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| 1. 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" |
| 2. Source: Art Competitions provided by Artshow.com |
| Item: 27th Annual Juried National Show - Redding, California |
| Best of Show $1000, Five $100 Awards of Excellence, Five $50 Awards of Merit. Deadline: October 30, 2010 |
| 3. Source: Art Competitions provided by Artshow.com |
| Item: Evansville Museum's 55th Mid-States Art Exhibition - Evansville, Indiana |
| Over $7,000 in purchase and merit awards. Deadline: September 19, 2010 |
| 4. Source: Art Competitions provided by Artshow.com |
| Item: Acrylic Painters 5th Annual Juried Exhibition - Tampa, Florida |
| $5000 cash and prizes, including $1000 Best of Show. Deadline: September 15, 2010 |
| 5. Source: Art Competitions provided by Artshow.com |
| Item: Fish and Fishing Art - Coos Bay, Oregon |
| First Place $500, Second Place $350, Third Place $250, 4 Honorable Mention ribbons. Deadline: October 9, 2010 |
| 6. Source: Art Competitions provided by Artshow.com |
| Item: BOO! Open Juried Show - Bristol, Rhode Island |
| $2,000 in cash awards. Deadline: September 20, 2010 |
| 7. Source: Art Competitions provided by Artshow.com |
| Item: Expressions Portrait Competition 2010 - Herndon, Virginia |
| First Place: $500, Second Place: $200, Third Place $100. Deadline: September 1, 2010 |
| 8. Source: Art Competitions provided by Artshow.com |
| Item: Drawings and Paintings - Online Exhibition |
| $1,500 Best of Show, $3,250 in cash awards. Deadline: December 1, 2010 |
| 9. Source: Art Competitions provided by Artshow.com |
| Item: New Normal Photo Show, November Main Gallery - Fort Collins, Colorado |
| Over $1500 in cash and awards. Deadline: August 17, 2010 |
| 10. Source: Art Competitions provided by Artshow.com |
| Item: Viridian Artists Juried Competition - New York, NY |
| First Place $500.00, Second Place $200.00, Third Place $100.00. Deadline: November 5, 2010 |
| 11. Source: Art Competitions provided by Artshow.com |
| Item: Garden State Watercolor Society 41st Annual Juried Exhibition - Trenton, New Jersey |
| Cash, other prizes, the Nummie Warga Memorial Award: $2000. Deadline: August 28, 2010 |
| 12. Source: ArtDeadline.Com |
| Item: First Contexts: Where Art Comes From |
| International Deadline: August 25, 2010 - Manifest Creative Research Gallery announces 'First Contexts: Where Art Comes From', an international competitive exhibit of works depicting, documenting, or describing the places where artists make art. Professionals as well as students are encouraged to enter. Open to all traditional and non-traditional genre and media. Catalog... |
| 13. Source: ArtDeadline.Com |
| Item: Dark Moon Lilith' Online Journal Call for Submission |
| International Deadline: Ongoing - Dark Moon Lilith: A Journal Dedicated to the Wondrous Strange is back! A quarterly journal committed to raising consciousness and instigating change and healing on individual, social, and global levels by offering a space for marginalized voices and free or fringe thinkers. Currently looking to publish fiction, essay, poetry, art, short plays, book/film/art reviews, and interviews... |
| 14. Source: ArtDeadline.Com |
| Item: Imagine: 2010 Open Juried Craft Show |
| National Deadline: September 12, 2010 - The Mamaroneck Artists Guild announces its first open juried fine craft show, to be held at the Mamaroneck Artists Guild Gallery, Oct 14-Nov 6, 2010. Open to ceramics, fiber, glass, jewelry, metal, multi-media, wood, other. Juror Barbara Seidenath, RISD. Cash awards... |
| 15. Source: ArtDeadline.Com |
| Item: Artifice: How do you veil your illusion? |
| National Deadline: September 14, 2010 - Studio2Gallery seeks artworks offering the artificial, illusion, ingenuity or masked perceptions. Open to all styles (including video), emerging and established artists. Exhibition will take place October 16-November 13, 2010... |
| 16. Source: ArtDeadline.Com |
| Item: New Normal Photography Show - Main Gallery |
| International Deadline;
August 17, 2010 - The Center for Fine Art Photography announces it's
upcoming main gallery exhibition, 'New Normal'. Open to all photographers world wide, both amateur and professional.
The Center invites photographers working in all mediums, styles and
schools of thought to participate in its exhibitions. Juror Edward Robinson, LACMA. Exhibition, publication, cash awards... |
| 17. Source: ArtDeadline.Com |
| Item: Head First: A Call for Works Featuring the Human Head |
| International Deadline: August 25, 2010 - Manifest Creative Research Gallery announces an international competitive exhibit featuring the human head. Open to all traditional and non-traditional genre and media. The only limitation is that entries must represent original works of art or design and represent or address the theme in some way. Catalog... |
| 18. Source: ArtDeadline.Com |
| Item: 2010 Digital Art L.A.' International Juried Competition |
| International Deadline: August 16, 2010 - The Los Angeles Center For Digital Art announces a juried competition for digital art, digital photography, video and new media. All styles of artwork and photography where digital processes of any kind were integral to their creation are acceptable. Exhibition awards. Juror Peter Frank... |
| 19. Source: ArtDeadline.Com |
| Item: Highland HudsonFest 2010' Call for Artists |
| Multi-State Deadline: August 15, 2010 - Arts and crafts will line the new Hudson Valley Rail Trail starting at the entrance to Walkway over the Hudson on October 9, 2010. Spaces available at a discount rate for applications received by August 15, 2010. Attendance estimated at 3,000 plus... |
| 20. Source: ArtDeadline.Com |
| Item: Embracing Our Differences' Call for Artists |
| International Deadline: January 10, 2011 - Embracing Our Differences invites artists, photographers, professionals, amateurs, teachers and students to participate in its 8th annual visual art exhibit celebrating diversity. 45 artists will be selected for the exhibit. The artwork will be displayed on billboards throughout the months at Island Park along Sarasota's beautiful bayfront. Cash awards... |
| 21. Source: ArtDeadline.Com |
| Item: The Aesthetica Creative Works Competition |
| International Deadline: August 31, 2010 - The Aesthetica Creative Works Competition is internationally recognized for identifying new artists and writers and bringing them to international attention. The competition is open to anyone in the world. Publication and cash awards... |
| 22. Source: ArtDeadline.Com |
| Item: 14th Annual Lines into Shapes Art Competition |
| International Deadline: September 10, 2010 - Art Center of Estes Park proudly announce the 14th Annual "Lines into Shapes" Multi-media Art Competition and Sale. Open to all artists. Work must be original. Jurors Dee Clements, Liz Good and Arleta Pech. Cash awards... |
| 23. Source: ArtDeadline.Com |
| Item: Digital '2010: Planet Earth - Call for Artists |
| International Deadline: August 16, 2010 - Open call for the 12th International Digital Print Open Competition/Exhibition, to be held at the New York Hall of Science Oct 3, 2010-Jan 31, 2011. We invite all artists and scientists to submit digital prints that reflect their perceptions of our planet. Jurors Maddy Rosenberg, Patrick Hamilton. Exhibition, cash and publication awards... |
| 24. Source: ArtDeadline.Com |
| Item: $10,000 Direct Carving Competition |
| National Deadline: November 22, 2010 - The National Association of Women Artists, Inc. (N.A.W.A.), welcomes American women sculptors whose medium is direct carving to apply for the prestigious $10,000 Margo Harris Hammerschlag Biennial Award. Work will be reviewed by three renowned sculptors: Eve Ingalls, Jill Viney and Wendy Lehman... |
| 25. Source: ArtDeadline.Com |
| Item: ArtCAN Art Exhibit & Auction |
| Regional Multi-State Deadline: July 23, 2010 - Call for Artists in Southeast who have survived cancer or have been affected by cancer. A preeminent curatorial panel will review works for exhibition and sale. All funds raised by the JCM Foundation during ArtCAN will go directly to support pancreatic cancer research at Johns Hopkins Medical Institutions... |
| 26. Source: ArtDeadline.Com |
| Item: 3rd Ward 2010 Open Call |
| International Deadline: July 28, 2010 - What would you create for $5,000, three months in NYC, and your very own art show? You have the vision and now 3rd Ward is offering you a place in the international art world. You are invited to submit a portfolio of your best completed artwork, work-in-progress or conceptual proposal to be considered for the 3rd Ward Solo Show... |
| 27. Source: ArtDeadline.Com |
| Item: 5x5Exposed: Small Works in Photography |
| International Deadline: September 13, 2010 - The Target Gallery, national exhibition space of the Torpedo Factory Art Center, will be participating in the FotoWeek DC 2010 Festival by hosting a biennial small works show, this year with an emphasis on photo based mediums. Open to all artists with no geographical restrictions. Juror Kathleen Ewing... |
| 28. Source: ArtDeadline.Com |
| Item: World's Greatest Erotic Art of Today' Juried Art Show |
| International Deadline: August 15, 2010 - Erotic Signature announces a call for sexy art for the Fourth Annual "The World's Greatest Erotic Art of Today" Juried Art Competition. We are looking for talented artists and photographers in our search for the World's sexiest and most creative artworks. Publication and cash awards... |
| 29. Source: ArtDeadline.Com |
| Item: ISAP 3rd On-line Open International Acrylic Show |
| International Deadline: September 15, 2010 - The International Society of Acrylic Artists announces it's 3rd On-line Open International Acrylic Show. Open to artists 18 years of age and older. Work must conform to the concept of being 80% Acrylic. Juror John T. Salminen. Cash awards... |
| 30. Source: ArtDeadline.Com |
| Item: A Show of Heads |
| International
Deadline: August
31, 2010 - SlowArt Productions presents
the group thematic exhibition, A Show of Heads. The exhibition will be
held at NY's Limner Gallery. Open to
all artists working in any media, this exhibition will include all
interpretations and portrayals of the human head, from the traditional
to the abstract and conceptual. Publication awards... |
| 31. Source: Rhizome Inclusive: News, Blog, and Digest |
| Item: A Conversation with Samson Young and Yao Chung-Han Date: 28 July 2010, 10:00 am |
 The exhibition "Resonance" was initiated in early 2010 as an experiment in the conceptual underpinnings and practical manifestations of sound art as a genre and form in contemporary greater China. Growing out of a series of readings and conversations in Hong Kong with artists as varied as Yan Jun, Feng Jiangzhou, and Zhou Risheng, the final exhibition program included two installations by artists Samson Young, an artist and composer based in Hong Kong, and Yao Chung-Han, a sound artist based in Taipei. This selection of artists allows the experiment to step beyond the mainland sound art and experimental music scene, which is largely incoherent in its current free-for-all exploration of new sonic forms--a site of artistic freedom indeed, but also a difficult territory in which to reflect on the modes of sound already in use in the contemporary art community. Samson Young contributed a piece entitled Beethoven Piano Sonata, nr. 1 - nr. 14 (Senza Misura) (2010), a series of open circuit boards hung in rows on the gallery wall. Each board houses two LEDs and a speaker, each marking the tempo of a single movement of fourteen of Beethoven’s early piano sonatas. In the second gallery room, Yao Chung-Han installed an audiovisual piece entitled I Will Be Broken (2010), a suspended column of circular fluorescent lamps tied together with power cords that illuminates in a semi-random fashion and emits a prerecorded sequence of sounds. The two pieces engage in a dialogue of light and sound that confronts the tension between sound as aesthetic spectacle and sound as conceptual material, opening a productive conversation between styles and historical developments in the trajectory of sound in art. "Resonance" is on view at I/O Gallery in Hong Kong until September 5, 2010.
