river bed near a coal mine, pond scum—all are subjects for the natural abstractionsDouaihy seeks to photograph. The DaVinci Art Alliance is a non-profit organization headquartered in SouthPhiladelphia with a history dating back to1931. It is dedicated to all forms of art andartists and holds various programs and exhibits throughout the year.The Mills/Douaihy exhibit continues through June 24th and is open on Saturday andSunday from 1 to 5 p.m. For more information, call 215-829-0466. |
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| Item: LINEAGE GALLERY Date: 24 August 2007, 11:56 am |
| Damon Soule Lacksadayscycle 7/13/07 - 8/12/07 Lineage Gallery is pleased to welcome back to the gallery; New York City based artist Damon Soule. In this much anticipated show Soule returns to Lineage Gallery and brings along an impressive collection of new work that is sure to excite everyone who sees it. Damon Soule’s work challenges many of the myths perpetuated by the scientific establishment. Drawing inspiration from the world of alternative sciences, Soule uses fractal patterns and intricate designs along with a carefully chosen color pallet to help further explore the scientific universe. Soule’s paintings are often filled with curious creatures that charge their way through his graphically dense landscapes. Over the years they have evolved in many ways and are often a blend of organic and robotic elements. These “hybrid” creatures become activated in the complicated geometrical landscapes that Soule provides for them. In “Lacksadayscycle” Damon Soule brings with him a new cast of characters that are in many ways “cut from the same cloth” as his earlier work. These creatures are similar to the ones that we have grown to love over the years but carry a very different emotional weight as Soule infuses each one with its own personality. Much of Soules new work is mixed media that he creates on found surfaces including wood, boards, and existing canvases. Using cut paper and applying it onto found objects Soule has unlocked a whole new dimension in his work. The results are very exciting and Soule has produced impressive collection of over 40 new works of art that will be debuting in “Lacksadayscycle.” This unique style and approach has made Damon Soule a widely recognized figure in contemporary art. He was recently a featured artist in two books (“4 words”, and “Convergence”), and his work appears in publications, galleries and private collections all over the world. This spring he released a new vinyl toy series called “Life in Ventsville” with Kid Robot as well as two new exclusive prints with Lineage Gallery. Damon Soule lives and works in New York City. “Lacksadayscycle” is his first major solo show with Lineage Gallery. Audrey Kawasaki & Randy Noborikawa The Innocents 7/13/07 - 8/12/07 “The Innocents” features the work of Audrey Kawasaki and Randy Noborikawa, two California based artists whose work (in part) focuses on a common theme of innocence- lost and found. These two extraordinary artists with their unique styles and equally unique conceptual approach offer viewers a moment of reflection in “The Innocents” at Lineage Gallery. Audrey Kawasaki grew up in southern California. As the daughter of Japanese immigrants she spent much of her childhood reading magna (Japanese comic books), listening to Japanese Pop music, and watching Japanese television. Her first drawings were inspired by the sensual and erotic female faces that she saw in Magna comic books. She was instantly attracted to that style and began collecting images, and color studies from other sources and found ways to infuse them into her drawings. Her attraction to drawing female figures and faces became one of the early marks of her signature style. As her style grew, delicate and deliberate lines become beautiful wide eyed woman. Through a process of light washes her figures are bathed in colors and textured by the wood grains that lay beneath the surface. In her recent work Audrey Kawasaki continues to captivate her viewers with voyeuristic images of young woman caught in seemingly very private moments. She explores (and challenges) the innocence of her subjects by placing them in suggestive environments and provocative poses. At first glance they seem harmless and innocent but upon further investigation they can also appear to be mischievous and naughty. These stylized figures often seduce viewers with their “melancholy” expressions and “bedroom eyes.” This mixed with Kawasaki’s soft and subtle style creates a tension in her work and makes her paintings irresistible to anyone who encounters them. Audrey Kawasaki studied at the Pratt Institute of Art and Design in Brooklyn, New York but returned to here roots in Southern California where she lives and works today. Recent sold out shows and appearances in art publications has kept her very busy. Her work are in private collections all over the world. Also in “The Innocents” we have Randy Noborikawa who comes to Lineage Gallery with a body of work that has a much harder and more youthful edge. His work explores a chaotic freedom that that is often associated with the Southern Californian surf and skate culture. This is a world that Randy Noborikawa knows well and is still very much a part of. Born in Southern California Randy was immersed in the 1970’s/ 80’s so-cal lifestyle which included skim boards, skate boards, surf boards and keyboards. These are things that would stick with him for the rest of his life in work and in play. In his work Noborikawa is able to lock into a moment when being young means being free and he brings his viewers back to a special place in time where everyone can share in that freedom. To do this Noborikawa pulls from a variety of influences that include Latin flavors, hip hop culture, graffiti writing, rock and roll, skate and surf culture, comics and other contemporary artists. With a visual vocabulary that includes everything from skeletons, animals, religious icons, weapons, wall paper pieces, typographical and figurative elements (just to name a few), Noborikawa is able to build strong compositions creating what seems to be a perfect state of chaos and order. Noborikawa’s attitude is the primary subject in his work and his holds bar approach makes his work hard to put into any one category- allowing for even more freedom. Randy Noborikawa is classically trained but claims to be “unlearning” what he was taught. He continues to work and live in Southern California. He travels the world as a part of the Quiksilver clothing design team and shows regularly in group shows in the United States and beyond. Lineage Gallery is pleased to welcome back to the gallery; New York City based artist Damon Soule. In this much anticipated show Soule returns to Lineage Gallery and brings along an impressive collection of new work that is sure to excite everyone who sees it. |
| 71. Source: Philly Gallery Guide RSS |
| Item: DAVINCI ART ALLIANCE Date: 24 August 2007, 11:56 am |
| "Harmony" a juried multi-media exhibition August 4-26, 2007 Opening reception: Saturday, August 4th 6:00 to 9:00 pm During the month of August, the Da Vinci Art Alliance will be exhibiting its annual juried show, a multi-media exhibition open to all visual artists. The subject, Harmony, focuses on themes of music or accord. The show will run from August 4-26, and an Opening Awards Reception (free and open to the public) will be held on Saturday, August 4, 6-9 pm.19 artists were chosen for the Harmony exhibition by jurors: Art Historian Debra Miller (Rutgers University, Camden, and Hussian School of Art, Philadelphia, and Board of Directors, Da Vinci Art Alliance) and Roy Harker (Director of Music and the Arts, The Church of St. Asaph, Bala Cynwyd); Harker will also serve as awards judge, and will host the exhibition at the Gallery at St. Asaph’s in 2008. Special programming related to the theme of Harmony will be offered on Sunday, August 19, noon-5 pm. The symposium will include a presentation by Dr. Miller on "Musical Themes and Symbolism in Dutch Baroque Art;" an autobiographical reading by artist and Sarajevo native Lilliana Didovic based on her affidavit for political asylum in the US; a short set of inspirational songs of peace by artist and musician SiriOm Singh; and a lecture by Pennsylvania Commonwealth Speaker, musician, and instrument-maker Tom Jolin on "Traditional American Folk Music." As a melded culture, the United States is fortunate to have music and instruments that come from around the world. Mr. Jolin will perform a number of traditional songs, and explain the origins of the hammer dulcimer (Iran), the banjo (West Africa), the bowed psaltery (the Middle East), and the mountain dulcimer, button accordion, and harmonica (all Germany). This presentation is a program of the Pennsylvania Humanities Council, supported in part by a grant from the Pennsylvania Historical and Museum Commission. The PHC inspires people to come together to share a life of learning. Since 1973, the PHC has provided resources that empower local groups to help their communities explore history, literature, the arts, and the ideas that shape the human experience. Gallery Hours: Wed. 6-8 pm Sat. and Sun. 1-5 pm |
| 72. Source: Philly Gallery Guide RSS |
| Item: CHELTENHAM ART CENTER Date: 24 August 2007, 11:56 am |
| Horseshoe Crab Exhibition at Cheltenham Art Center Have you ever walked along the beach to see a Horseshoe Crab struggling as it lays on it?s back? Often enough ignoring the needs of the helpless Horseshoe Crab and deciding not to flip it over. Horseshoe Crabs carry on a greater existence beyond being stranding on local beaches. The Ecological Research and Development Group?s belief is that one of the greatest threats towards the continued survival of horseshoe crabs is public indifference. Through the annual ?Horseshoe Crab and the Arts? juried art competition, ERDG offers youth the opportunity to realize how their heartfelt expressions can be powerful tools to awaken interest and change the understanding of adults. The competition, open to students in grades Pre-K ? 12, challenges young people to learn about horseshoe crabs, and then tap into the thoughts and feelings they?ve developed about this amazing creature. Artistic expression is invited in the forms of visual representation, short stories and/or poetry. In 2007 35 young artists from PA, NJ, DE and Japan, were selected from among over 600 entrants. Selected artists and their teachers receive an anthology of the works as a limited edition artist?s book, while the artworks are posted on ERDG?s web site. There is also a culminating exhibition of student work and a community awareness/celebration day held at local museums and festivals. This year the art appeared at the opening of the Dupont Nature Center in Milford, DE, the International Horseshoe Crab Symposium in Oakdale, NY, and Perkins Center for the Art, Collingswood, NJ. Works are on view at Cheltenham Art Center, Cheltenham, PA for the first two weeks in August, then they travel to Japan?s National Horseshoe Crab Association meeting. When the exhibit returns to the states, the exhibit will be at the Noyes Museum in Ocean County, NJ. To learn more about horseshoe crabs visit ERDG?s award winning web site, www.horseshoecrab.org Exhibit Runs August 06-17, 2007 Cheltenham Art Center Small Gallery Gallery Hours: Monday-Friday, 9am-5pm Public education program on August 17th from 12-1pm. The ERDG's In-School program is developed and conducted by master papermaker and teacher Winnie Radolan, a nationally known papermaker/artist/educator who runs ?Winnie?s Paperworks,? an itinerant teaching papermill. For sixteen years she has been involved with papermaking as an art form and educational vehicle. Former Director of Papermaking and Education at Historical RittenhouseTown, she teaches and conducts many workshops locally and nationally for artists of all ages. Winnie is a faculty member of the Cheltenham Art Center. She is an Artist-in-Residence for both New Jersey and Pennsylvania Councils for the Arts, and teaches at University of the Arts in Philadelphia. She is Founding Director of the Guild of Papermakers and former officer in the Friends of Dard Hunter Inc., a national papermaking organization. Her paper and book works have been exhibited internationally and are in private collections. She received her BS in Art Education from Moore College of Art and has done Graduate studies at U of Arts. The Cheltenham Art Center nurtures the creative spirit of the community through instruction in the visual and dramatic arts, exhibitions, and theater performances. Visit Cheltenham Art Center online at www.cheltenhamarts.org or contact the center at 215.379.4660. Cheltenham Art Center is conveniently located at 439 Ashbourne Rd., Cheltenham, PA 19012 with plenty of free parking! Easy to reach with Septa! |