Robin Peckham (RP): I’d like to start with our initial thoughts when we set out to put this exhibition together. We were interested in how different cultural labels, specifically including music, experimental music, sound, and sound art, are distinguished in the Chinese context. During curatorial projects in Beijing and Shanghai, we found that artists and musicians working under these different labels all share the same live performance events and even exhibition contexts. I want to ask how the two of you see yourselves fitting into this system personally, and how you have experienced these distinctions in Hong Kong and Taipei respectively. Samson Young (SY): In Hong Kong there is a circle of people working with, writing, and playing classical music, and that’s a very specific and self-contained scene. Then there’s a set of people outside this scene who also share a series of different and unrelated events, such as William Lane of the Hong Kong New Music Ensemble and myself. We both come from classical music backgrounds originally, but we’re also involved with other things, learning from different kinds of artists and musicians. The scenes are defined but the content of the work produced in each of these circles is not. As for defining my identity in all of this, I don’t have any strong feelings in terms of being a certain kind of artist working within the territory of sound art. I come out of the classical music world, but I make work that might function as contemporary music in the concert hall or something else entirely within the gallery context. No matter what the work is, it should be evident that my interest lies in a certain set of ideas of music to some degree or another. I tend to resist being labeled as a sound artist because this term is so ideologically and politically loaded. There are so many problems with it that have yet to be resolved. Its aesthetics are still being defined, particularly the question of how to judge a work of art within this territory. The question is very much still under discussion. That’s one problem. The question of how to judge or test a work of art is often mixed up with this other question of “what is sound art,” where these should be very separate questions. A work might emit sound of some sort of sound in a gallery setting, but the strategy of judging it through the criteria of sound rather than as conceptual or visual art is a very political process. It is a value judgment. It is very dangerous to judge the work within or using these unresolved debates over the nature of sound art, because it introduces all kinds of ideological questions. The discussion of aesthetics and the discussion of the identity of sound art should be separated. But now they exist within the same conversation, mixing the idea of a value judgment from the idea of a judgment of quality. We have a conversation and a discourse over these questions, but no sense of definition. If we introduce the question of “what is art,” then the entire project becomes compartmentalized and limited to its own territory without any further possibility of the expansion of the genre. As for how I define my own work, I will do some things within the gallery setting with the materials of sound and music, and people can label it as they please. But I don’t think I’ve answered the question.  RP: Yao, I have a more specific inquiry for you. My understanding of the Taipei sound art scene is derived from this narrative of Lin Chi-wei and his collaborators, particularly the Zero and Sound Liberation Organization of the 1990s, which was very much influenced by DIY and punk ethics and aesthetics in music and later art, while on the other hand today we have artists working in a vernacular influenced more by international new media, like Wu Chi-tsung, Wang Chung Kun, and Tseng Wei-Hao. In practice, how do these scenes overlap? Which of these artists do you commonly work or exhibit with? Yao Chung-Han (YC): In Taiwan, sound art has actually already been very clearly defined, or at least categorized, starting from Lin Chi-wei and on towards Wang Fujui, and then to us. Because we all come out of similar art academy backgrounds it appears as a very clear lineage from the outside, a certain school of sound art. The other major school emerges from the academies of music, working with more musical styles of production. Those are the two major directions. Both schools work with new technologies. Younger artists in both have become accustomed to using computers in their work, and both occasionally use musical instruments. RP: You work in a collective called i/O Lab (no relationship to I/O Gallery). Who is involved in that group? YC: Me, Wang Chung Kun, Chan Ming-Fang, Chang Yung-Ta, Huang Chung-Ying, and Yeh Ting-Hao. RP: Do you all work in this more conceptual tradition of sound art, or do you also move into the areas in which Samson works, like composition or performance? YC: More conceptual. It’s production. Our material is conceptual and the result should be thinking, with other relational and spatial concepts as well. In terms of composition, I think some of us make attempts occasionally, but our backgrounds are all in technology and art. Wang Chung Kun’s background is in sculpture, with a bit of architecture for some of us, but the other members are all working in some type of art or design. No one is trained in music. RP: If we look specifically at the two pieces of work included in this exhibition, would you say that sound functions as a medium or a material here, or something else, some other concept? SY: In my work, the concept is a musical one, but it emerges with a different function, as something closer to sound. The project contains 14 devices, each of which is playing the tempo of a single movement of Beethoven’s early piano sonatas, just as would a metronome. I am interested in this because self-proclaimed sound artists often have at least one shared point, which is that they understand that the definition of sound art is currently being determined. They understand that this is a fluid process, so the term sound art functions more as a signal of a certain territory. But on the other hand, they understand exactly what music is and what it does. From our academic training, we’ve learned that music is not a fluid space, but oddly sound art uses music in its own process of self-definition, as an antithesis of sorts. There is a reactive method that is used to understand sound. So here I’m using something from music that could not possibly be more canonical, and then reducing it to something that could possibly be accepted within the territory of sound art. I want to see what happens through this gesture. It’s an experiment.  RP: Yao, what do you think in terms of your work? YC: My work employs the relationship between sound and light as a catalyst for conceptual work, so I would say both of these elements function as materials. In the process of production I’m trying to tease out something more obscure through this relationship. RP: So what role does sound play there? What is it doing? YC: It is a point of origin for the concept of the work. Ultimately it is only a portion of the final piece, but it plays a very important role. RP: Both of your works involve light in addition to the sound component. Why did you make the decision to include lighting elements for this kind of work that explores the nature of sound? Is there a necessary relationship between light and sound? Is light included for primarily conceptual or aesthetic reasons? SY: After I had determined the concept, I thought of how to make something like but unlike a metronome, based on György Ligeti’s work, with all of the metronomes swinging back and forth. A piece of music traditionally has a beginning and ending, a structure, and isolating the tempo collapses this composition. Ligeti’s piece depends on both sound and movement. Putting together all those metronomes might not necessarily be mesmerizing per se, so what I wanted to do was to make something very visually mesmerizing. So I added these LED lights that blink with the tempo. It brings together the visual piece as a unified whole. The sound and the light both have the same function here. Without beginning and ending it becomes a mesmerizing loop. I wanted to preserve that collapse, but make it even more obvious. RP: Yao, the relationship between light and sound in your work comes from a very different place. Without light you simply wouldn’t have sound. Is there a conceptual difference there as well? YC: At the beginning I was experimenting with lights in my studio process. We’re so inundated now with audiovisual work, from performance to media, and I wanted to experiment in a way that was related to that. I was interested in the role sound played in the audiovisual, especially in the kind of musical performance that Alva Noto and that whole genre is working with. Why, in the information environment we live in, are we interested in that style of work? I think there’s actually a very artificial relationship between sound and light in many cases, so I became interested in more natural, more determined relationships, as with the physical properties of sound and light, and especially cases where the two are inextricable. That scenario is very different from our normal process of audiovisual design. RP: In the early stages of discussing this exhibition concept, one of our theoretical points of departure was the recent work of Seth Kim-Cohen, who has been advocating a “non-cochlear sound art” in the tradition of Marcel Duchamp’s “non-retinal art” and in a sort of opposition to John Cage’s “sound-in-itself.” That is to say, he calls for a cognitive rather than aestheticized sound art, the kind of thing you might not even hear at all, or that might involve more conceptual elements. I think this is an interesting but somewhat unfashionable position to take now, after the visual or experiential turn of the last decade, though perhaps this applies to a lesser degree in new media circles further from the art world proper. But there is room for fascinating relationships between sound, the visual, and the conceptual that emerge in this new space. What do you think of these developments? Can sound art be pure sound, or does its status as art imply a necessary conceptual content? SY: According to my understanding of John Cage’s sound-in-itself, I think he had his own agenda related to the heyday of European musical modernism and his advocacy of pure sound has to be seen within that context, even though that context no longer exists. Musical modernism has passed. Sure, Cage was a pioneer of sorts, but we also have to put him in his historical place. He was not just a bombshell dropping out of nowhere as he is often treated when we cite him today. That’s the important part of this question. Music has never even been about pure sound, much less sound art. When I go to hear classical music I never spend much effort listening, but rather spend most of my time watching the conductor. Music was once live theater. Until the recording, there was no such thing as disembodied sound, no such thing as sound without the visual. I think if we reframe the question of “non-cochlear sound art” keeping this in mind, the answer becomes simple. When I write concert music I’m always taking into account different factors, including vision, light, interactivity, and so on. That’s a specific position towards the creation music. Within the gallery, we’re working in a different economy of circulation, but the position towards sound and the visual can be similar. RP: For those of us with less of an understanding of the historical development of the contemporary music world, would you elaborate a bit on the passage of musical modernism? SY: John Cage’s reaction against musical modernism was indeed a form of liberation, in terms of defining sound-in-itself outside of music, separating sound from the concept of music. He also liberated notation, assuring that without notation there could still be a sonic context. Finally, he assured that music need not happen only within the concert hall. It no longer needs to rely on the economy of the concert hall. After this, the movement of the avant-garde within and beyond the concert hall could function similarly, even if Cage tried to throw off this balance even further. Most significantly, the social context of the European tradition out of which all this emerged no longer exists. YC: Studying with Yao Dajuin, we learned to work with sound and nothing else. But the question of the audiovisual within and in relationship to sound is important for me, so I work more with modes of perception in order to analyze forms of communication between these different elements, especially communication with the audience. This communication, as reflected in my work here, is not simply audio plus visual, but rather explores a very different set of reactions that take place when these two things combine. The object in the exhibition space plays a very specific role, based partially on its physical properties. I’m working with the spaces in which these different forms of communication adapt to each other. RP: I feel that much of your work, and this piece in particular, is more about a visceral relationship with the body, not simply audiovisual but also physically present in terms of tension or even fear produced by the combination of sound and light. Is there a difference between this kind of relationship and more cognitive approaches to sound? YC: It’s arousal, or excitement. This is a simulation of the sphere of mediation in which we live, populated with familiar objects and abstractions of the light and sound that inundate us. This is more direct, based on minimal and installation art rather than musical sound. It does not require too much contemplation, but rather enacts a different form of bodily communication within this sphere of media and information. Those pieces of information in the real world carry specific meanings, whereas when they are deprived of meaning we are pushed into a state of anxiety, a new model of communication. I’m interested in the reactions to this uncanny form of communication that does not respond to cognitive interpretation, but rather to direct experience. RP: Your work contains a sensor such that when someone walks into the space there is a very specific order in which lighting elements become illuminated in relationship with the recorded sound of the piece. How is this order defined? YC: The sound is intended to complement the “motion” of the lighting system, and the order of illumination is randomized according to the physical properties of the hardware. I’m interested in the moment of uncertainty in which even I don’t know if a given light will illuminate. It depends on temperature, voltage, and so on, and these factors inform the soundtrack. It’s like looking at the ocean. You can see the light moving over a given surface area of water and it appears as a random or abstract motion, but in reality it’s all determined by the physics of light, water, and reflection. It’s a partially intentional and partially incidental composition. A performative process. RP: Have you ever worked with generative or algorithmic processing in your past projects? YC: No. I don’t see any point to Max/MSP style processing. It’s an abdication of the responsibility or control of the artist, and doesn’t add any of the interesting elements of the physically randomized processes I described in relation this piece. RP: This is something of a problem in the Chinese sound art scene now, and one of the things that made the exhibition concept so interesting for us. The ideas some of these artists start out with are often very interesting, but randomized processing without any aesthetic control is no substitute for turning a given observation into art via more proactive methods. The results often look awful in the exhibition space. There is always this question: why do you want to randomize this particular subject matter? What does generative processing do for this particular field recording? And that leads back to the question of non-cochlear sound art, because there’s certainly little of aesthetic interest there, only conceptual, but does it make for interesting art? What kind of conceptual standards are we applying to the aesthetics of sound? Participants Yao Chung-Han: Born in Taipei and a 2008 graduate of the School of Art and Technology, Taipei National University of the Art, Yao Chung-Han is an active member of the new generation of sound artists in Taiwan, which includes the group i/O Lab of which he is a core member. His works are mostly concerned with sound, while at the same time searching for the inherent connections between video, installation, space, and various media. Recent exhibitions include Non-Places: Architecture of Pheromonal Presence, SCU, Taipei (2010); Emergencies!014, NTT ICC, Tokyo (2010); Tokyo Story, Wonder Site, Tokyo (2010); SuperGeneration@Taiwan, Today Art Museum, Beijing (2010), and Shanghai Art Museum, Shanghai (2009). Samson Young: With formal training in classical music and a keen eye for visuals, spatial installations and new technologies, Samson Young has been known to combine his diverse interests into uniquely intermedia concert experiences. Beyond the classical concert stage, his creative output spans composition for symphony orchestra and live electronics to amusement ride-turned-interactive installation and multi-channel performance video. Recent exhibitions include: 18 Degrees of Acclimation, White Box Gallery, New York (2010); Beyond the Colony of Kitsch, Crossing Art Gallery, New York (2010); Hong Kong Biennale of Urbanism and Architecture, Hong Kong (2010); Prospectives International Festival of Media Art, University of Nevada (2009); and Last Intervention, Osage Gallery, Hong Kong (2009). Robin Peckham: A writer and curator based in the Pearl River Delta, Robin Peckham is currently researching localized international rhetoric of abstract painting. A founder of the Society for Experimental Cultural Production, he was previously affiliated with major commercial space Boers-Li Gallery, pioneering alternative space Long March Project, now-defunct performance art venue Hart Salon Center for the Arts, and landmark sound and music venue What?!. He currently contributes to publications including Yishu, LEAP, Artforum.com, Redbox Review, Arttime, and ArtSlant, in addition to editing and translating critical volumes and exhibition catalogues on artists and architects across greater China. |
| 32. Source: e-flux shows :: rss |
| Item: Art&Education: Call for Art Historical Papers Date: 28 July 2010, 12:00 am |
 Tom Harrisson sorting Mass Observation material Courtesy of the Mass Observation Archive, University of Sussex Since its launch in April of 2009, the Art&Education Papers archive has published a wide range of scholarly articles on the visual arts. A free contributor-driven platform, A&E Papers seeks to expand publication opportunities for art historians, theorists, curators, and artists, and to make papers more easily available to the public. |
| 33. Source: e-flux shows :: rss |
| Item: The Métamatic Research Initiative: Call For Entries Date: 27 July 2010, 12:00 am |
 Deadline: 1 september 2010 The Métamatic Research Initiative is launching a call for entries to commission six individual art works in line with its mission. The initiative welcomes proposals from visual artists working in all disciplines. |
| 34. Source: Rhizome Inclusive: News, Blog, and Digest |
| Item: Malwarez (2008) - Alex Dragulescu Date: 23 July 2010, 10:00 am |
    [Clockwise: Virutmytob, Stormy, IRCbot, and MyDoom] Malwarez is a series of visualization of worms, viruses, trojans and spyware code. For each piece of disassembled code, API calls, memory addresses and subroutines are tracked and analyzed. Their frequency, density and grouping are mapped to the inputs of an algorithm that grows a virtual 3D entity. Therefore the patterns and rhythms found in the data drive the configuration of the artificial organism. -- DESCRIPTION FROM THE ARTIST'S SITE |
| 35. Source: e-flux shows :: rss |
| Item: Kröller-Müller Museum: Gilbert & George: The Paintings Date: 22 July 2010, 12:00 am |
 Gilbert & George, The Paintings (with Us in the Nature), 1971 Collection of the artists Kröller-Müller Museum 9 July – 11 November 2010 Until November 11th 2010 The Paintings (with Us in the Nature) by Gilbert & George is on display in the Kröller-Müller Museum. This unusual "Sculpture" from 1971 consists of 6 huge painted triptychs. At that time, the artists called this a 'new romantic sad beautiful sculpture'. Painted in oils on linen in the winter of 1970-71, the "Sculpture" is a recreation of the emotions they experienced the previous summer in the English countryside. |
| 36. Source: The Digital Art Community - GFXartist.com |
| Item: Itsartmag.com Speed Painting Challenge - Unknown Creature Date: 25 January 2010, 1:18 am |
| Speed Painting Challenge, "Unknown Creature" From Dec. 12nd 2009 to Jan. 31st 2010, IT’S ART is holding a contest called “Unknown Creature”. You must try to portray what sort of situation, real or imaginary, the following concept can inspire you to create " Unknown Creature " using Speed Painting Technics. http://cggallery.itsartmag.com/challenge.php |
| 37. Source: The Digital Art Community - GFXartist.com |
| Item: CG Challenge - 3D and 2D Section - $21.000 Prizes Date: 24 February 2009, 10:21 pm |
| From Feb. 19th to May 31st, IT’S ART is holding a contest called “The Control Of Nature” In either 2D or 3D, you must try to describe what sort of situation, real or imaginary, the following concept can inspire you to create : "Since humans have been on Earth, they have tried to control nature. With an era of new technology, humanity tries harder and harder to dominate by eliminating and selecting species to better fit their needs. How will it end? Does nature really control the humans?" Rule, Terms, Jury and prizez are described here : http://www.itsartmag.com/features/controlnature |
| 38. Source: The Digital Art Community - GFXartist.com |
| Item: Adobe Issues Call for Entries for 2009 Adobe Design Achievement Awards Date: 18 December 2008, 9:26 pm |
| San Jose, Calif. - Adobe Systems Inc. has issued a call for entries for the ninth annual Adobe Design Achievement Awards (ADAA). The competition honors the best student graphic designers, photographers, illustrators, animators, digital filmmakers, developers, and computer artists from accredited higher education institutions worldwide. Now in partnership with the International Council of Graphic Design Associations (Icograda), the awards ceremony will be held during the Icograda World Design Congress in Beijing, China in October 2009. The Congress will bring together 2,500 delegates from around the globe at the China National Convention Center, located in the heart of the Beijing Olympic Green. As demand increases for talented designers and developers in the interactive design and development fields, the Adobe Design Achievement Awards spotlight the talented work of students in three media categories: Interactive Media, Motion Media, and Traditional Media. Interactive Media categories include Browser-Based Design, Non-Browser Based Design, Application Development, Installation Design and Mobile Design. Motion Media categories include Animation, Live Action and Motion Graphics. Traditional Media categories include Illustration, Packaging, Photography, and Print Communications. Open to students in 40 countries, the contest also draws attention to interactive design and development programs at some of the best accredited higher education institutions. Students are invited to submit projects through the Adobe Design Achievement Awards website. From the Web site, visitors will also be able to access ADAA Live!, an interactive website that lets visitors see participants submitting projects in real-time. The 2009 Adobe Design Achievement Awards entries will be reviewed and scored by an independent panel of distinguished judges. Submissions will be accepted online through June 5, 2009. The online submissions will be judged digitally in June. For the final phase of judging, semifinalists will be asked to submit their source files and a physical aspect of their entry as it is meant to be viewed. Finalists will be invited to Beijing, China and the Icograda World Design Congress and awarded software and cash prizes. For more information about the 2009 Adobe Design Achievement Awards, visit ADAAentry.com. |
| 39. Source: gmane.culture.media.idc |
| Item: Re: iCollege Date: 8 July 2010, 4:53 pm |
And I don't see any difference (okay, a front end), but a random sampling of
texts led me to proprietary pay-per-view papers... Open Source access to a
fiscal firewall? I can't discuss/share/discover what I can't afford for....
jh
*********************************************
John Hopkins, Artist-in-residence
Center for Land Use Interpretation
http://clui.org Wendover, Utah, USA
http://tech-no-mad.net/blog/
http://www.neoscenes.net/travelog/weblog.php
chazhop-Re5JQEeQqe8AvxtiuMwx3w< at >public.gmane.org jhopkins-LRlVL1xtBs0sV2N9l4h3zg< at >public.gmane.org
skype: chazhopkins
*********************************************
|
| 40. Source: gmane.culture.media.idc |
| Item: Re: iCollege Date: 4 July 2010, 5:15 am |
Hi All,
Since Jon opened with a disclaimer, I'll start with one too: I help run
large thousand-student-plus programs for the University of California and
have participated in the accreditation process that some of these postings
have raised questions about. I just left this program
(https://eee.uci.edu/programs/humcore/Student/AboutCore.html) and am
taking on a new role directing this one (http://cat.ucsd.edu/). So I'm
hardly a disinterested observer when it comes to the debate about distance
learning, particularly at a time when the state budget crisis has spurred
discussions about creating an "11th campus" that would be a "virtual
campus" able to grant degrees.
Based on the fact that my blog posting on this subject was called
"iCollege iDiocy"
(http://virtualpolitik.blogspot.com/2010/06/icollege-idiocy.html
), I've probably already tipped my hand, but I do think the Daily Show
incident and the discussion around it points to how the rhetoric of
instructional technology gets associated with certain id |
| 41. 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 |
| 42. 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 |
| 43. Source: ArtRightNow News |
| Item: Wall-to-Wall Art: 2009 Chapman & Bailey Artworkers Award Date: 12 February 2009, 10:56 am |
| One of the art prizes that supports the work of emerging artists and provides an exhibition with the works for sale. |
| 44. 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 |
| 45. 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 |
| 46. 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 |
| 47. Source: ArtRightNow News |
| Item: EXHIBITION OPPORTUNITY - Art at Burnley Harbour(October 2008) Date: 16 October 2008, 9:20 am |
| Organised by the Contemporary Art Society of Victoria. |
| 48. Source: ArtRightNow News |
| Item: Art Prizes news for October 2008 Date: 25 September 2008, 6:26 am |
| Jacaranda Acquisitive Drawing Award, the Woollahra Small Sculpture Prize and the RTA Martin Hanson Memorial Art Awards |
| 49. Source: ArtRightNow News |
| Item: Helen Lempriere National Sculpture Award cancelled for 2009. Date: 15 September 2008, 6:04 pm |
| In a shock move announced today, the judging panel, the Trustees and the Award's key stakeholders were not confident that an exhibition of high quality works could be assembled from the entries received and have agreed to withhold the Award in 2009. |
| 50. Source: ArtRightNow News |
| Item: Indonesia Calling - A free public forum on Indonesian arts today (July 18, 2008) Date: 3 July 2008, 6:32 am |
| The contemporary culture of Indonesia, Australia's most populous neighbour, will be celebrated and explored at a unique one-day event. |
| 51. Source: Canadian Art - Online |
| Item: Flavio Trevisan: Studies of a New Past Date: 29 July 2010, 9:00 pm |
| Toronto artist Flavio Trevisan’s first solo show at Diaz Contemporary features map-based works that extend from the wall, calling to mind ancient, frescoed reliefs. A trained architect, Trevisan seems to both expand and shrink our urban landscapes. |
| 52. Source: Networked_Performance |
| Item: VIDA 13.0: Art & Artificial Life International Competition Date: 25 July 2010, 8:15 pm |
At a time when the notion of life is once again located in an uncertain domain, a wide range of artistic initiatives come together to illustrate and investigate this phenomenon; they examine the impact on the collective conscience and the way it is manifested in cultural, technological and social thought. Over the last decade, in the same formal space, VIDA has been bringing together inter-disciplinary projects that respond to this situation. By means of formal strategies that defy the boundaries between existing practices, these projects offer new ways of reflecting on what we understand by life and artificial life. The projects may be based on systems which emulate, imitate or speculate on the notion of life through current research and technology. These systems may involve attributes of agency and autonomy which display specific behaviour, are dynamic, react to their surroundings and evolve, and which question the frontiers between what is alive and what is not, between synthetic and organic life. As in previous years there are two categories to the competition: FINISHED PROJECTS In this category VIDA 13.0 will award prizes to artistic ALife projects developed after 2008. The sum of 40,000 Euros will be shared between the projects selected by the jury: First Prize: 18,000 Euros, Second Prize: 14,000 Euros, and Third Prize: 8,000 Euros. In addition seven honourable mentions will be awarded. ARTISTIC PRODUCTION INCENTIVES IN IBEROAMERICA, SPAIN AND PORTUGAL In this category VIDA 13.0 helps to fund artistic ALife projects that have not yet been produced. This is aimed at citizens or residents of countries comprising Latin America, Spain and Portugal. The sum of 40,000 Euros will be shared between the selected projects. The winning projects will be subsequently exhibited at the VIDA Gallery and may be presented in exhibitions related to art and new technologies organised by Fundación Telefónica or in which it takes part. DATES: Period for submission of projects: from 19th July to 7th November 2010. JURY: The works submitted will be examined by an international panel composed of José-Carlos Mariátegui (Peru), Mónica Bello Bugallo (Spain), Nell Tenhaaf (Canada) Rodrigo Alonso (Argentina), Simon Penny (USA/Australia), Zhan Ga (USA/China) and Francisco Serrano (General Director of Fundación Telefónica). ENQUIRIES: Queries may be addressed to the FAQs section of the website, by e-mail to vida [at] telefonica.es or by calling (0034) 91 584 23 00. |
Fundación Telefónica announces the | 53. Source: Networked_Performance |
| Item: AC Institute: Narrative | Identity [NYC] Date: 25 July 2010, 4:09 pm |
“Most people are other people. Their thoughts are someone else’s opinions, their lives a mimicry, their passions a quotation.” Oscar Wilde As a means of grappling with the flux of identity, narratives are a necessary part of individual and social constructs. Whether internal or external, narratives define how we see ourselves and others.
Narrative | Identity seeks to investigate the ways in which narrative is used by contemporary artists to construct or demolish our ideas of self and other. Whether through guerrilla-like disruption, ambiguity or fantasy inspired story-telling, we are seeking artists who see narrative as essential to their artistic identity. Focusing on experimental, installation, and new media work, AC seeks submissions from contemporary artists, and others, working in any medium. Artists are encouraged to submit work either already existing or as-yet unrealized that addresses the interlocking questions of narrative and identity; either at the level of social practice, contemporary representation, or both. Email submissions should be sent to submissions [at] artcurrents.org by September 15, 2010. Please include the following in the body of your message (not as attachments): - A short description and/or images of the work you are proposing for our spaces NO ATTACHMENTS PLEASE About AC Institute: The AC Institute exists to advance art through investigation, research and practice. It is a lab for experimentation and a forum for critical discussion. Emphasizing emerging, international, and under-represented artists, the Institute develops projects across disciplines, exhibiting work deploying a variety of strategies for critical, experiential, and performative interventions in the field of contemporary art. In addition to publishing critical writing that pushes conventional expectations of meaning and objectivity, the AC Institute realizes off-site projects taking place at the edge of the art marketplace. Committed to an integrated vision of creative practice, Art Currents creates autonomous spaces to pursue experimental work. The AC institute is non-profit 501(c)3 under the Direction of Holly Crawford. Since moving to Chelsea in September of 2008, AC has mounted numerous exhibitions and performances, participated in the 2009 Armory show with Critical Conversations in a Limo; collaborated with over 50 artists; and worked with various cultural organizations including Rhizome and Harvestworks to pursue its mission. We provide space, programming support, and certain A/V equipment. Please see our website for more information: www.artcurrents.org. AC Institute [Direct] |
Narrative | Identity — curated by Nicole Bebout and Sonja Hofstetter :: February 3 – March 12, 2011 :: | 54. Source: Networked_Performance |
| Item: PASS-AGES: references & footnotes [Johannesburg] Date: 25 July 2010, 2:06 pm |
What is the relationship between art and history? How can art contextualize history and how can it affect how we receive or understand history? The ‘Center for Historical Reenactments’ (CHR) collaborates with artists who use these questions as the departure point for their work as they consider how society acknowledges certain historical narratives. Furthermore, CHR explores how certain constellations of artistic practices can effectively form or repeat specific histories. The center utilizes the exhibition as a site for historical and artistic research within which artists are invited to share their processes of examination. CHR’s inaugural exhibition PASS-AGES: references & footnotes is such a site. It pulls together ideas that have helped shape practices of contemporary artists from South Africa alongside ideas that have and continue to shape history and our memories of it. Located at the historical site of the Pass Office, PASS-AGES draws from artworks and texts that expose political spaces not currently recognized as sites of struggle. At The Pass Office, the most basic work of the apartheid state was accomplished: the control of black bodies across the South African landscape. The documents that may have served as testimony to the site’s activities have been destroyed, thus denied their roles as witnesses and spared the interrogation of the Truth and Reconciliation Commission (TRC). Ironically, it is this very emptiness that creates a space for us to call upon our abilities to remember and inject memory (unreliable and slippery as it may be) to the site. It is within the context of The Pass Office that PASS-AGES: references & footnotes focuses on contemporary and historical work that explores how certain codes and cultural signifiers are repeated, universalized and preserved. The project aims to draw attention to the historical and personal references that artists have called upon in order to evolve their individual practices. These references have been displayed in a non-sterilized space that promotes exchange and an accompanying ‘newspaper’ featuring essays, conversations, opinions and images has been compiled to suggest the various ways of sifting through the rubble of history. PASS-AGES therefore calls for a communal and interdisciplinary investigation into the construction of historical legacies and their potential impact on the local art scene. Ultimately, the project aims to promote reinterpretations of the past through proposals for future reflections. PASS-AGES is a curatorial project by the Center for Historical Reenactments in collaboration with the Johannesburg Workshop in Theory and Criticism (JWTC). Contact: Gabi Ngcobo, gabistos [at] gmail.com |
The Center for Historical Reenactments and Johannesburg Workshop in Theory and Criticism present PASS-AGES: references & footnotes with Dineo Seshee Bopape, Ernest Cole, Kemang Wa Lehulere, Zanele Muholi and Mary Sibande with contributions from Sean Jacobs, Coco Fusco, Desiree Lewis, Hlonipha Mokoena, Gabi Ngcobo and Zamani Xolo :: July 24 - August 1, 2010 :: 80 Albert Street (the old Pass Office, between Delvers and Polly Streets), Johannesburg, South Africa.