| 73. Source: Philly Gallery Guide RSS |
| Item: WOODTURNING CENTER Date: 24 August 2007, 11:55 am |
| allTURNatives: form + spirit 2007 August 3 September 22, 2007 Opening reception First Friday, August 3 5:30 - 7:30pm; 6:30pm Gallery talk and dance performance Saturday, August 4 2pm - 4pm The resident artists return for a second gallery talk. This is the presentation of the new work created during the 2007 International Turning Exchange program. Three-dimensional work will be accompanied by photos and/or films depicting the summer experience and the artists statements sharing their experiences and work process. During the opening weekend, meet the international residents and hear the creativity behind their old work and the collaborations in the new work created during the residency. This will be the first time one of the residents is a dancer who will perform on opening night. This year's International Turning Exchange residents include: Elisabeth Agro, scholar, United States Jean-François Delorme, artist, France Peter Harrison, furniture maker, United States Sean Ohrenich, artist, United States Lesya Popil, dancer, Group Motion, United States Siegfried Schreiber, artist, Germany Lynne Yamaguchi, photojournalist & wood artist, United States |
| 74. Source: Philly Gallery Guide RSS |
| Item: YO! GALLERY Date: 24 August 2007, 11:55 am |
| SCOTT BICKMORE: REDROOM, REDROOM Opening Reception: August 17, 2007, 8-11PM Exhibition: August 17 31, 2007 Gallery hours: Wednesday-Friday: 5-11PM, Saturday-Sunday: 1-11PM Lose your mind this August with Redroom, Redroom, conceptual artist, Scott Bickmores exhibition at the newly launched Yo! Gallery. Referencing the film, The Shining, and the line: Redrum, Redrum, the two-room installation signals the psychological space people inhabit while experiencing a psychotic episode. By replacing every light bulb in the gallery with red painted light bulbs, Bickmore bathes both rooms and their inhabitants in a blood stained glow that floods visitors consciousness and spills out into the street. Eliciting murder and emergency, this red environment also calls to mind the safelights that illuminate the sites darkroom connected to the gallery, which in this context, seems to operate as a manufacturer of violent film stills extracted from 35mm reels. Taking the Measure Dates: September 7 - Oct 5 Opening Reception: Friday, September 7, 6-9 p.m. |
| 75. Source: Philly Gallery Guide RSS |
| Item: THE PRINT CENTER Date: 24 August 2007, 11:55 am |
| September 14 – November 21, 2007 BLACK PULSE 2000-2007: DOUG + MIKE STARN Friday, September 14: Opening Reception 5:30-7:30pm Private Dinner with the Artists 8:00pm PHILADELPHIA –The Print Center announces Black Pulse: 2000-2007 by internationally recognized artists Doug + Mike Starn. The exhibition will feature the Black Pulse series which explores the multiple layers of meaning inherent in the dualities of light and darkness, mortality and decay as well as the impermanence of beauty, through the investigation and deconstruction of foliate imagery. Twins Doug + Mike Starn work collaboratively making constructions which blur the lines between photography, painting and sculpture, with an emphasis on the physicality of the photographic print. Their underlying concept is cross-disciplinary spanning the fields of art, science and philosophy, and investigates the inherent tensions which arise from combining photography and sculpture, art and science, reality and metaphor, nature and technology. The Starns’ images resonate with the poetic tension which exists in the space between presence and absence, darkness and enlightenment. Black Pulse: 2000 - 2007 offers a complete presentation of the scope of this series, from the initial photographs of flatly presented leaves on small sheets of gampi paper, through wall-scaled leaf imagery modeled three-dimensionally, to the most recent work - a digital projection adding movement and color modulation to the depictions. This is the first solo exhibition of the Starns’ work in Philadelphia. The Starns have established an international presence in museums and galleries since first receiving critical attention for their unconventional approach to the photograph as art object in 1985 when they had just completed art school. Their works, which are often torn, taped, torqued and intentionally distressed, have been included in numerous exhibitions domestically and abroad. Their pieces have been acquired by more than 30 public permanent collections including the Museum of Modern Art (NYC), the Metropolitan Museum of Art (NYC), the Solomon R. Guggenheim Museum (NYC), the Whitney Museum of American Art (NYC), the Los Angeles County Museum of Art (CA), the Corcoran Gallery of Art (Washington, D.C.), the Jewish Museum (NYC) and the San Francisco Museum of Modern Art (CA). They have received two grants from the National Endowment for the Arts (1987,1995) and The International Center for Photography’s Infinity Award for Fine Art Photography (1992). Doug + Mike Starn’s Black Pulse: 2000 - 2007 will be on view at The Print Center from September 14 – November 21, 2007. The opening reception is Friday, September 14 from 5:30-7:30pm followed by a private dinner with the artists at 8:00pm. |
| 76. Source: Philly Gallery Guide RSS |
| Item: VOX POPULI Date: 24 August 2007, 11:50 am |
| Exhibition Dates: Friday, September 7 – Sunday, September 29 Opening Reception: First Friday, September 7 FROM 6-11 PM This month Vox Populi presents exhibitions by Vox Populi members Gabriel Boyce and Xiang Yang, and Queens-based guest artist Allison Owen. The Video Lounge features work by both Lydia Moyer and Hope Tucker, and in the 4th Room, works by Alexandra Newmark. Gabriel Boyce Istrouma Bluff For his second show at Vox, Boyce presents a diorama of works, drawn from observations of the animals that live in his backyard, his upbringing in southern Louisiana, and the everyday territorial conflict. Xiang Yang The Remains The Shadow of the Empire is compromised of wall-sized carved with an image of the national map of the United States. The peeled-off scraps from wall spread out on the floor and form an image of the national map of China, which symbolizes a tightly followed super nation—like a shadow—to the United States. The second part is the back of this work. It is an installation/sculpture resembling the inner side of a super nation—the United States. This body physically represents, in an abstract form, the current situation and conflict within the nation. Allison Owen Retrace Alison Owen's installations develop a parasitic relationship with the host space. They quietly invade the environment, altering it in subtle yet significant ways. Only upon close inspection can the elements of the installation be parsed from their environment- painted shadows lurk behind pedestals, extensions are added to the walls' molding, compositions extend past the borders of a frame. Owen shifts her focus to the peripheral, creating installations that invite the viewer into the slow process of investigation. IN THE FOURTH ROOM Alexandra Newmark In the Forest Since 2001, Alexandra’s work has been solely made from Mohair yarn. The work is focused on narratives of interdependence, and a framework of self-containment. Her work reflects the conventional expectations of womanhood—caretaker, mother. The forms themselves conjure thoughts of motherhood gone awry, at the same time the work serves as a remembrance of the extreme vulnerability of childhood while the softness of the mohair yarn evokes the innocence of that time. Alexandra Newmark received her MFA in Sculpture from Bard College in 2001, and her BFA from Parsons in 1998. In 2005, she was awarded a Pollock-Krasner Foundation Grant. IN THE VIDEO LOUNGE Double Feature: Lydia Moyer and Hope Tucker Lydia Moyer Paradise In September of 2006, a man walked into a one room Amish school house in rural Pennsylvania, sent all the boys and teachers out of the building, barricaded the doors and took all the young girls hostage. The man, rather than surrender to police, chose to shoot the girls, killing five of them, and then shot and killed himself. In the aftermath of the violence, the Amish community responded with extraordinary forgiveness, reaching out to the family of the man who had killed their children and maintaining an unshakable dignity in the face of intense media attention. Paradise is an attempt to make sense of the generosity of that response through secular eyes. Lydia Moyer grew up in Lancaster County, PA. She earned her BFA from Alfred University and her MFA from the University of North Carolina at Chapel Hill. Her video work has been screened both nationally and internationally. She currently heads up the new media programming the art department at the University of Virginia. Hope Tucker Selections from the Obituary Project An obituary whittles one’s social contribution down to its barest form. Like all obituaries, the 15 or so films and videos that make up Hope Tucker's OBITUARY PROJECT are selective interpretations of rich and complex lives. Sometimes these are lives of people, other times places or objects whose time has or will soon pass. Hope Tucker is an American artist currently working in Norway on environmentally focused obits for Scandinavian traditions and landscapes. AT SCREENING Pascual Sisto 28 Years In the Implicate Order Pascual Sisto's '28 Year in the Implicate Order' is a work based on the concepts of Quantum Theory and Quantum Mechanics as described by David Bohm. The video opens with a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the desolate landscape. 28 red balls bounce up and down in a chaotic, random manner—each ball performing as an individual entity bouncing at its own rate and speed. The unexpected climax occurs at the midpoint of the video when the balls align themselves in a single synchronized bounce, only to resume bouncing in a random manner. Raised in Barcelona, Spain, Pascual Sisto graduated with a BFA from the Art Center College of Design in Pasadena, California, and a MFA from the University of California, Los Angeles. His film and video work has been shown widely, including the Centre Pompidou in Paris, the Museum of Latin American Art (MALBA) in Buenos Aires, TVE (Spanish Television) and the Los Angeles International Short Film Festival. Recent exhibitions include the LA Freewaves at the Hammer Museum (Los Angeles, USA), Reencontres Internationales Paris. Berlin Festival (Paris, France), Viper Festival (Basel, Switzerland), AKA Gallery (Rome, Italy), Ego Park Gallery (Oakland, USA), MAK Center for Art and Architecture (Los Angeles, USA), Telic Gallery (Los Angeles, USA) and Bitforms Gallery (New York, USA). |
| 77. Source: Western Front Society |
| Item: 37th Anniversary Gala Dinner and Art Auction Date: 28 February 2010, 8:47 pm |
The Western Front throws a party like no other! Our 37th Anniversary Gala Dinner and Art Auction takes place on Saturday, March 6, 2010 at 6:00 p.m. Themed in an era of the New Deal, the evening will be reminiscent of the importance of collective support for the arts during a time of particular uncertainty. The Auction is the signature event held at the Western Front: the Grand Luxe Hall hosts 70 guests during the evening with a catered three-course dinner, complementary beverages, musical entertainment by Veda Hille and returning auctioneer Hank Bull. For the Western Front, a non-profit registered charity, the event raises funds to help support its diverse arts programming, and its continued efforts to foster a vibrant cultural scene in Vancouver. For art lovers and friends of the Western Front, this is a rare opportunity to purchase works by a wide range of renowned artists: Will Kwan; Jin-Me Yoon; Julie Morstad; Scott Moore; Reece Terris; Martin Thacker; Al Neil; Kika Thorne; Damian Moppett; Heidi Nagtegaal; Jeremy Hof; Allyson Clay; Hank Bull; Sonny Assu; Khan Lee; Sonja Ahlers; Peter Gazendam; Sabine Bitter; Helmut Weber; Eric Metcalfe; Donato Mancini; Alison Hrabluik; Michael Drebert; Ian Skedd; Laiwan; Elizabeth Zvonar; and Erin Shirreff. Western Front is grateful for the participation of Rigamarole fine wines, Authentic Wine & Spirit Merchants, the Flower Factory and Pan-O-Pan in making this event a delicious success. Our Auction Preview Catalogue is now online: Tickets are $150 and a portion is eligible for a charitable tax receipt. To reserve a seat or table, please call 604.876.9343 or email: admin@front.bc.ca |