| 55. Source: Networked_Performance |
| Item: Conference on Computational Creativity [Mexico City] Date: 25 July 2010, 10:43 am |
Original contributions are solicited in all areas related to Computational Creativity, including but not limited to:
PAPERS We invite papers that make a scientific contribution to the field of computational creativity and report work that involves computation, e.g., fully autonomous systems, modeling, support for human creativity, simulation, human/machine collaboration, etc.). We welcome studies of human creativity that in some way propose a computational model for that creativity. When papers report on creative computer systems, we particularly encourage them to discuss systems having general or at least multiple sorts of results, to detail the methods used to design and develop the system, or to include useful related theoretical discussion. We invite papers that go beyond simply documenting interesting systems to describe advances in cognitive science, assessment methods, design methods, or other research areas. DEMOS/ARTS SHOW AND TELL We invite proposals for demonstrations of computational systems exhibiting behavior that would be deemed creative in humans and for the exhibition of artifacts created using computational means, either primarily or as support for a human creator). More information will soon be available at: http://iccc11.cua.uam.mx Or, send email to: iccc11 [at] correo.cua.uam.mx IMPORTANT DATES December 13, 2010 - Submission deadline CONFERENCE ORGANIZATION General Chair: Program Chair: Local Chair: Publicity Chair: Senior Program Committee: Program Committee: |
| 56. Source: Networked_Performance |
| Item: Brody Condon’s “LevelFive” [California] Date: 21 July 2010, 9:44 pm |
LevelFive is a live role-playing event focused on critically exploring self actualization seminars from the 1970’s. The LevelFive performance will loosely follow the structure of early Large Group Awareness Training sessions like Erhard Seminars Training, but it is not a re-enactment. The open-ended live role-playing environment provides a space in which players are free to explore self actualization issues with varying degrees of personal intensity, but via an alibi or fabricated character. During the 1970’s hundreds of thousands of ordinary Americans came for weekend seminar sessions, to be taught how to free themselves from the restraints of contemporary society. Intended as a kind of self transformation for the masses, the seminars utilized a combination of various philosophic and spiritual teachings focused on “allowing participants to achieve, in a very brief time, a sense of personal transformation and enhanced power.” Quickly copied, successors included not only similar self actualization seminars, but also grew into the mass of success and corporate training seminars that we are familiar with today. Players will arrive as their characters, and are expected to emote, and experience as their characters, with minimal interruptions for the 2-3 day duration of the game. LevelFive is a live game based on the Nordic style of progressive live role-play that explicitly works with “bleed”. In role-playing games, bleed happens when the thoughts and feelings of the character starts affecting its player, or vice-versa. Rather than forgetting the existence of an original self, the character becomes a tool for projection, self-exploration and experimentation. LevelFive Inspiration:
Inspiration #2 CEDU
Inspiration #3: The Book of est This performance is created and organized by the artist Brody Condon. The live game mechanics and management are being developed by the Scandinavian based progressive live game designer Bjarke Pedersen, along with character and workshop development by Tobius Wrigstad and Monica Traxl. The event has been commissioned by the San Jose Zero1 Biennial, and Machine Project in conjunction with the Hammer Museum residency program in Los Angeles, along with special thanks to Southern Exposure in San Francisco. |
| 57. Source: art machines |
| Item: Momoyo Torimitsu's Miyata Jiro Date: 30 March 2009, 3:04 am |
Just over a year ago, the talented Japanese female robotic artist also exhibited at the Mori Art Museum in Roppongi with a piece called "Horizons," which was an installation of 100 robotic GI Joes with American, Japanese, and European faces wearing business suits and crawling all over a map of the world. I'd love to see her "Pleasure of Destruction Merry-Go-Round" (1995), featuring resin-cast sculptures of two high-school girls in sailor uniforms on their hands and knees alternating with two white goats on a red turntable. Actually functional as a merry-go-round, the sculptures were offered for visitors to ride. (thanks, EvilSigntist!) |
| 58. Source: art machines |
| Item: SWARM speaks: an autonomous orb interview Date: 16 February 2009, 5:39 pm |
Image by Scott Beale / Laughing Squid.
The SWARM obs are controlled by humans, but each have their own algorithmically generated sound and color responses to location and motion; thay have sophisticated navigational sensors including GPS, accelerometers, and solid-state gyroscopes. The humans behind SWARM see the orbs as a platform for exploring machine behaviors, such as cooperation, flocking, human interaction, choreography, and of course, swarming. SWARM is open source about every aspect of their project.
Art Machines: Where did the idea for SWARM come from? Michael Prados: Artistically, I work primarily with kinetic sculpture, and it's my opinion that robotics is the next logical step in the evolution of kinetic sculpture. By combining the mechanical world with the information world, we can create new kinds of motion, and enhance it with sound and light. Technologically, I worked with GPS guided vehicles in Grad school, and some friends (notably Hazmatt Snyder) have been puttering with spherical vehicles for a few years. The original concept for SWARM was a mash up of these ideas and current university research on using swarming behavior for small mobile robots. AM: How many people work on SWARM bots? MP: After the initial concept was out there, a group of about 25 people gathered to realize it. The project represents the ideas of all of these people, and as much as practical we share ownership and responsibility for the project. In a broader sense, by making the project open source (from code to electronics to mechanical design), we share our work with an even larger community.
MP: Each orb has five sealed lead-acid batteries, which are rated for 7 Amp-hours at 12 volts. Typically, we can run for about 2-3 hours before needing to recharge. AM: How long did it take to make one?
AM: What is next for SWARM? MP: While we are continuing to develop the orb-based GPS guided technology, we are also looking to create more accessible open source hardware. The public has access to the same design data for SWARM that we do, but the orbs are not something that even a fairly skilled person can replicate without a lot of specialized tools. Therefore, we are looking to create a design for a rugged, differential steering robot that a moderately skilled person could build in a weekend. Jon Foote has some really good ideas to develop our technology into Arduino accessories, including a high-current motor controller and an ultrasonic, time-of-flight sensor to measure range between two nodes. See and learn more: * OrbSWARM main page (orbswarm.com) * The SWARMwiki (wiki.orbswarm.com) * SWARM mailing list (lists.lee.org) * The SWARM blog (blog.orbswarm.com) Mid-post SWARM night image by Kevin Kimmett. |
| 59. Source: art machines |
| Item: a real taste of Carl Pisaturo's work Date: 16 February 2009, 4:39 pm |
 Pisaturo's Area 2881.
You can visit his art machine cabinet of curiosities from your laptop: Here at GigaPan, you can give yourself a virtual tour of Pisaturo's studio, Area 2881. (gigapan.org)
The Trabant.
Tucked away in a quiet residential neighborhood of San Francisco is a little workshop that opens its doors rather infrequently to the outside world. But when it does, it is an electro-mechanical wonderland.
|
| 60. Source: art machines |
| Item: in London, do not miss: Kinetica Art Fair 2009 Date: 6 February 2009, 10:05 pm |
Image of moth-eating Carnivorous Domestic Entertainment Robot (lamp) by Materials Beliefs.
Image by The Shadow Robot Company.
* Laikingland presenting an interactive installation of 50-60 Applause Machines, designed by Martin Smith. * "Materials Beliefs" -- bringing robots into the domestic environment with a group of household objects (like lamps) powered by dead bugs called "Carnivorous Domestic Entertainment Robots." According to designers and scientists/engineers Aleksandar Zivanovic, James Auger and Jimmy Loizeau, "Materials Beliefs ... will be exploring both the aesthetics and functionality that may elicit a symbiotic coexistence with humans in their homes. They are all based on the technology of biological fuel cells, which generate electricity by the action of micro-organisms on biological matter. The robots trap animal pests in the domestic environment and use the electricity produced by the fuel cells to lead autonomous existences." * The Shadow Robot Company: a decade-old organization that have recently been collaborating with performing arts students at Leeds University to build a giant, ceiling suspended spider crab, which dancers are able to interact with. * American artist Jack Pavlik (below: video of 6 Bands), with 2 works from Jack's prolific collection for ArtBots 2008; The Storm and 6 Bands which link stillness and motion, sight and sound and science with art to generate compelling machine-based performance pieces.
|
| 61. Source: art machines |
| Item: phantasmagorical mechanical Dante: sculpture by Kris Kuksi Date: 9 January 2009, 8:23 pm |
Dark, glorious and beautiful; I've been stalking this site all week. The small screencaps here don't do the images on Kuksi's site justice; click through. Take your time and don't expect a cheerful ride, but do expect to have your imagination altered and taken to a very (pleasingly) dark carnival, indeed.
|
| 62. Source: art machines |
| Item: in London: Behind the Shutters Gallery features Mutate Britain Date: 3 January 2009, 11:19 pm |
Image by In de Skies who has a great photo collection of the show here.