| 78. Source: Western Front Society |
| Item: Learning from Vancouver Date: 21 January 2010, 6:28 pm |
Learning from Vancouver Bik Van der Pol and Urban Subjects: in dialogue Exhibition: January 30 to March 6, 2010 According to a recent survey prepared by Mercer Consulting, the world’s largest human resource firm specializing in investments and outsourcing, Vancouver is now the fourth most livable city in the world establishing it as an increasingly popular model for urban development. The survey, which effectively confers world-class status on the city, sparks obvious questions about Vancouver and its role in the global imaginary. Why is Vancouver the only North American city in the top ten? What images of the city are created and circulated to represent this livability, and what do such images signify? The title of this project, Learning from Vancouver, comes from a commissioned work by Dutch artist duo Bik Van der Pol (Rotterdam, NL). This exhibition marks the first presentation of their practice in Canada. Bik Van der Pol’s work will be presented together with a work by the collective Urban Subjects (Vienna AT and Vancouver, CA) that is in formal and thematic dialogue. Liesbeth Bik and Jos Van der Pol, known as Bik Van der Pol, have worked collectively since 1995. They have researched and developed this work during two residencies at the Western Front in 2009 and 2010. Their practice explores the potential of art to produce and transmit knowledge and research methods of how to activate situations in order to create a platform for various kinds of communicative activities. Bik Van der Pol’s works has been shown extensively, for instance at Art In General (New York, US); ISP Whitney (New York, US); Marie Louise Hessel Museum/CCS Bard (Annandale-on-Hudson, NY); Rijksmuseum (Amsterdam, NL); Van Abbe Museum (Eindhoven, NL); Witte de With (Rotterdam, NL). Urban Subjects is a visual research collective formed by Sabine Bitter, Jeff Derksen, and Helmut Weber, developing interdisciplinary artistic projects focusing on urban issues. They recently published the book Autogestion, or Henri Lefebvre in New Belgrade, with a previously unpublished manuscript by Lefebvre (Fillip, Vancouver, CA and Sternberg Press, Berlin, DE) and have another edited volume, Not Sheep: New Urban Enclosures and Commons forthcoming. They are currently developing an international exhibition on the urban effects of Olympics and Expos, Where the World Was: Cities After Global Mega-events and are working on a project on new forms of autogestion in relation to the state in Caracas, Venezuela. Learning from Vancouver will engage diverse local communities in live conversation about Vancouver and its image through a range of entry points, all free to the public. In addition to the exhibition, a three-day symposium headed by distinguished local and international speakers will unpack current mediatizations and images of the city: Bik Van der Pol (Rotterdam, NL); Clint Burnham (Vancouver, CA); Paul de Guzman (Vancouver, CA); Alissa Firth-Eagland and Johan Lundh (Grenoble, FR and New York, US); Hadley + Maxwell (Berlin, DE); Candice Hopkins (Ottawa, CA); Fiona Jeffries (New York, US); Am Johal (Vancouver, CA); Laiwan (Vancouver, CA); Randy Lee Cutler (Vancouver, CA); Kristina Lee Podesva (Vancouver, CA); Glen Lowry (Vancouver, CA); Tom Sherman (Syracuse, US); Matthew Soules (Vancouver, CA); Monika Szewczyk (Berlin, DE and Rotterdam, NL); Althea Thauberger (Vancouver, CA); Henry Tsang (Vancouver, CA), Urban Subjects: Jeff Derksen, Sabine Bitter and Helmut Weber (Vancouver, CA and Vienna, AT); and Amy Zion (Vancouver, CA). Learning from Vancouver is produced with the generous support of a Canada Council for the Arts Media Arts Dissemination Project Grant and the Mondriaan Foundation. The Western Front gratefully acknowledges the support of the Canada Council for the Arts, the BC Arts Council through the Government of British Columbia, the City of Vancouver, Direct Access Gaming, our members and volunteers. The Western Front is a member of the Pacific Association of Artist-Run Centres (PAARC). |
| 79. Source: Eyebeam RSS Feed |
| Item: Youth Drop-In Program Date: 23 September 2009, 12:49 pm |
NYC public school students between the ages of 13–18 are invited to spend their Thursday afternoons, from 3–6PM, at Eyebeam. Each month will feature a series of free hands-on workshops, starting at 4PM, where students will have the opportunity to work with different open-source software programs as used by artists and technologists. Thursdays in March: Make your own Wordpress website with Eyebeam Intern, Georg Pedersen. Graphic artist and designer Georg Pedersen will introduce the versatile and free blogging platform, Wordpress to students. Students will learn what makes a good website in terms of content, visual layout, and functionality, and then get to create their own webiste over the course of the month. 11 |
| 80. Source: Art and the City |
| Item: Marc Mayer flexes muscles Date: 3 February 2009, 4:03 pm |
Marc Mayer, with his contemporary art leanings, is already having a big impact at the National Gallery of Canada even though he has been director of the federal institution for a few weeks. Specifically, a retrospective of New York abstract painter Thomas Nozkowski will now be exhibited at the National Gallery this summer instead of at the Musee d'art contemporain de Montreal, which Mayer used to head. Both institutions say the change of venue for the Nozkowski survey was by "common agreement." The space that was supposed by be filled by Nozkowski in Montreal will, instead, house a tribute show to the late Betty Goodwin, a veteran Montreal artist who died last year. Mayer himself is the chief organizer of the Nozkowski show. For several months now, American art blogs, in discussing the Nozkowski show destined for Montreal, called it the most important ever exhibition by the artist. Nozkowski has had a long career as an abstract painter and was rewarded in 2007 with a solo show at the Venice Biennale, the world's most prestigious art venue. Last year, he became a regular at PaceWaldenstein in New York, a gallery offering only the bluest of blue-chip artists. Nozkowski is best known for small paintings and works on paper that are abstract but are also maddeningly familiar. Viewers look at his work and immediately feel they have seen that shape or object in real life but can't quite remember where. Mayer's background has been primarily in contemporary art whereas the National Gallery, like many national galleries in other countries, tends to be far more interested in historical art. Thus, the appointment of Mayer, to replace the retiring Pierre Theberge, was welcomed by those who feel the National Gallery has long given short shrift to contemporary art, especially contemporary art from outside Canada. Perhaps the Nozkowski show is a sign of more contemporary art to come at the National Gallery. The Nozkowski exhibition will run from June 26 to Sept. 20 at the National Gallery, roughly at the same time as the latest Renaissance extravaganza by the gallery's deputy director David Franklin. Summer tends to be the busiest time of year for the National Gallery, in large part because of the number of tourists in the city. It will, in essence, be a summer for all artistic tastes.
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| 81. Source: Art and the City |
| Item: Forgettable faces Date: 23 January 2009, 10:30 am |
Montreal sculptor Louis Fortier could be called the man of 1,000 faces.About 100 of those faces are currently on exhibition at Karsh-Masson Gallery in the Byward Market. |
| 82. Source: Art and the City |
| Item: Ottawa dominates McMichael Date: 9 January 2009, 1:24 pm |
Ottawa is practically taking over the McMichael Canadian Art Collection at Kleinburg, just outside Toronto, at the end of this month. |
| 83. Source: Art and the City |
| Item: Art down under Date: 29 December 2008, 10:38 am |
One of the most influential people in the Canadian art world, Pierre Arpin, is leaving the Canada Council for the Arts to become general manager, exhibition and collection services, for the National Gallery of Victoria in Australia. |
| 84. Source: Art and the City |
| Item: Everlasting humour Date: 4 December 2008, 6:39 pm |
Trying to create humorous art that remains funny for years, decades or centuries is a difficult task indeed. The art of 19th century French caricaturist, painter and sculptor Honore Daumier is still hilarious in the 21st century, even when you are unsure whom he is lampooning. Perhaps that is because a corrupt politician two centuries ago is remarkably similar to a corrupt politician today. Those bewigged French fops are not all that different than the bald, old guys on Canada’s contemporary Parliament Hill. In essence, Daumier’s humour crosses the time barrier. So, with that in mind, let’s analyze two new exhibitions at the Ottawa Art Gallery dealing with humour. The best one is Marsterpiece Theatre, a retrospective of sorts of the unfailingly humorous work of the late Mark Marsters, an Ottawa artist who died in 2002 at age 39. He is most famous, make that infamous, for the giant plastic hands he created more than a decade ago after winning a commission to put art along the transitway. Some commuters felt Marsters was giving them the finger. Actually, he just wanted to give them a laugh with his larger-than-life hands expressing various emotions. But Marsters did so much more than giant hands. His usual medium was painting. But not on canvas. Marsters would literally grab whatever was on hand, be it plywood, torn paper, rolling pins or even badminton racquets, as a substitute for canvas Paint was not even necessary for painting, as he would tell his students at the Ottawa School of Art. The students would subsequently hand in homework in which catsup, mustard or other unusual colourful substances were substituted for paint. In his paintings, Marsters would create comic-book-like characters, with a slightly medieval air to them, and place them in pun-filled situations. The results were a series of biting, laugh-filled commentaries on the politics and people of the day. That’s certainly what we see at the main exhibition venue of the Ottawa Art Gallery. Consider the billboard-sized painting, For the Man Who Would be Kingsize. This 1996 painting lampoons the attempts of the then mayor of Cornwall to stop cigarette smuggling. The painting shows the mayor in a rowboat with a pack of journalists patrolling the St. Lawrence for smugglers. A real cigarette has been placed in the mouth or hand of each character in the boat. Or peruse The Big Wheel of Entertainment. This is a plywood contraption, like a merry-go-round, that is peopled not by horses but by people, each with an amusing narrative. One character is titled Sister Mary Magnet, a nun with magnets in her pants. Metal objects fly towards her. She donates these objects to a church. What church? One apparently of her own creation. Down the hall, in the Firestone Galleries, there is an exhibition called Laughing Matter, containing paintings and drawings harvested from the Firestone Collection and other holdings of the Ottawa Art Gallery. This is a multi-artist show of works from the last century. This exhibition is not a laugh-riot. In fact, it is rather dull. There are some gems, including Ron Noganosh`s Sealed Shield (a warrior shield made partially from sealskin), Lynn Cohen`s delightfully creepy photograph of human silhouettes on the wall of a gymnasium and Arthur Lismer`s caricatures of fellow Group of Seven artist A.Y. Jackson. But generally, these are works that are not funny today. Maybe they were when they were created. But they lack the staying power of Honore Daumier or, I would predict, that of Mark Marsters. Marsterpiece Theatre was curated by Ottawa artist Adrian Gollner, a close friend of Marsters, and the gallery`s Catherine Sinclair. The show runs until Jan. 25. Sinclair single-handedly curated Laughing Matter. That runs until March 22.
|
| 85. Source: Art and the City |
| Item: Great expectations at Ottawa Art Gallery Date: 21 October 2008, 3:51 pm |
Great things are expected of Andrea Fatona, the new curator of contemporary art at the Ottawa Art Gallery, considering applicants for the job were required to have better art credentials than those applying to replace Pierre Theberge as the director of the National Gallery of Canada. The Ottawa Art Gallery may not be able to pay much but it does seek the best. Fatona replaces Emilie Falvey, who left this fall to pursue outside writing and curating projects. Expect to see some of Falvey’s shows at the OAG in coming months even though she is officially gone. Fatona is best known as an independent curator based at the University of Toronto but she has also been involved with Artspace Gallery in Peterborough and Artspeak Gallery in Vancouver. Fatona moved to Ottawa shortly before Falvey’s job came open so she has had a few months to become acquainted with the art scene here. An exhibition Fatona curated for a gallery in Chatham, Ont. called Reading the Image: Poetics of the Black Diaspora is currently touring the country, with stops in Oshawa, Sherbrooke, and Whitehorse. Mela Constantinidi, the Ottawa Art Gallery director, describes Fatona’s background as one with an emphasis on “equality issues.” And certainly Fatona, in an interview, indicated she is hoping to become involved in art projects that will bring artists to the gallery from communities that have not always been well represented in exhibitions. This could mean the OAG will start to have a more multi-cultural flavour in coming. Fatona is also keen to assemble an exhibition that would explore the role of Ottawa as the national capital. |
| 86. Source: Art and the City |
| Item: So, what's to celebrate? Date: 5 September 2008, 11:26 am |
| The Ottawa Art Gallery is celebrating its 20th anniversary this September. So, what, aside from the fact the place is still breathing, is there to celebrate? The city’s main municipal art gallery is still located in a totally inadequate space to show contemporary work (its main mandate) or the 20th century Firestone Collection (its crowning jewel). Attempts over the years to find a new home have been sluggish and uninspired. So, don’t hold your breath awaiting a new location. The latest word is that gallery officials are tentatively eyeing some heritage building in Ottawa as a potential new home. This comes after losing out on the opportunity to snag the National Capital Commission’s vacated Canada and the World Pavilion at Rideau Falls and losing out on the chance to be part of a massive redevelopment of its current Arts Court site. The gallery’s dynamic curator of contemporary art, Emily Falvie, is leaving to pursue some independent writing and research projects. She did wonders there, curating exhibitions on shoestrings. She will be hard to replace. Despite the gallery’s problems, all was sweetness and light Sept. 4 at the 20th anniversary party. Hundreds of revellers circulated at the Arts Court party. Marion Dewar, who helped establish the gallery 20 years ago when she was mayor, was the guest speaker. “The federal government is cutting the arts and the municipality isn’t exactly jumping up and down and giving money to the arts,” said Dewar. “If we let our arts slip, we’ll let our civilization slip.” Dewar was probably the most arts-friendly mayor this city has had in modern times. She left the job in 1985. The current mayor, Larry O’Brien, is generally feared by the artistic community, which is simply hoping His Worship does not do too much damage before the next civic election and there is the possibility of a replacement. The gallery’s founding director was Mayo Graham, who is currently an executive at the National Gallery of Canada and is considered by many as the person Pierre Theberge hopes will replace him as director of the federal institution. David Franklin, deputy director of the gallery, has described Graham as unqualified and a potential embarrassment. Franklin has also applied for Theberge’s job. The search for Theberge’s replacement was being discussed over cocktails at the Ottawa Art Gallery’s 20th anniversary party about as much as the search for a new home for the municipal institution. According to some of the usual gossips, the leading candidate for Theberge’s job is John Porter, head of the provincial government’s fine arts museum in Quebec City. A grassroots campaign to get Gerald McMaster, Canadian curator of the Art Gallery of Ontario, into the job seems to have been unsuccessful. As well, Diana Nemiroff, the director of Carleton University Art Gallery, is another much touted contender who did not apparently make the short-list. And Franklin’s candidacy seems in great doubt after going to Federal Court to overturn his firing by Theberge in June amid a scandal over the destruction of emails sought in an Access to Information request. (Franklin is back at the job, sort of.) Interviews for the new National Gallery director have been held. The new director must first be selected by the gallery’s board and then must be approved by the federal cabinet. With the government on election footing, that approval may take some time. Another possible casualty of the election is the selection of a new home for the Portrait Gallery of Canada. The betting at that homeless federal institution is that the winning bidder — most likely Edmonton or Calgary — will not be announced until after the election. Chances are, however, that the Portrait Gallery will get a new home long before the Ottawa Art Gallery, which seems doomed to remain where it is because its management, board and political overseers seem to lack the imagination or energy to get the project done. |
| 87. Source: Art and the City |
| Item: Only the tactful need apply Date: 7 August 2008, 12:53 pm |
| Have you ever longed for an opportunity to leave a very permanent mark on the national capital by stickhandling the selection and construction of major public monuments? Well, the National Capital Commission has a job for you. It’s called coordinator of commemorations and public art and the pay range is between $54,104 to $71,787. In addition to artistic and management credentials, the NCC wants someone with “tact and diplomacy” — skills evidently handy when dealing with temperamental artists, crusading politicians and cranky bureaucrats. Interestingly, applicants do not have to be bilingual and must only possess a knowledge of English or French. The job posting can be found on the jobs bulletin board of the website of the Canadian Museums Association, www.museums.ca. The posting states this new hire, once in place, “co-ordinates, implements and evaluates commemoration and public art projects which enhance the capital’s symbolic significance.” Additionally, the person evaluates proposals, develops interpretive elements, selects appropriate sites and administers design competitions, artist selection processes and public consultations. This person even gets to supervise unveiling ceremonies. This posting comes just a few weeks after news surfaced the NCC wants to create two major public monuments along the city's main ceremonial route, one at the Sussex Drive-Rideau Street intersection and another where the Portage Bridge meets Wellington Street. Those two projects, expected to cost millions of dollars, are part of a sprucing up of the ceremonial route that will take 10 to 20 years to complete. The NCC has not sought my opinion but I can think of two people who should be approached about the job. There is a perfect candidate currently working for the City of Ottawa doing very similar duties. Her name is Karen Nesbitt. She is respected among artists, works hard, knows her way around both official languages and is one of the most tactful and diplomatic people I know. Now, I have no idea whether the talented Nesbitt would want the job. But the NCC would be wise to seek her out. Another candidate worth checking out is Maureen Korp, an Ottawa-based art scholar, curator and former supervisor of public art projects in New Jersey. Formerly at Carleton University, Korp is temporarily teaching art at a university in Lahore, Pakistan. She is a woman of vision and great ideas. For the past year, she has been successfully waltzing through the minefield of a course in religion and art in the increasingly fundamentalist Muslim country of Pakistan. Any Western woman who can do that and live to tell the tale would surely pass the tact-and-diplomacy test and find the NCC’s bureaucratic operations a breeze. |
| 88. Source: brighton culture |
| Item: Sebastien Tellier live review Date: 29 January 2009, 7:56 pm |
| Review of the Sebastien Tellier gig at Concorde 2, Brighton on Jan 25th. "...Sebastien Tellier at the Concorde was enough to tempt us out into the rain. Tellier is perhaps best known for its controversial Eurovision 2008 entry on behalf of France...tonight’s performance was impressive and exceeded my expectations" |
| 89. Source: The Independent - Features RSS Feed |
| Item: Portfolio: Yann Gross Date: 27 February 2010, 7:00 pm |
"I love exploring the way people come together," says the award-winning Swiss photographer Yann Gross, 29. "Two years ago, I visited my girlfriend who was working in Uganda, and she took me to this skate park she'd found in Kitintale, a working-class suburb of Kampala. It's the first east African skate park, and as a skateboarder I was fascinated by the community that had built up around it. It was constructed entirely by local kids. I ended up staying there for two months; I became friends with them first, and only then I started to take pictures. |
| 90. Source: The Art Newspaper - RSS |
| Item: Deutsche Bank launches Artist of the Year award |
| Deutsche Bank has presented its first ever “Artist of the Year” award to African artist Wangechi ... |
| 91. Source: The Art Newspaper - RSS |
| Item: All change at the top of Italy’s cultural administration |
| london. It is all change in Italy’s state administration of what it calls its “cultural assets”, ... |
| 92. Source: Conscientious |
| Item: A Saturday in New York City (incl. A Supposedly Fun Thing I'll Never Do Again) Date: 8 March 2010, 1:11 pm |
A short editorial interlude of sorts: If you can't imagine that a soul can be ground into a fine powder, you might enjoy the Armory Show. Also, if you have a problem with someone using such imagery - after all how can a soul, which is not a solid entity, be ground into a powder? - then, well, you might enjoy Twitter. Experiencing the Armory Show is a bit like going to the mall before Christmas: You know in advance that the experience will suck the life out of you completely, to leave you behind poorer (literally and figuratively), owning a bunch of junk that your loved ones don't really need. But you still end up wondering how every year the combination of crass commercialism and fake happiness can be so toxic. Maybe it's the music? How much canned "holiday" music can one take before resorting to creatively adding some not-so lyrical flourishes ("Oh fucking Tannenbaum")? Well, the Armory Show doesn't have any music, Christmas or whatever else. Maybe it should? Instead, the atmosphere the day I went (Saturday) was more like a really crowded, run-down second-world airport: Outside a bunch of tremendously ugly concrete. I entered using a very narrow escalator. Inside it was crowded and noisy, it smelled funny, and the VIP lounges contained an odd mix of presumed entitlement, bad free coffee, and overpriced junk food. Needless to say, the idea that there actually are VIPs in anything art related is revolting. I am fully aware that I am nothing but a sorry egalitarian. Of course, there is a reason why the Armory Show bothered me so much. There actually is good art on display, and I still want to believe that at least some of the artists who might have toiled over their art are profoundly distressed about seeing it reduced to... yeah, to what? If you didn't like my comparison with Christmas at the mall, here's another attempt: It's like going to an IKEA, except that IKEA will guide you through the store so that you really look at literally everything they got, regardless of whether you need four hundred dozens cheaply made candles for $5.99 or not. IKEA also doesn't have booths. The Armory Show has booths but no predestined path for its visitors. Still, it's positively IKEAish. The funny thing is that the booths, which, I suppose, are there to divide the space to get things more organized, only add to the visual clutter. So once you enter the Armory Show your first experience is a bit like opening your closet door and having the entire contents of the upper shelves fall into your face. I'm glad I did not commit to blogging about the photography at the Armory Show, because the task of having to systematically walk through the aisles and jot down what there is to be seen strikes me as daunting. If you're interested in seeing such a list head over to the DLK Collection blog where they're in the process of publishing just that, in six parts. Very impressive. What I did do instead was to walk down the various aisles in what I thought was some sort of systematic fashion, looking left and right, and finding quite a bit of noteworthy and even more not so noteworthy photography. I'll talk about some of what I found over the next few days. The Armory Show - or in fact, any other such trade show - is interesting in one aspect: What you get to see is what galleries want you to see. The successful work. The work that they hope or know will sell. So in that sense, the Show gives you an idea of what that work is. Of course, assuming the last paragraph is correct the flip side of the Show is that if you have followed the photo (or art) scene for a while, there will be few - if any - surprises. The surprises will mainly be at the galleries whose existence you've never heard of before, which, at least for me, means those in places like, for example, Moscow. There has been a lot of talk about how the internet has brought photographers together - but seeing so much work I had never even heard of before made me wonder what I had been doing these past few years. After all, I have been spending what occasionally strikes me as a freakishly large amount of time looking at and/or for photography online. In any case, here's the thing. You can't really look out for experiences like that, the experiences where you stumble upon the unexpected. As an early 21st Century person living in the Western world you're actually trained to avoid just doing that. Or at least I am. Going to the Armory Show is like going to a very, very big store without a list of things to buy. I don't think the brain is set up to process a huge amount of visual information without running into some serious problems. Oh, I know, young people are very good at multitasking and video gaming etc., but a lot of those assertions are based on little more than the hype generated by the makers of the various electronic gadgets and websites. How all these people are supposed to leapfrog hundreds of thousands of years of human evolution, to be able to do things that the human brain is not evolved for, I'd still like to see an explanation for. This all might strike you as tremendously old-fashioned, but just think of the combination of driving and texting or even "just" talking on the phone. Most people are terrible drivers without being on the phone, and adding their friend call in to talk about that cute guy/girl they just met usually does not help very much. I'm just saying. Of course, I could just be the real exception, and everybody else could have just tremendously enjoyed the Armory Show. Maybe. Maybe not. It is true, there actually were people drooling over the art at the Armory Show. I saw at least two of them. Of course, they both were less than a year old each, so maybe that doesn't mean that much.