There are some really incredible pieces of machine art in the Mutate Britain exhibit. I'm especially drawn to MWC's 20-year member Giles Walker's pole-dancing robots -- not for the obvious reasons, but because their heads are CCTV cameras, making a dual statement about peep show viewing and privacy, and the culture of surveillance that pervades London with these cameras. About Pole Dancers, Walker writes, These pieces are two fully animated robot pole dancers. They are made from raw materials found in various scrap yards (eg. the motors that animate the pieces are 12V car wiper motors or window motors) and controlled, via a PC, using a DMX lighting programme. Here's a sleek video of Pole Dancers in action:
Image by muddyclay. |
| 63. Source: art machines |
| Item: photo pool: Macro Machine Stuff Date: 3 January 2009, 7:04 pm |
Image by Nick Winterhalter.
Image by BentWright.
Image by BentWright. |
| 64. Source: Conscientious |
| Item: Review: Wall Street Stop by Reinier Gerritsen Date: 30 July 2010, 10:25 am |
It's a simple assumption to believe that in photography everything has been done already. Of course, it's not true. There are many things waiting for be discovered by a creative artist. But believing that everything has been done is easier than thinking about what hasn't been done: It's not like you can will your brain into coming up with a genius new idea. You can't. What's the point, though, of taking pictures if everything has been done already? The answer is simple and straightforward: Unless you want to view photography as part of the entertainment industry where all that matters are cheap new thrills, that which has been seen thousands of times deserves to be seen yet another time, in a different way. (more) It's a bit like walking down the street that you've walked down many times before, and suddenly you see that that green house at the second corner has red shutters, something you've never realized before. Son of a gun! You can take Reinier Gerritsen's Wall Street Stop as a great example. Of course, subway photography has been done before. But nobody has done it the way Gerritsen did. Gerritsen's view of people on the subway is, well, different, and not only that it's new, fresh, and it's challenging in more ways that just one. The photographs in Wall Street Stop look as if they were your regular candid shots, and that's what they are, except that it's a little bit more complicated than that. For each photograph, Gerritsen positioned himself in front of a door of a subway car due to depart momentarily, taking a quick-fire series of images panned horizontally across the scene. In the studio, the final photograph was then by composing elements from the individual shots. The results, assembled in Wall Street Stop, are an astounding success. It's below-street-level street photography, done in the 21st Century, with the means and thinking of this 21st Century (It's easy to imagine what orthodox purists will say about this). As much as I dislike the p word (there has been too much intellectual nonsense created around it), you could call it postmodern street photography. What makes Wall Street Stop fascinating is that you don't really know the extent to which things were arranged. You do know that all of the people in fact were standing close enough together to end up in one of the source photographs, but you don't know to what extent Gerritsen moved things around, to create a narrative. What this means is that the photographs can be read in many different ways, and they're multi-dimensional. It's a book that challenges some of our rusty ideas about photography and facts and meaning... all that with a set of wonderful photographs of people on the subway. Added bonus: Various of the people in the photographs realized they were being photographed, so they stare right back at the viewer. Highly recommended. Wall Street Stop, photography by Reinier Gerritsen, essay by Frits Giersberg (English/Dutch), 112 pages, Hatje Cantz, 2010
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| 65. Source: Conscientious |
| Item: A Conversation with Trevor Paglen Date: 26 July 2010, 6:36 pm |
The occasion of the upcoming release of an Aperture book by Trevor Paglen (Invisible) seemed like the perfect opportunity to talk with the artist about his work. Find the full piece here. |
| 66. Source: Conscientious |
| Item: More on social networking Date: 22 July 2010, 3:02 pm |
Following the publication of what you could call my version of Social Networking for Photographers 101, Massimo Cristaldi emailed me to share a piece has wrote a little while ago, addressing many of the same issues. |
| 67. Source: Conscientious |
| Item: We Need Better Critical Writing about Photography Date: 22 July 2010, 11:35 am |
I was going to pen a little piece about the state of critical writing about photography when I came across a new post by Paddy Johnson. Paddy takes a long and convoluted paragraph of art writing and boils it down to what it actually says, which can be summed up in two short sentences. (more) Paddy describes this kind of art writing as using "what a friend describes as linguistic privilege -- the practice of using big words as means of ensuring the reader (and typically the author) doesn't know the essay lacks substantiated ideas."I suppose I don't quite see it this way, even though Paddy and I are in complete agreement about what it does.
"We find star formation to be a somewhat stronger and tighter function of local density than BH activity, indicating some difference in the triggering of the latter versus the former"that's a sentence that inside the academic environment it was created in and for makes perfect sense. Outside... not so much.
We don't even have to agree on whether such academic writing is merely tone deaf in the sense of the author not realizing that non-experts don't talk like that and thus will be unable - and/or unwilling - to deal with it, or whether it's really just pretentious vacant nonsense. What is obvious, though, is that outside of academia such writing is bad writing, and we - the large number of people interested in art - deserve better than that. When I write "art world" of course I'm including the photo world. A little while ago, a friend of mine offered me a copy of a magazine that shall remain nameless. He said he somehow had got two of them, and he was happy to give me a copy. I politely declined. He probably thought that I was just being polite, so said I could really have one, it was no big deal, he had two etc. This made me break down and tell him that while I truly appreciated his offer in reality I never look at the magazine because the articles for the most part are unreadable. For a split-second I thought I had committed some sort of faux-pas, until he told me he complete agreed, he never read the articles, either. Another example. Almost two years ago, Why Photography Matters as Art as Never Before by Michael Fried was published. When I first heard of the book I was thrilled: A book talking about why photography matter as an art form. Oh boy! That excitement lasted until I got a copy and started reading it. Unless you're an academic, Why Photography Matters as Art as Never Before is completely unreadable. It's filled with jargon, convoluted sentences, references to obscure articles etc. The trooper in me had me read quite a bit of the book, and there are indeed some interesting ideas in it, but they're hidden underneath a huge pile of truly terrible academic writing. Don't believe it? Here we go. This is the first sentence of chapter 3: "Wall's involvement with absorption and with what, following Heidegger, I have been calling the worldhood of the world is closely related to his longstanding interest in the ordinary, the commonplace, or, his preferred term, the everyday, a topic that comes up frequently in his many interviews."And it's just the first sentence, which actually is pretty harmless compared with the rest of said chapter.
With ever more people getting interested in and becoming exposed to photography via the internet it really is time to have better critical writing about photography and art in general. I have the feeling that the internet is where this is going to be happening. We're already seeing some examples - if you've followed this website you'll remember them from the various links I posted. Hopefully, there will be more and more...
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| 68. Source: Conscientious |
| Item: Reading images and text Date: 21 July 2010, 8:42 am |
Another great post over at No Caption Needed, about the above image and its use in/for a New York Times article. Notes Robert Hariman "the story that accompanied this photograph in the New York Times is one reason why we will continue to experience large-scale disasters." And "by putting text and image together, the truth is revealed. Between the technological development that will in fact result from the disaster, and the artistry of the Times and many other propagandists spinning it down the memory hole, the opportunity for genuine societal adaptation will be lost." There's nothing I could add to that. |
| 69. Source: nymag.com: Art |
| Item: Do This: Be One With the Art Date: 23 May 2010, 8:59 pm |
 An interactive public art exhibit from the ever-quirky polymath Miranda July, called Eleven Heavy Things, lands on the central lawn of Union Square Park. |
| 70. Source: ArtCal Zine |
| Item: Burgers at the Laundromat Date: 31 July 2009, 4:50 pm |
Juliane Zelwies, Hamburger Diagram
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. |
| 71. Source: ArtCal Zine |
| Item: Triumph of the Will at Anthology Date: 10 July 2009, 2:39 am |
 via uncp.edu
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. |
| 72. 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  Installation view of Tattoo at Kathleen Cullen Fine Arts. Via gallery. 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. |
| 73. Source: AGO Art Matters |
| Item: Food Day at FRANK Date: 30 July 2010, 2:20 pm |
 Join us Sunday, July 31, 2010 at FRANK Restaurant to celebrate Food Day. Food Day was founded in 2003, and has carried on as an annual mid-summer event, celebrating Canada’s rich culinary heritage, our delicious northern bounty and the best managed food system on the planet. It is a great opportunity for Canadian’s to share our culinary experiences, as world leaders in cultural diversity, food ethics, magnificent flavours and fun! For more information on Food Day at FRANK, or to make a reservation, please call: 416-979-6688 More about Food Day Food Day was founded by renowned culinary activist, educator, and writer Anita Stewart. Since 1983, she has been travelling Canada’s vast expanse, identifying and writing about our country as a regionally diverse food nation. Today, many of our top food leaders credit her with influencing their style and philosophy. Click here for more information on Food Day. |
| 74. Source: AGO Art Matters |
| Item: Work in Progress: Audio Stations for At Work Date: 30 July 2010, 10:20 am |
Audio visual station The past couple of weeks have been exciting around here, at least for me, as I am starting to see everything I have been working on for our upcoming show, At Work: Hesse, Goodwin, Martin, be realized. One of those things has been the audio elements we’d like to include in the show. While we are not producing a traditional audio guide, we will have some audio stations in the galleries, to provide you, our visitors, with a different way to gain insight into the lives and work of the artists. The process of creating these audio elements has been very interesting. Scripts need to be written, interview questions thought of, extensive editing done by our media team…I didn’t even know that an art gallery would have a recording studio, and now I can say that I have sat in one!