I'm sure the New York art scene, where you just got to have an opinion about which show is better than which other show (for reasons which are not entirely obvious to someone like me who lives in the countryside and is thus - hopefully - excused), will have an opinion about me proclaiming that SCOPE was "fresher" than the Armory Show. Be that as it may, SCOPE renewed my faith in the art world a little bit. One could have long - and probably partly fruitless - debates about art and the gallery world and the pros and cons. You know what, I don't have a problem per se with art being shown in a gallery. It is true, galleries are like hospitals; but all things considered, a good gallery show can be a tremendously exciting and uplifting event. I'm a real sucker for seeing art work on the wall somewhere, and right now, the most likely place to have such an experience is at a gallery (especially since so many museum shows are dedicated to celebrating the 50th anniversary of that body of work or whatever else has been established for a long, long time). An art fair/show, though... That's one of those supposedly fun things I'll never do again. |
| 93. Source: CGArena - Get Attention in the Computer Graphics Community |
| Item: New Demo Reels Added Date: 8 March 2010, 9:19 am |
| Please check out new demo reels added in our demo reels section. Submit your's demo reel too, before it's too late. |
| 94. Source: CGArena - Get Attention in the Computer Graphics Community |
| Item: E-on software Show Reel Call Date: 6 March 2010, 5:24 am |
| e-on software invites all Vue artists to submit recent commercial projects that involved Vue or Ozone for inclusion in the 2010 show reel |
| 95. Source: AGO Art Matters |
| Item: Video: Wangechi Mutu, This You Call Civilization? Date: 5 March 2010, 2:34 pm |
Wangechi Mutu’s work boldly explores the contradictions of female and cultural identity, drawing the viewer into conversations about beauty, consumerism, colonialism, race, and gender. Her representations of the human form are disturbing and transfixing, at once utterly complex and strikingly direct. |
| 96. Source: AGO Art Matters |
| Item: Welcome to the Grange Prize 2010! Date: 3 March 2010, 10:50 am |
We have made a couple of changes in our program this year, most notably we will be announcing the winner in November 2010. The $50,000 is given to the artist who receives the highest number of votes so check back often for updates and of course the announcement of the shortlist in May 2010 and the launch of the voting in September! In the meantime, we will be posting semi regularly about some of the unique aspects of the prize, like the artist residencies. Each year, the Grange Prize provides the nominees with an opportunity to complete a residency in the partner country during the voting period. Last year Lynne Cohen travelled to Cancun, Marco Cruz and Federico Gama spent two weeks in Toronto and Jin Me Yoon spent 12 days in Mexico City. Over the next couple of months we will be sharing some of their stories and giving you some sneak peeks at the work they made while on their residencies. |
| 97. Source: AGO Art Matters |
| Item: AGO Celebrates Black History Month Date: 25 February 2010, 3:04 pm |
Chris Bosh speaks the students at the AGO. Photos courtesy AGO photographer Dean Thomlinson. The AGO is working with its community partners to celebrate Black History Month, an annual remembrance of people and events in the history of the African diaspora. This past Monday, the AGO hosted members of the Toronto Raptors with 40 young students from Toronto at-risk communities for the NBA’s Read to Achieve program. Our director Matthew Teitelbaum introduced the students to the AGO at this educational outreach initiative, which is aimed at helping young people develop a life-long love for reading. This evening, the AGO is working with community artist Janine Carrington to present a collage artmaking activity at University Settlement’s Black History Month event, based on the theme "Remember the past, Seize the present, Embrace the future". All are welcome at this event, which will take place at University Settlement auditorium from 5 to 8 pm. For more information about University Settlement please visit www.usrc.ca And this Saturday, February 27, the AGO is partnering with Kids Up Front Foundation to provide a free group visit for 30 dads and kids from the Black Daddies Club. Kids Up Front is a charitable organization that provides access to arts, culture, sport and recreation for children who otherwise do not have the opportunity. The Black Daddies Club was founded in 2007 by Brandon Hay in response to the lack of forums and spaces for Black men to discuss parenting issues as well as the issues facing the Black Community as a whole. More information at available at Kids Up Front and at Black Daddies Club. |
| 98. Source: gmane.culture.media.idc |
| Item: Re: iDC Digest, Vol 62, Issue 4 Date: 22 February 2010, 1:14 pm |
Hello Douglas,
A good resource for your friend may be Telecoms Sans Frontiers. They deploy
teams around the globe to rebuild communications in emergencies and
disasters. They also work on large long term projects, such as using
communications technology to fight the food crisis.
http://tsfi.org
They established the internet and highspeed satellite lines at the airport
days after the earthquake in Haiti, then moved out to secure connections at
camps and government coordinating offices. They dispach teams daily into the
camps with free call equipment and have reached over 10,000 Haitian
families. They are partnered with many of the humanitarian and rescue
organizations that will be in Haiti for the long haul.
There is more on their work in Haiti here:
http://tsfi.org/en/action/emergencies/112-seisme-en-haiti-tsf-deploi-ses-equ
ipes
I hope that is helpful,
Kendra Kellogg
Email: kendrakellogg-/E1597aS9LQAvxtiuMwx3w< at >public.gmane.org
-----Original Message-----
From: idc-bounces-xGejAJT2w6zH |
| 99. Source: gmane.culture.media.idc |
| Item: Google Buzz and the Surveilance Economy Date: 15 February 2010, 2:23 am |
Google Buzz: Economic Surveillance – Buzz Off! The Problem of Online
Surveillance and the Need for an Alternative Internet
I wrote this text for a longer paper about online surveillance that will
be included in the collected volume “The Internet & Surveillance” that I
am editing together with Kees Boersma, Anders Albrechtslund, and Marisol
Sandoval as part of the EU COST Action “Living in Surveillance
Societies”. The book will be published in 2011.
In February 2010, Google introduced a new social networking service
called Buzz. Buzz is directly connected to GMail, Google’s
webmail-platform. Google’s introduction of Buzz is an attempt to gain
importance in the social networking sites-market that has been dominated
by Facebook and Twitter. In February 2010, Facebook was ranked number 2
and Twitter number 12 in the list of the most accessed web platforms,
whereas Google’s own social networking platform Orkut, which is only
very popular in Brazil, was at number 52. Popular social ne |
| 100. Source: ArtDeadline.Com |
| Item: 13th Annual National Small Works Exhibition |
| National Deadline: May 15, 2010 - Washington Printmakers Gallery proudly announces its 13th Annual National Small Works Exhibition. This call for entry is open to artists nationwide, age 18 and over, creating hand-pulled, fine art prints. Juror Christopher With, National Gallery of Art. Exhibition and cash awards... |
| 101. Source: ArtDeadline.Com |
| Item: Film Trailer Call for Entries |
| International Deadline: July 1, 2010 - Announcing a Contest for the best film trailer based on a mystery novel. The trailer will be on Youtube as part of viral marketing campaign so the winner will get great exposure. An online film screening is being planned for the top ten entries. Cash awards... |
| 102. Source: ArtDeadline.Com |
| Item: Transitions: Visual, Literary, & Performing Arts |
| International Deadline: April 16, 2010 - Transitions, a virtual event of visual, literary, and performing arts presented by New York's Pen and Brush, Spring and Summer 2010. Open to women artists internationally working in all media. Curated by Bina Sarkar Ellias, founder and editor of International Gallerie Magazine... |
| 103. Source: ArtDeadline.Com |
| Item: Blue Planet: Call for Entries |
| National Deadline: April 24, 2010 - Womens Caucus for Art seeks work that explores the social, political and economic issues related to water. This exhibition is an opportunity to re-envision, reclaim, and restore our relationships with this precious resource. All media including installation, video and collaborative projects may be submitted. Open to all artists living in California and all national WCA members. Juror Kim Abeles... |
| 104. Source: ArtDeadline.Com |
| Item: NEVER THINK small - Redux! A Small Works Exhibition |
| International Deadline: March 22, 2010 - National and International artists are welcome to submit artwork for this exhibition. The gallery is located in Long Island City, one of New York City's most vibrant arts neighborhoods. All submitted work will be shown. Juror Zeina Assaf. A silent auction will be held of artwork at the opening reception. Catalog... |
| 105. Source: ArtDeadline.Com |
| Item: The Artful Scriptorium: An Artists Book Exhibition |
| International Deadline: March 22, 2010 - Climate/gallery announces 'The Artful Scriptorium: An Artists Book Exhibition'. National and international artists may submit artwork for this exhibition. Exhibition will take place at our gallery in Long Island City, one of New York City's most vibrant arts neighborhoods. Juror Ms. Maddy Rosenberg. Exhibition, Catalog... |
| 106. Source: ArtDeadline.Com |
| Item: ANA 16th Annual Regional Art Exhibition |
| Regional Multi-State Deadline: April
26, 2010 - Artists of Northwest Arkansas announces it's Sixteenth Annual
Regional Art Exhibition, to be held at the Arts
Center of the Ozarks. Open to artists in Arkansas, Illinois, Kansas,
Kentucky, Louisiana, Mississippi, Missouri, Oklahoma, Tennessee and
Texas. Juror Denise LaRue Mahlke. Cash awards... |
| 107. Source: ArtDeadline.Com |
| Item: The NRDC Environmental Art Prize |
| International Deadline: April 6, 2010 - In celebration of its 40th anniversary, the Natural Resources Defense Council is offering its first-ever Environmental Art Prize. The goal of the prize is to remind viewers of the earth's natural beauty and to draw attention to the serious environmental threats facing our planet. Open to paintings, drawings, prints, and mixed media pieces. Awards include exhibition at NY Gallery... |
| 108. Source: ArtDeadline.Com |
| Item: Transference of Light: A National Photography Exhibit |
| National Deadline: May 7, 2010 - The Santa Cruz Art League announces a National Photography Exhibition. Open to artists whose basic tool is the camera. Original work that is enhanced or digitally rendered is acceptable. We will be accepting images in any format (film, digital, alternative processes, color, and black & white). Juror Brian Taylor, Professor of Art & Design Photography. Cash awards... |
| 109. Source: ArtDeadline.Com |
| Item: San Diego Watercolor Society 30th Annual International Exhibition |
| International Deadline: May 16, 2010 - The San Diego Watercolor Society announces it's 30th Annual International Exhibition. SDWS is one of the largest and most active in the US. Its International Exhibition is widely recognized for its high standard of excellence in watermedia art. Juried by Pat Dews. Cash awards... |
| 110. Source: ArtDeadline.Com |
| Item: Doors: A Juried Call for Entries |
| National Deadline: April 16, 2010 - studio2gallery looks to the written words for our next call, Doors, "...icons, or still lifes of a sort. Or one could make a case for the psychological implications of painting open doors, closed doors, darkened doors..." Open to all styles, emerging and established artists 18+. Artworks submitted must have been executed within the last 3 years to be eligible... |
| 111. Source: ArtDeadline.Com |
| Item: Fall 2010 Paradise City Arts Festival Shows |
| International Deadline: Open Until Filled or April 1, 2010 - Paradise City, founded in 1995, produces award-winning shows of contemporary craft and fine art. Paradise City showcase the works of some of America's most prominent craft designers and fine artists. We are currently looking for artists for 2 upcoming shows... |
| 112. Source: ArtDeadline.Com |
| Item: San Luis Obispo Plein Air Festival |
| National Deadline: April 15, 2010 - Now in its ninth year, the San Luis Obispo Plein Air Festival is produced by the San Luis Obispo Art Center. Fifty artists will be selected from the open call for entries to participate in a week-long paint out of the unspoiled landscapes, seascapes and cityscapes between San Francisco and Los Angeles. Cash awards. Juror Marcia Burtt... |
| 113. Source: ArtDeadline.Com |
| Item: The Robert Cornelius Portrait Award |
| International Deadline: March 14, April 25, 2010 - The Worldwide Photography Gala Awards (WPGA) open a Juried competition for professional and non professional photographers worldwide. Winning images will be featured in The Photo Review, plus exhibition and cash awards per category. Juror Stephen Perloff... |
| 114. Source: ArtDeadline.Com |
| Item: Category: Printmaking |
| International Deadline: March 17, 2010 - Woman Made Gallery invites artists worldwide to submit artwork that challenges the boundaries of traditional handprint media, including intaglio, lithography, relief, monoprint and silkscreen. Juror Debra Wood, senior curator, Mary and Leigh Block Museum of Art... |
| 115. Source: ArtDeadline.Com |
| Item: Female Shorts: Film & Video Showcase |
| International Deadline: March 19, March 26, April 2, 2010 - Female Shorts: Film & Video Showcase celebrates cinematic works of women in the arts. This showcase is dedicated to seeking out and promoting cinema created by and for women. The showcase is part of the Virginia Commission for the Arts 2010 statewide celebration, Minds Wide Open, which celebrates women in the arts. Juror Sydney-Chanele Dawkins... |
| 116. Source: ArtDeadline.Com |
| Item: Animalia, Main Gallery Photo Show |
| International Deadline: March 16, 2010 - The Center for Fine Art Photography announces a call for entry for a new Main Gallery Show in June, 2010. The Center is looking for images that insightfully portray the diversity of the animal kingdom. Open to all photographers, amateur and professional. Experimental and mixed techniques are welcome. Juror Karen Irvine, Museum of Contemporary Photography. Exhibition, cash and publication awards... |
| 117. Source: ArtDeadline.Com |
| Item: Photography Exhibition: Contrasting Landscapes |
| National Deadline: August 1, 2010 - LH Horton Jr Gallery calls for work made in all photographic processes, both traditional and digital. May be representational or non-representational, and set in rural, urban, or suburban landscapes. Fine art images should emphasize unique composition, pattern, shape, and color/contrast. Exhibition concept is to contrast the man-made and the natural worlds. Cash awards... |
| 118. Source: ArtDeadline.Com |
| Item: Joshua Tree Highlands Artist Residency 2010 |
| International Deadline: April 30, 2010 - The Joshua Tree Highlands Artist Residency is a program offering artists free housing in which to live and work for a period of six weeks. The Houses are located minutes from the west entrance to Joshua Tree National Park. The park is one of the most spectacular environments in the country and the unique beauty and quiet is an ideal place to create... |
| 119. Source: Native American Fine Art Shows |
| Item: 10th Annual Tesoro Indian Market and Powwow |
| May 15, 2010 - May 16, 2010, Morrison, CO - Award winning Native American artists show and sell their fine arts at this quality juried show. Artists share their arts with visitors throughout the day in impromptu and planned demonstrations. |
| 120. Source: Native American Fine Art Shows |
| Item: Red Earth Art Market and Cultural Festival 2010 |
| Jun 18, 2010 - Jun 20, 2010, Oklahoma City, OK - Red Earth is one of the most respected visual and performing arts event of its type, garnering numerous state and national awards. Meet with and purchase from over 250 of the finest Native Artists |
| 121. Source: AGO Art Matters |
| Item: Video: Wangechi Mutu, This You Call Civilization? |
| Wangechi Mutu's work boldly explores the contradictions of female and cultural identity, drawing the viewer into conversations about beauty, consumerism, colonialism, race, and gender. Her representations of the human form are disturbing and transfixing, at once utterly complex and strikingly direct. |
| 122. Source: WAMU: Art Beat |
| Item: "Art Beat" With Stephanie Kaye - Weekend Events, March 5-7, 2010 Date: 5 March 2010, 12:06 am |
(March 5) BLACKS IN WAX DC's Department of Parks and Rec host Blacks in Wax, with a special opening for students this afternoon at 1 p.m. and later tonight from 6 to 8 p.m. for the after-work crowd, at the Southeast Tennis & Learning Center. This "living wax" museum is made up of Washingtonians both young and old, portraying figures from African American history and those making headlines today. This year's theme is "Lift Every Voice and Stand." Call 202-645-6242 for more information. (March 5-April 11) THE LIGHT IN THE PIAZZA Arena Stage moves into its remodeled home in Southeast DC this fall. Before it does, the theater opens tonight with The Light in the Piazza, its penultimate play in Crystal City, Virginia, running through April 11th. Fate brings together a young American woman and a handsome Italian man in a whirlwind courtship shadowed by family secrets. (March 6 & 7) LAS PINTURAS And historic Glen Echo Park's Yellow Barn Gallery features the work of Cuban-born artist Roger Perez in the exhibit Las Pinturas tomorrow and Sunday. Perez trains a wandering eye on the rolling hills of the Piedmont region and the sands of Puerto Vallarta, contrasting Virginia's farmlands with the beaches of Mexico. |
| 123. Source: WAMU: Art Beat |
| Item: "Art Beat" With Stephanie Kaye - Thursday, March 4, 2010 Date: 4 March 2010, 12:06 am |
(March 5-12) THE BLUEST EYE University of Maryland's theater department tackles Toni Morrison's The Bluest Eye at the Clarice Smith Performing Arts Center in College Park, Maryland, opening tomorrow and running through March 12th. The play centers on an 11-year-old African-American girl growing up in 1940s Ohio, who blames her dark skin for the discrimination she faces and prays for a pair of blue eyes. Next Tuesday's performance includes a "talk back" session with UM faculty from the English and history departments. (March 5-28) LAUREL ART GUILD The 41st Annual Laurel Art Guild features the work of Maryland, Northern Virginia and D.C. artists, with an exhibit that opens tomorrow and runs through March 28th. You can see what the local talent's up to as awards are parsed out on Sunday. (Through March 21) DEAR SARA JANE The scrappy staff at Hub Theatre is mounting its newest production, "Dear Sara Jane" at The Soundry art space in Vienna, Virginia, through March 21st. Victor Lodato's portrait of a young military wife is a humor-filled yet unrelenting examination of a culture of violence both abroad and at home. |
| 124. Source: WAMU: Art Beat |
| Item: "Art Beat" With Stephanie Kaye - Monday, March 1, 2010 Date: 1 March 2010, 12:06 am |
(March 1) ONE-MAN EPIC The Shakespeare Theater Company has let in Faction of Fools just long enough to present The Great One-Man Commedia Epic tonight at 7. One actor, twelve characters and one thousand catastrophes are undertaken with the expertise of physical comedian Matthew Wilson, telling tales of young lovers, squabbling men, boasting soldiers and dim-witted servants as he duels himself in this one-man show. (February 28-March 31) SACRED MADE REAL The Spanish Golden Age fills the rooms of the National Gallery of Art on the National Mall during The Sacred Made Real, an exhibit of Spanish painting and sculpture on view through March 31st. (Through March 7) INTERSECTIONS Intersections: a New America Arts Festival is in full swing at the Atlas Performing Arts Center in Northeast DC through Sunday, taking its cue from the San Francisco festival of the same name and featuring free cafe concerts and dance parties. You can submit events to Art Beat via email at ArtBeat@wamu.org. |
| 125. Source: The Art Institute of Chicago Musecast |
| Item: Art Institute of Chicago Musecast: October 2009 Date: 29 September 2009, 9:00 am |
|
Art Institute in the Community: Go beyond the museum walls as curator James Rondeau and exhibition manager
Maureen Pskowski discuss the work of sculptor Scott Burton and Ellsworth Kellyâs White Curve, on view in the Modern Wing's outdoor spaces. Whatâs New: On October 10, Caravaggioâs The Supper at Emmaus, on loan from the National Gallery London, arrives at the Art Institute. Curator Christina Nielsen offers an inside look at the masterpiece and the artist that she calls âa supernova with a self-destructive streak.â Exhibition Focus: Though separated by nearly 150 years, the works on view in Playing with Pictures: The Art of Victorian Photocollage and On the Scene: Jason Lazarus, Wolfgang PlÃger, Zoe Strauss share an unusual feature. Photography curators Elizabeth Siegel and Katherine Bussard reveal the surprising similarity. |
| 126. Source: TAB Events - in category 2D: Graphics |
| Item: 2nd Graphic "1_Wall" Exhibition |
2nd edition of the "1_Wall" graphic exhibition. Presentations by participating artists will be given in front of a general audience, and the jury members will select the winner. The winner of the Grand Prize will be given the right to hold a solo show and produce a pamphlet one year after the award is made. Compared to the Hitotsubo exhibition and its decision process based solely on a portfolio , "1_Wall" incorporates an additional review process that adds an extra layer of seriousness to the proceedings. |
| 127. Source: TAB Events - in category 2D: Graphics |
| Item: "Konica Minolta Eco & Art Award 2010" |
This exhibition showcases artworks, product and graphic design open call submissions that promote ecological initiatives and actions by young creators and artists aged 16-35. Works from each category will be exhibited in separate sections, and a Grand Prize in each category, as well as an audience prize, will be awarded. |
| 128. Source: TAB Events - in category 2D: Graphics |
| Item: Katsumi Asaba "Design Revolution" |
The 12th edition of this exhibition, held to commemorate the life and career of the graphic designer Yusaku Kamekura, features the Misawa Design 2009 Bauhaus series of posters by Katsumi Asaba. These works express the design philosophy of the Misawa Bauhaus Collection. Art talk 219th Creative Salon March 18th (Thu) 19:10-20:40 with Taku Sato and Katsumi Asaba Venue: Creation Gallery G8 Free entry, reservation required 03-3575-6918 |
| 129. Source: e-flux shows :: rss |
| Item: Deutsche Guggenheim: Deutsche Bank names Wangechi Mutu as Artist of the Year 2010 Date: 7 March 2010, 12:00 am |
![]() Wangechi Mutu Untitled, 2009 Courtesy of the artist Photo:Mathias Schormann © Wangechi Mutu and Susanne Vielmetter Los Angeles Projects Deutsche Bank has announced that on the recommendation of its Global Art Advisory Council, Wangechi Mutu was selected as the bank's 2010 Artist of the Year. The bank is bestowing the award for the first time this year, opening a new chapter in its global commitment to art. |
| 130. Source: e-flux shows :: rss |
| Item: KW Institute for Contemporary Art – Hotel Marienbad: Cold Turkey – An Invitation Date: 6 March 2010, 12:00 am |
KW Institute for Contemporary Art – Hotel Marienbad From April 1st to 30th, 2010 a drug detox residency will be offered. |
| 131. Source: e-flux journal :: rss |
| Item: Susanne Lang and Darius James, Magic Hat – Property of the People Date: 1 March 2010, 12:00 am |
| You bet your stinky communisms
underwear I’m “counter revolutionary”! You communisms didn’t give me no constitutional
rights! I didn’t get no try by jury of my pee! Constitutional Rights says I
have to be try by my pee! I was railroaded by you communisms pioneer club
kangaroo court! I want color people have the right to eat at a lunch COUNTER
too! I’m a lunch counter revolutionary! You go try and eat a Woolworth lunch
counter down south with your color Negro doll and see how fast them white folks
chase you out with a water hose! You be a “counter revolutionary” real quick! |
| 132. Source: e-flux journal :: rss |
| Item: Bernard Stiegler and Irit Rogoff, Transindividuation Date: 1 March 2010, 12:00 am |
| What is
created between generations are in fact long circuits. What Freud or Groddeck calls
the “id” is an unconscious space of long circuits. These unconscious spaces link
generations along very, very long spans of time. What is produced within these
long circuits are the material of the dream, for example, which is at stake in
Freud’s interpretation of dreams, as well as clearly being the matter from
which artists operate and produce. Joseph Beuys is extremely important for me because
he was working on this question of long circuits aligning him in individuated
ways with the past. |
| 133. Source: Daily Campello Art News |
| Item: Date: 8 March 2010, 12:37 pm |
| Congrats! To the 32 awards/">finalists for the Mayor's Arts Awards! Congrats especially to the WPA, Margery Goldberg, Transformer and Andrew Wodzianski on their respective noms! Finalists for the 25th Annual Mayor’s Arts Awards |
| 134. Source: Royal Academy Events |
| Item: London Glassblowing Studio - Friends preview days and events - 22 Jun 2010 Date: 8 March 2010, 7:08 am |