Audio stations can be a great way to provide different perspectives on the artwork in an exhibit, particularly when they are varied in terms of content and style. When At Work opens, you will have the opportunity to listen to one of our archivists talk about visiting Betty Goodwin’s studio and why the AGO is so interested in her notebooks. For a completely different experience, you will also be able to sit back, relax and listen to a soothing recording that guides you through a new way of looking at Agnes Martin’s work, The Islands. If you are interested in getting a sense of some of the work featured in the show in audio form, Matthew Teitelbaum, the Director of the AGO discusses Agnes Martin’s painting The Rose, featured in this exhibition, as part of the AGO’s pre-existing Director’s Highlights podcast series. Click here to play: What are your thoughts on audio stations or tours? Do you use them, and if so, do they enhance your experience in the gallery? Kendra Ainsworth is a Masters student in Museum Studies at the University of Toronto, and an Interpretive Planning intern at the AGO. |
| 75. Source: AGO Art Matters |
| Item: Drama and Desire: “Antigonus in the Storm” by Joseph Wright of Derby (Audio) Date: 27 July 2010, 9:00 am |
Joseph Wright of Derby’s Antigonus in the Storm is on display for a limited time at the AGO as part of the exhibition Drama and Desire: Artists and the Theatre.
Antigonus in the Storm (Act III, scene iii) from Shakespeare’s “The Winter’s Tale” 1790-92. Joseph Wright of Derby, British, 1734-1797. Oil on canvas 153.9x 221.3cm. Gift from Joey and Toby Tanenbaum 1990. Grab a life preserver! The AGO has recreated the sound and light effects of a real storm at sea. This painting illustrates a violent storm in Shakespeare’s “The Winter’s Tale.” Check out the shipwreck at the right and bouncing bear in the foreground! To bring the experience to life at the AGO, the sounds of crashing waves, thunder, and sea gulls are accompanied by flashes of lighting. Visitors can turn the handle on two sound machines traditionally used in 18th century theatre productions. One imitates the wind (from canvas passing over wood) and the other rain (from beads rotating in a drum.) Visit the Gallery and take advantage of this rare opportunity to make noise at the AGO! |
| 76. Source: Vispo.com Multimedia |
| Item: NETARTERY Date: 16 June 2010, 4:50 am |
| I recently started up a group blog called Netartery. The group, so far, consists of 13 writers/media artists/scholars including Gregory Whitehead, Andy Campbell, Jhave Johnston, Chris Funkhouser, Christine Wilks, Regina Celia Pinto, Chris Joseph, Leonardo Flores, Marcus Bastos, and others. Netartery is primarily a place to post about one's new work and new work of interest to the group and its readership, and about related issues. New work, interesting ideas, events, and so on. The people posting to Netartery are media writers and scholars of media writing. They are 'writers gone wrong' in this sense. They might write books, but they are also involved in other forms of artistic writing. These can be vispoetic or performative, programmerly, audio-oriented, and what not. |
| 77. Source: Vispo.com Multimedia |
| Item: ART, GAMES AND PLAY Date: 8 January 2010, 3:50 am |
| An essay called Art, Games and Play commissioned by the Centre for International Contemporary Art in Montreal. |
| 78. Source: The Temple News » Art |
| Item: Jazz students take on Ortlieb’s Date: 29 September 2009, 12:31 am |
| Student musicians will have the opportunity to grace a Northern Liberties jazz club Wednesday with a performance for the first Temple Jazz Night. |
| 79. Source: Vispo.com Multimedia |
| Item: OLGA IN DBCINEMA Date: 18 July 2009, 4:50 am |
| i've been writing a graphic synthesizer/langu(im)age processor called dbCinema and, recently, dbCinemizing with some images of Olga, the Vancouver fashion model and book maker--as in artists' books and regular books. i've read one of her books called Soros. the writing is by Kedrick James. Olga's visuals are Russian Constructivistic. It's a real page turner! Soros was hanged before his first meeting with Soros on January 6 1990. Soros will give no choice but to award them enough divergence to go wrong. By June of 1993 Soros was against this time. Of course it helps if you know a little of the Soros story. |
| 80. Source: The Temple News » Art |
| Item: Dealing with the dark in ‘Spring Awakening’ Date: 24 October 2007, 1:55 am |
| Spring Awakening isn’t just a show that dares to set new precedents in musical theater. It also proves that teenagers can win Tonys, too. This year’s winner for Best Musical, along with seven other Tony awards, features a critically acclaimed cast of young actors – only two of the actors are over 24. Eleven teenagers [...] |
| 81. Source: The Temple News » Art |
| Item: Man forsakes free will for art Date: 4 September 2007, 9:36 pm |
| Would Chad Wanzek answer his phone Saturday as he walked around Philadelphia letting strangers control his day? Outlook not so good.As he asked his Mattel Magic 8-Ball if he should return my call, the triangular answer settling through blue-bubble goo, serendipity was on my side. If it wasn’t fate, then I should probably credit Toys [...] |
| 82. Source: BAM/PFA - Art Exhibitions | |||
| Item: Jamie Stewart (Xiu Xiu) and Film Program by Max Goldberg Date: 7 June 2010, 7:51 pm | |||
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| 83. Source: The Art Institute of Chicago Musecast |
| Item: Art Institute of Chicago Musecast: October 2009 Date: 29 September 2009, 9:00 am |
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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. |
| 84. Source: TAB Events - in category 2D: Painting |
| Item: This Week at Yokohama Civic Gallery, Azamino |
This Week at Yokohama Civic Gallery, Azamino
July 27th (Tue)- Exhibition Hall 1, 2 Yokohama North Open Call Art Exhibition 2010 Oil painting, nihonga, watercolors, acrylic paintings, pastels, prints and more. |
| 85. Source: TAB Events - in category 2D: Painting |
| Item: "Rey Camoy 25th Death Anniversary Memorial Exhibition" |
Rey Camoy (1928-85) was a painter who over the course of his 40 year career depicted drunks, crippled soldiers, wrinkled old women and even himself in a series of unflinching works that confronted the human condition. This is Camoy's first comprehensive retrospective in the Tokyo area in 15 years, featuring 80 oil paintings and sketches. Talk by Chieko Hasegawa (vice president of Nichido Gallery) July 25th, 14:00- Capacity: 60 Entry free (admission to exhibition required) Admission tokens will be given out at the museum entrance starting at 10:00. [Image: Rey Camoy, "Drunkard" (1984) collection of the Ishikawa Prefectural Museum of Art] |
| 86. Source: TAB Events - in category 2D: Painting |
| Item: "Let's Go to the Museum! How to Enjoy Modern Art by Dick Bruna" Exhibition |
This exhibition is a fun opportunity for the entire family to enjoy works from the museum collection based on Dick Bruna's popular picture book "Miffy Goes to the Museum." Original pencil drawings and books by Bruna are also on display. [Image: Dick Bruna © Mercis bv 1953-2010] |
| 87. Source: AGO Art Matters |
| Item: Food Day at FRANK |
| Join us Sunday, July 31, 2010 at FRANK Restaurant to celebrate Food Day. Food Day was founded in 2003, and has carried on as an annual mid-summer event, celebrating Canada’s rich culinary heritage, our delicious northern bounty and the best managed food system on the planet. It is a great opportunity for Canadian’s to share our culinary experiences, [...] |
| 88. Source: Victoria & Albert Museum - Art, Design, Culture |
| Item: V&A CultureCast: July 2006 (enhanced with images) Date: 10 July 2006, 5:00 am |
| The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts. |
| 89. Source: Victoria & Albert Museum - Art, Design, Culture |
| Item: V&A CultureCast: July 2006 (no images) Date: 10 July 2006, 5:00 am |
| The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts. |
| 90. Source: Royal Academy Events |
| Item: Summer Exhibition 2010 - Exhibitions - 14 Jun-22 Aug 2010 Date: 28 July 2010, 7:34 am |
| Sponsored by Insight Investment The Royal Academy's annual Summer Exhibition is the world’s largest open submission contemporary art exhibition. Now in its 242nd year, the exhibition continues the tradition of showcasing work by both emerging and established artists in all media. |
| 91. Source: Royal Academy Events |
| Item: Summer Exhibition First-time Exhibitors Award - Free gallery and spotlight talks - 13 Aug 2010 Date: 12 July 2010, 12:59 pm |
Stephanie MacDonald and Tom Emerson of 6a Architects talk about their... |
| 92. Source: Royal Academy Events | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Item: Sargent Storms Paris - Free lunchtime lectures - 20 Sep 2010 Date: 18 June 2010, 7:13 am | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The young Sargent was immediately recognised in Paris for his precocious and remarkable talent. Professor Kathy Adler considers how his brief but scintillating career there was effectively ended by the controversy surrounding his submission of Madame X to the Salon of 1884. Supported by By popular demand, we return to BBC Broadcasting House, named in the Architectural Review of 1932 as ‘the new Tower of London’. We tour this iconic Art Deco building and see sculptures by Eric Gill and Gilbert Bayes. We also have the opportunity to try out the newly restored SOLD OUT 11am–1pm; Broadcasting House, Portland Place, W1 By popular demand, we return to BBC Broadcasting House, named in the Architectural Review of 1932 as ‘the new Tower of London’. We tour this iconic Art Deco building and see sculptures by Eric Gill and Gilbert Bayes. We also have the opportunity to try out the newly restored SOLD OUT 11am–1pm; Broadcasting House, Portland Place, W1 By popular demand, we return to Deutsche Bank to learn about its corporate art collection. The senior curator provides us with an insightful presentation on the global collection which includes over 56,000 works and is one of the largest corporate collections in the world. We then have the opportunity to explore the London collection which includes works by Damien Hirst, Anish Kapoor RA, David Hockney RA and many more. SOLD OUT 6.15–8pm; (incl. glass of wine); 1 Great... This exhibition will feature photographs and video from six individual and one duo of contemporary Austrian artists who explore the latent darkness and insanity hidden inside bodies and cities - carrying on the tradition of psychoanalysis born from the apex of urban culture of the House of Habsburg. Many of the artists will be exhibiting their work for the first time in Japan, including pieces produced by two of them while in residence at Tokyo Wonder Site Aoyama.