Situated in the heart of vibrant Bermondsey Street, Peter Layton’s London Glassblowing is a hot-glass studio focused on the creation and display of contemporary glass art. The studio has a reputation as one of Europe’s leading glassmaking workshops. This exclusive evening provides Friends with the opportunity to learn about the art of glassmaking including a demonstration of glassblowing techniques together with a private view of the studio’s current collection and for one... |
| 135. Source: Royal Academy Events |
| Item: Building Ideas: Sir Richard MacCormac RA and MJP Architects - Exhibitions - 11 Dec 2009-17 Mar 2010 Date: 6 March 2010, 5:20 pm |
| This exhibition is an opportunity to examine some key projects that illustrate the special position of Richard MacCormac’s practice MJP, within contemporary British architecture. |
| 136. Source: Daily Campello Art News |
| Item: Date: 6 March 2010, 11:46 am |
| The Irascible 18 A few days ago, when discussing the Mera Rubell talk at the Katzen, and her selection of 16 DC area artists being dubbed by the Washington Post as the "Sweet 16", I suggested that it would be a good idea for a DC glossy, like DC Modern Luxury for example, to hire a sharp photographer to assemble us 16 and re-do a modern version of the pose in Life Magazine's famous "Irascibles" photograph. ![]() The photograph was taken by Nina Leen (January 15, 1951), and appeared in Life magazine. This very famous photo, known as the photo of "The Irascibles " shows 15 of the 18 Abstract Expressionist painters: Jackson Pollock (1912-1956)The photograph caption reads: IRASCIBLE GROUP OF ADVANCED ARTISTS LED FIGHT AGAINST SHOWSomeone once told me that originally there were only men in the group, and the photographer (I think) insisted on having a woman as well, and Hedda Sterne, who throughout her career maintained a stubborn independence from styles and trends, was brought in for the photo shoot, even though she wasn't one of the signers of the letter to the Met. Thus my brilliant marketing idea of the "Sweet 16" recreating the above photo for a DC magazine. I got dibs on Richard Pousette-Dart's cool pose on the second row from the back. |
| 137. Source: Daily Campello Art News |
| Item: Date: 5 March 2010, 8:20 pm |
| Opportunity for Photographers Deadline: Tuesday, March 30, 2010 at 7PM ![]() Click here for details, and if you've shot pics of DC, then you've got no excuse not to enter this! Like the Census, they seek portraits representing people of all ages, all four races, and the many ethnic groups in each quadrant of the city. Fifty-one portraits will be selected and exhibited. |
| 138. Source: Daily Campello Art News |
| Item: Date: 5 March 2010, 12:01 pm |
| Opportunity for Curators Deadline: Friday, April 2nd, 2010 - 5:00pm Call for Exhibition Proposals: 39th Street Gallery at the Gateway Arts Center at Brentwood. The 39th Street Gallery at the Gateway Arts Center at Brentwood is currently seeking proposals from artists and curators nationwide for an exhibition to take place May 10-June 25, 2010. Proposals may be for a self-curated solo show or a curated group exhibition. All original artwork in any media, including installations, will be considered. Application deadline: Friday, April 2nd, 2010 - 5:00pm Dates: * Exhibition duration: May 10 - June 25, 2010 * Application deadline: Friday, April 2, 2010. Applications must be received by 5:00 pm at the Gateway CDC office, address below. * Notification: by April 10, 2010 via email. Materials will be returned at the artist's or curator's request if SASE provided. * Reception: To be arranged according to needs of exhibition. About the Center: The Gateway Arts Center at Brentwood (GAC@B) is a multi-faceted facility dedicated to the production, exhibition and programming of visual art. The center serves as a dynamic resource for artists and a vibrant, creative social experience reflecting and engaging a diverse community. The GAC@B houses the 39th Street Gallery and Project Space, twelve artist studios, the Prince George's African American Museum & Cultural Center, and The Brentwood Art Exchange operated by the Maryland-National Capital Park & Planning Commission. The GAC@B is a place for people of all ages to meet, engage and learn about art. About the 39th Street Gallery and Project Space: The 39th Street Gallery is dedicated to fostering innovative, creative exhibitions and projects that engage artists, curators, critics and the public in a contemporary art dialogue. An artists advisory group reviews proposals at stated deadlines and on an ongoing basis. The gallery is 450 square feet; floor plans are available at this website. It features high, open ceilings, a bank of windows along the southwest wall, track lighting, and pristine white walls. There is close access to the loading dock, just outside gallery entrance. Gallery hours: At present, the Gateway CDC can staff three shifts weekly; Thursday and Friday evenings from 7-9pm, and Saturday afternoon from 12-4pm. The artist may open the gallery for additional hours, pending staff approval. Honorarium: The artist(s) or guest curator will receive up to $500 honorarium. Commission: Gateway CDC will take 25% commission on sales during or as a direct result of this exhibition. Applications: You may apply by mail, drop-off or email to address provided below. Artists and curators interested in submitting work for exhibition consideration should send all of the following: 1) A statement about the proposed exhibition, one page maximum. 2) A CV or resume that includes contact information. 3) Work samples: 10-15 images provided via CD-ROM or weblink. Web images should DIRECTLY support this proposal, do not send a link to your whole website. 4) List of works. This should clearly correspond to images. Please indicate title, date, media, dimensions and price or insurance values as appropriate. GUIDELINES FOR DIGITAL FILES · Name each file according to the following format: "last name" underscore "document". Example: jones_statement.pdf. · Please number each image file corresponding to the list of works. Example: 01_jones_untitled.jpg. · Image files should not be larger than 1MB, and should be formatted as jpeg. · Video and audio submissions may be submitted as a DVD, or on a CD and formatted as Quicktime, Windows Media, .wav, or .mpeg files, as appropriate. Send to: 39th Street Gallery and Project Space Proposals Gateway CDC office 4102 Webster Street North Brentwood, MD 20722 For more information contact John Paradiso via email (john@gateway-cdc.org) or phone (301-864-3860 ext. 3) or visit this website. |
| 139. Source: Daily Campello Art News |
| Item: Date: 4 March 2010, 4:25 am |
| Tentacles (A man, an axe and a doctor: A tale of pain and art) One of the blog posts that I get the most emails about is this horror story from 2005. Here it is again: Someone who was raised in Brooklyn shouldn’t own, and much less, try to use an axe. What follows is a true tale of horror, of entropy and the second law of thermodynamics, of chaos and order, of the laws of the universe, of near death, of irony, of music, and ultimately of a new form of art. All of the characters are real, and if I could remember their names, I would name them. I begin. The back of my house has a rather wooded large area with many trees, and it also backs into an even larger wooded common area that I share with my neighbors. I am really a big fan of warm cozy fires, and during the winter I usually light one up every night. ![]() A while back I went around and collected a lot of wood from fallen branches and also a lot of wood from a tree that had fallen months earlier. This wood had been cut, but needed splitting, so I bought an axe to split the wood myself. How hard could this be? After all, I remember how President Reagan, while he was in office, was so fond of being filmed splitting wood in his ranch in California. If an 80-year-old President could do it, and make it look so easy, then surely a virile 40something could do it as well. So I went to my local hardware store and bought an axe. Act One, Scene I It was a day much like many other balmy December days we’ve been having this winter. There was a little chill in the air, but more like a spring day than a winter day. I had gathered quite a haul of neatly cut sections of the tree trunk, each about nine to twelve inches in diameter, and I had placed them to the side of a large tree stump, which I planned to use as the base to split the firewood. ![]() The ground was wet and the grass was moist, as it had been raining the previous few days, but although the radio had announced that there would be rain later, I thought that I would have a couple of hours to split all the wood before it began to rain. I would be good exercise as well. Gloves in hand, I placed the first piece of wood on the stump, took one or two slow –motion practice tries, just to get the motion and aim right, and then took my first mighty swing of the axe. There are some instances on this planet, when the laws of gravity seem to take a couple of nanoseconds off. Like when one is walking down a path, and a rock, as if by magic, jumps from the ground and lands inside your shoe. How does that happen? Is it evidence of magic? Time travel? Even if one considers a viable explanation, the most common of which is that the other shoe kicks the rock into the partner shoe, it takes some extraordinary physics and flight acrobatics to imagine a rock being kicked by one shoe, flying sideways through the air as you walk on and sliding into the other shoe. I prefer to believe that the rocks jump straight up and floats into the shoe. Anyway... back to my story. The violent action of swinging the axe to split the firewood must have caused a ripple in the time space continuum, for otherwise I cannot imagine or recreate what followed next. For one thing, I completely missed the firewood waiting to be split and barely nicked the edge of the tree stump. But this bare touching of the tree stump must have caused a tremendous vector change in the arc of the axe swing, and to add more physics to the event, the brand new axe, (with its nice slippery handle, aided by my brand new - and even more slippery - cotton gardening gloves (I should have used leather work gloves)) slipped away from me. And aided by the wet grass under my feet, I lost my footing and slipped towards the oncoming axe. At some point, I suspect that both the axe and I were completely airborne and approaching each other in perfect flight synchronicity. And in some incomprehensible act of flying physics, the axe went in a perfect flight pattern back towards me and between my legs. Act One, Scene II The axe blade missed my family jewels – barely. I know this because I still have balls and because the tip of the blade nicked the small of my back. But I came as close to being a eunuch as anyone in the history of mankind has come; but the blade missed. But the top of the handle didn’t miss and it crushed my balls. Before I describe the pain, let me tell you that I've been kicked in the balls more than once. I have been an avid student and practicioner of the martial arts since I was 13 years old, and have competed in many full contact tournaments, and have been accidentally kicked in the balls many times. I have also had my share of juvenile and drunken sailor fist fights, where someone's foot or fist has delivered a painful blow to my genitals. And it does hurt intensely! But this axe handle crushing my privates was a new dimension in pain. And this new pain took on a new meaning as I collapsed onto the wet, muddy ground. It was an almost exquisite pain, with shape, form, smell and incredibly enough, fireballs of vivid color dancing to music. During this time, I had a vision of how Christ and Jimmy Hoffa truly died; in fact I learned how every fucking thing in the Universe has died, and how every living entity in this Universe and the other infinite Einsteinian numbers of Universes will die. And in all cases, their death involved or will involve an axe. Time ceased to flow, or perhaps it simply slowed down in order to make my agony more intense, which by the way, would have been impossible, as I had already maxxed out the agony scale for mankind. And I know this is silly, but I swear that I heard the music from Guns & Roses’ Sweet Child of Mine emanating, in perfect tune to the pain, from my brutalized gonads; especially the part where the bag pipes come in. Thus I do not know how long I agonized on the forest floor. A wet tongue belonging to Yoda, my neighbor’s dog, whimpering as he obviously felt my pain, resuscitated me. I opened my eyes for the first time since I fell, and looked at Yoda’s handsome face. "Yoda," I whispered between clenched teeth, "kill me." He looked at me with his intelligent eyes and licked my face again. "Please bite my neck," I begged. "Kill me now!" Yoda twisted his head in that almost human way in which dogs do, and walked away. For a minute there I thought that the stupid beast had gone to fetch a stick to play with, as he loves to fetch sticks. Had he done this, I would have kicked him in his balls. But he just vanished from my sight and then started to bark outside my neighbor’s back door. By now the pain had diminished to a white searing pain on a planetary scale equivalent to a thermonuclear device being exploted at the core of the Earth, so the word diminished is quite bogus in this sentence. But, I sincerely wanted to find out how much damage I had done, and since by now my pants were quite soaked from the wet ground and the mud, I needed to check to see if I was bleeding. Act One, Scene III So I unbuttoned my pants, lowered them in agonizing ecstasy, and reached down to feel the state of my boys. Which is precisely the moment that my neighbor, apparently being brought to the scene by Lassie-wannabe Yoda’s barking, made her appearance, as I am feeling my bruised sacs. My neighbor is a very nice old lady who has a remarkable likeness to Grandpa Munster, and I think that she’s originally from Sweden, and she has a lovely and thick accent, and from the expression on her face, I realized that she was slightly concerned at finding a muddy man, laying on the wet ground, pants down to his ankles and fingers probing around his privates.So I rationalized (the brain is an incredible asset) that I'd better explain, although the last fucking thing that I wanted to do at that moment was to chat with this Grandpa Munster look-a-like. But I figured that if I didn’t explain, she’d make a bat-line to her phone and report me to the vice squad. And being the super nice lady that she is, she tried to hide her laughter, and understood, and asked me if I wanted her to call an ambulance. "Tentacles," she said (and she did say "tentacles" instead of "testicles"), "are very fragile." "No shit Grandpa Munster," I felt like saying, but instead I moaned to her that it was OK, and that I’d drive myself down to the hospital. It had begun to sprinkle, so she wished me luck and went back to her house. And then it really began to rain; hard, cold rain. And then the act of crawling back to my house became another exercise in agony, as I discovered that (a) I couldn’t walk because of the pain and (b) I couldn’t crawl on my knees, because of the pressure on my jewels. So I sort of "rolled" towards my house, and then developed a sort of walking on all fours, legs quite widespread and putting most of the weight on my hands, as the rain fell on me. So I finally make it to the house, thoroughly soaked and quite covered in mud. And (of course) the day before I had cleaned my house from top to bottom, and the thought of the irony of this alignment of misfortunes dawned on me as I muddied the floor of my pristine home. I debated whether to change clothes or not, and decided that it would be impossible for me to physically remove my shoes, as my boys had by now begun to swell to an impressive size, and any pressure on them caused me to yelp like a newborn child. So I grabbed a towel from the laundry room, crawled to my van, put the towel on the seat, and climbed in to an internal symphony of new pains. And I began the drive to the hospital emergency room. Act Two, Scene I Sometimes the lights on Democracy Boulevard align in timing so that one can go all the way from Seven Locks to Old Georgetown Road without hitting a single light. Other times, a driver hits every goddamned light on the road. Guess which of these two cycles of light synchronicity was to be my fate on that painful day? Yep! Stop at every light, and to make matters worse, I couldn’t really "sit down" and was actually driving while holding most of my weight on one hand pushing against the car seat in order to attempt to float me above it, all the while leaning forward, sort of the way that scary old people in Florida drive. I eventually pulled into the parking lot of the hospital, and of course there is not one single parking spot available on the ER area, so I have to park in the lot across the street, and do my crawling on all fours routine, in the rain, across the road, which as some of you may know, is quite a busy road. However, since Yoda had failed to kill me, I was somewhat hoping that I’d get run over by a car, and mercifully have it put an end to my agony. But no one ran me over, although several cars did slow down, but I suspect it was so that they could get a look at the idiot crawling on all fours across the road, in the rain. But in due time, I did arrive at the entrance to the ER, and at the very last minute I almost did get run over by an ambulance, bringing in someone with a medical emergency. And so I finally enter the ER, muddy, wet, cold and still in spectacular pain. Act Two, Scene II I imagine that most ER personnel have seen just about everything that humankind has to offer in terms of shock, but by the alarmed expression on the male nurse at the check-in station, it was clear that he was somewhat concerned by my appearance and by my manner of movement on all fours; I also noticed that the security guard was also somewhat alarmed (and armed). He asked me what the problem was, and as I explained what happened, both this Gaylord Focker wannabe and the guard, who had drifted within earshot, actually had the gall to burst out laughing. And I made a silent promise to myself that in a few weeks, if I survived this ordeal, I would hunt Nurse Focker-wannabe and kick him in the nuts. So after the whole delay of data input and insurance verification, Nurse Focker tells me to have a seat, and wait, as the doctors (plural) are all attending the patient who had just come in via the ambulance. "What’s his problem?" I asked, not out of concern, but thinking that there are precious few emergencies in the world that could take precedence over my distress. And Nurse Focker explains that the patient is a 96-year-old-man who’s having a heart attack. And I’m really close to start debating that at 96, he’s had a good life, and he's probably caused his own heart attack because of Viagra, so let this geezer go and assign me a doctor, preferably well armed with a needle full of painkiller. But I hold my tongue, and wait in my own private water puddle. Several ice ages later, Nurse Focker says that I am to be seen, and asks me if I have a preference for a doctor. In retrospect, I think that he was asking me if I wanted a male or female doctor, but by now my social graces had completely vanished, and I told him that I’d like Dr. Kavorkian. He didn’t laugh. I am then taken to the back, and told to undress, put one of those silly robes that show your ass, and sit on the bed and wait for the doctor. Somehow I managed to undress on my own, and laid on the bed, with my legs bent and wide open, much like a woman waiting for her gynecologist. A little while later, the curtains open and the doctor comes in: A female doctor, of course, probably picked by Nurse Focker to make my life more miserable. And not just any female doctor, but probably the only female doctor who had also been a body extra in Baywatch. And to my utter amazement, in the middle of this intense agony, my sick male brain still finds time to align a couple of thought patterns that whisper inside my head: "WOW, she’s hot!" before resuming sending new and novel pain patterns to my groin area. "What have we got here?" she asks using the imperial "we" that annoying doctors like to use. "We, doc," says I, devoid of any social skills by this point, "have a serious fucking case of smashed balls, and an even more serious need for some potent pain killer." And I begin explaining what happened. And just like Nurse Focker and the rent-a-cop a few minutes earlier, Dr. Carmen Electra, Medicine Woman bursts out laughing while she’s probing and feeling down there, hands encased in latex gloves. Laughter induced watery-eyes and all, she then tells me that it looks like there’s no internal injuries, but that she’ll order a scan to double check, and that I need to ice down my groin area in order to reduce the swelling. "You’ll be OK in a few days." Pheeew! I thank her, and ask about a shot for the pain. To my astonishment she says that just a couple of Tylenols should do the trick. "Doc," I plead, "I am in really in some aggravating bad pain here." "Don’t be such a baby," she responds, "You should try childbirth if you want to know what real pain is." She’s lucky she’s a woman; otherwise I definitely would have kicked her in the balls. Act Two, Scene III A few days later, and things appear to be back to normal; I’ve been telling people that I have a back pain, and thus the strained walk. And at some point, it dawns on me that the whole sequence of events, with the improbable occurrences, the diverse set of characters, and the Three Stoogian physicality of the act, is a new kind of art; a new kind of performance art that is, where really spectacular true events of common daily life assume astronomic personal presence and thus cross the border into a personal artistic quality, the like of which will never be repeated by any other soul on this planet. So my performance piece is over: I call it Tentacles (not Testicles). |
| 140. Source: Daily Campello Art News |
| Item: Date: 3 March 2010, 12:21 pm |
| DeBerardinis returns to DC "Coming Home: A Collection of Works by Rosetta DeBerardinis" opens at The Corner Store, 900 South Carolina Avenue, S.E. @ 9th Street near the Eastern Market. Reception: Friday, March 19th from 6 to 8 pm. "Coming Home: A Collection of Works by Rosetta DeBerardinis" marks the artist's return to the D.C. market upon the completion of a three-year artistic residency at School 33 Art Center in Baltimore, Maryland. The work demonstrates her expansion from color field painting to abstract expressionism to urbanscapes, monoprints, sculpture and to drawings while retaining her signature energy and strong use of color. DeBerardinis has exhibited at commercial galleries and art venues throughout the Washington metro area, Richmond, Dallas, New York City, Houston, New Jersey, Delaware, Michigan and internationally in Croatia, Madrid, Beijing, India and France. She has shown at the Dallas Women's Museum, The Corcoran Gallery of Art, the Woman's National Democratic Club, The African-American Museum in Dallas, the City Museum of Varazdin in Croatia and the Yaroslavl Art Museum in Russia. Her work and words have been published in Washington Spaces magazine, the Virginia-Pilot Ledger Star, SoBo Voice, Radar Redux magazine and u-tube, Thinking About Art:The One Word Project, the Hill Rag, Voice of the Hill and in catalogues with comments by art aficionados like Doreen Bolger, Director of the Baltimore Museum of Art. A recent work is part of the Art on Call public art project in the Trinidad neighborhood in the District of Columbia. During the residency, DeBardinis began to meld her ceramics with objects found on the streets of Baltimore and drove the finished sculptures back to DC for exhibition at Zenith Gallery last year. Her responses to Charm City's rawness and grit are reflected in much of her studio work. While there, she temporarily abandoned painting 9 ft. canvases to create work suitable for tiny Baltimore row houses. After downsizing in response to the architectual limits of the city, she began to exhibit surfaces as small as 2 1/2 inches, or the size of trading cards. She found compressing her energy into tiny space took practice and amazing focus and welcomed the challenge. The former Washington, D.C. and Bethesda art tour guide, Liquitex Artist of the Month and frequent contributor to DC Art News is busy reinventing herself. An artist with academic credits and/or degrees from the following institutions: Vassar College, The University of Baltimore School of Law, Rice University, London School for Social Research and the Fashion Institute of Technology. It is appropriate that Rosetta DeBerardinis begin her artistic revival on Capitol Hill where she resided for more than a decade and maintains close ties with former neighbors and friends. Don't miss this show! |
| 141. Source: Daily Campello Art News |
| Item: Date: 3 March 2010, 6:35 am |
Wanna go to an opening in Laurel this weekend?![]() The 41st Annual Laurel Art Guild Open Juried Exhibition at the Montpelier Arts Center was juried by my good friend Michael Janis. The reception and his talk about the artwork is on Sunday, March 7th, from 2 - 4 pm. He will also announce the various awards then. Michael says that "the artwork (up to two submissions from each of the 160 artists that submitted work) was in all styles and media, and there were many hard decisions on what would be selected. The resulting show is a strong survey of the area's painters, sculptors, photographers and mixed media artists. Many of the artists selected are familiar names - some are faculty at some of the area universities and colleges of art." |