The House of Habsburg established the Austrian Empire in Central Europe. Its highly refined court culture, centered on Vienna, was the height of urban culture. With the decline of the empire, a new school of questioning was born that examined the profundity of the human body and mind. Its leading protagonists were Sigmund Freud and Ludwig Wittgenstein. Freudian psychoanalysis formulates and interprets patients' unconscious emotional turmoil through free association techniques and verbalization of imagination and dreams. Contemporary artists represent this turmoil in the language of imagery. They visualize the unconscious emotional turmoil in individuals, their bodies and cities, and examine the psychic relationship between people and their bodies. They also echo this concept in photographic and video media using the naked self placed in public and architectural spaces. This view of the latent darkness and insanity hidden inside bodies and cities melts the boundary between the internal and external worlds, depicting our raw human form and desires. This approach shakes the human conscience to the bone. This exhibition, "William Eggleston: 21st Century," showcases Eggleston's photographs taken since 2000, providing a comprehensive view of the recent work of this leading photographer. Although the works on display feature a wide variety of locations, including Eggleston's home state of Tennessee, and other places in America, Europe, and Russia, each shares Eggleston's characteristically subdued color palette and vibrant hues, almost making it seem as if they are all photographs of the same city.
Eggleston's works are characterized by the fact that they capture decidedly casual, everyday scenes that most people overlook, and yet are very painterly in their composition, with minute details that create a tautness and tension, moving the viewer.
Eggleston's work is concurrently being shown at the Hara Museum of Contemporary Art, Tokyo in an exhibition called "William Eggleston: Paris-Kyoto" (June 5 to August 22, 2010). Featuring a series of works on Paris and Kyoto, the Hara Museum's show highlights scenes of these two great cities taken from Eggleston's perspective.
"William Eggleston: 21st Century" is an excellent opportunity to explore the recent work of this most influential and original photographer. Hong Hao produces his work by scanning objects and reconstructing the whole image using his PC. Though his chosen items (what he calls “My Things”) can be common objects from our day-to-day lives such as money, trash, chocolates, medicine, and round objects, there is hardly any specific meaning to each. The endless enumeration of the accumulated objects in his works creates a strong impact.
Base Gallery is proud to announce Hong Hao's second solo exhibition of his most recent works. Hong's works, which reflect the drastic development that is currently underway in his home country of China, have been added to the collections of the Museum of Modern Art and the Tate Modern. We are pleased to invite you to join us at Base Gallery. Kita began to think about “Primal Memento” when he was traveling around Latin America. In 1991, he fled from Japan as if he was afraid of being chased by an unknown entity. Kita crossed through Europe to Africa, then to Latin America and finally to Asia. His encounters with the natives and locals who still respect old-fashioned ways of living, and discoveries of decayed monuments triggered the creation of “Primal Memento.” With its numerous motifs, this exhibition captures something of the universality of a dynamic stream called history. Held to mark the 25th anniversary of Street, the magazine that first established the genre of street fashion snapshot photography, this exhibition showcases photos dating from the seminal period 1985-1995, a time when the legacy of punk still ruled in London, while Comme des Garcons and Jean-Paul Gaultier vied for supremacy on the streets of Paris.
A talk with Street editor Seiichi Aoki will also be held on July 31st at 16:00 (free entry). "10th Ricoh Photo Contest"
This is the 10th installment of the Ricoh Photo Contest, which seeks to develop a culture of taking candid photos while walking around with one's camera. The artists of the prizewinning works selected by top photographers Ryo Owada and Kazuyuki Okajima will be invited to submit work for inclusion in the 2011 Ricoh calendar. The Ihei Kimura Prize was founded by the Asahi Shimbun in 1975 to give recognition to photographers who have made significant contributions to the development of Japanese photography. The second part of this retrospective exhibition showcases award-winning works by photographers who won the 8th through 16th prizes.
[Image: Michiko Kon, "Squid and Sneaker" (1989)] This Information provided by the Center for Nonprofit Success.
If you are looking for creative new ways to raise more money for your organization, this conference is not to be missed. Sign up for the entire conference, or take advantage of our unique a la carte registration system. But don’t miss this valuable opportunity to learn from the experts in your community. Register today at: Please see below for information on how to: Center for Nonprofit Success ============================================== ART AWARDS PICNIC, 4PM, PEACE GARDEN OPENING RECEPTION, 6-8PM, MILLER GALLERY “If Found, Please Return To:______” presents a rawness of emotion, fantasy and reality through sumptuous paintings, conceptual constructs, sculptural statements, animated anxieties and digital discourse. In many ways, these artists have found a means to deal with the duality of pleasure and pain in the pornographic realities, hermaphroditic fantasies, psychological obsessions and mystical journeys that are part of our human condition.
These 38 artists have explored a range of themes during their time at Carnegie Mellon, revealing courage and a sense of discovery in much of their work. Art school is, and should be, challenging both conceptually and technically. They have risen to the challenge by using a wide range of media to examine their own sense of identity: in terms of morality, sexuality, ethnicity, social background, and economic or political position.
“I will always have a special fondness for this cohort of students, because they arrived in the School of Art at Carnegie Mellon at the same time as I did, in August 2006. We discovered the mysteries of Pittsburgh together and the hard working ethos of Carnegie Mellon. I have enjoyed their vitality and have appreciated the opportunity to share their sense of discovery across the last 4 years. I wish them well and I am sure that they will have significant artistic impact in the years beyond Carnegie Mellon.” THANK YOU & CONGRATS to the CUNNING STUNTS and PAT OLESZKO (Kraus Visiting Professor) and everyone else who came out to make the first-ever Anti-Gravity Great Downhill Race an alarming, outrageous, feckless, reckless time.
HERE’S TO OUR WEINERS: [PHOTO NSFW!!] [2FAST 4PHOTO] MOST UPSTANDING: ALEX WE LOVE AND FEAR YOU PAT OLESZKO!! $2,500 Since 1993 this festival has offered fellowships to fine arts students from OH & PA colleges and universities. The Lancaster Festival is an annual celebration of music and art held each July in Lancaster, Ohio. The dates for the 26th season are July 22-31, 2010. More information can be found at the Festival website, http://www.lancasterfestival.org. The official application deadline is May 10.
The recipient of the fellowship is asked to be in Lancaster during the Festival, July 22 -31, 2010.
He or she can attend all performances, rehearsals and other Festival related events. The artist is expected to present at least two (2) finished works to the Festival and an exhibition the following July of 2011. We ask the work be related to the artist’s experience while in Lancaster. There are no restrictions as to style or subject matter.
Housing during the Festival is offered at the Decorative Arts Center of Ohio or a host family in Lancaster. The Festival requests the artist be present for ArtWalk activities on the evening of July 23 and participate in an educational program at the Center during the Festival.
The artist selected will receive $2,500. ($1,250 upon selection in 2010 and $1,250 upon completion of work and exhibition at the Festival in 2011). There is also a supplies and materials stipend of up to $500.00 with appropriate receipts. WHAT: This spring, Photo Center NW invites you to take part in the Second Annual Long Shot, a 24-hour community-wide photo marathon on Mayday (6pm Friday, April 30-6pm Saturday, May 1 to be precise!) where individuals and teams hit the streets to photograph a theme, cause, community, or non-profit of their choice. Open to ALL levels and anyone who wants to participate.
Long Shot participants will dedicate one full 24-hour period, or a part of it, to exploring the city of Seattle (or their current location) and documenting their journey during that 24-hour period. You can shoot on your own, join a team, or keep in touch with other participating photographers at meet-up points throughout the 24 hours.
WHY: The basic premise of Long Shot is to celebrate photography and community and to seek pledges for your participation in the event. Long Shot is a way to support making connections for you, build community, raise awareness for a cause (if you choose), express your inner artist, and to raise money for the Photo Center to continue to offer educational and outreach programs.
HOW: Register and then seek out family, friends, coworkers, and anyone else to pledge any amount that they can for your participation in the Long Shot event.
Long Shot event raises funds for the Photo Center NW in two ways: through pledges and sponsorships during the Long Shot shoot and through the Long Shot Exhibition where photographs from the Long Shot shoot will be up for sale!
You can ask for an hourly pledge (i.e. $1.00 for every hour you shoot) or you can ask for a flat rate (i.e. $24.00 no matter how many hours you participate). Then, invite everyone you know to the Longshot Exhibition to purchase photographs from the shoot! All proceeds benefit Photo Center NW.
Whether you shoot alone, or as part of a group, just a few dollars per hour can help us bring new tools to the Photo Center, keep our doors open to artists and students 7 days a week, and put on faculty, student, and alumni exhibitions.
Participants can begin the event with a team from here on Capitol Hill in Seattle, or start shooting from wherever they might be in the world. No matter where you start, at the end of the day you’ll have contributed images and energy to an important center for photographic art, education, and community.
Long Shot will culminate with the Long Shot Exhibition and Celebration on Friday, June 4. All participants will be asked to submission-guidelines.pdf">submit a framed print which will be displayed at the Photo Center and sold as a fundraiser “ISO” (in support of) the Photo Center!
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.
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! "Linda is a focused, flexible, funny and masterful teacher- The students had a broad range of skills. The venue was sublime- birds singing, gentle breezes blowing, incredible food & snorkeling a five minute walk." -Mary Frank Mahalo! lav
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:
Artist name and bio
Five samples of work representative of art to be featured.
Dates of participation (be sure to review participation fees below)
$15 non-refundable entry fee via Paypal by clicking the following link: $15 Entry Fee
(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.
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.
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. Ottawa is practically taking over the McMichael Canadian Art Collection at Kleinburg, just outside Toronto, at the end of this month. 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.
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.
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. In recent years, a number of individual-identifying technologies and measures have been developed rapidly, and are now used in a variety of contexts in our day-to-day life, to prevent crimes and also to help us lead a more comfortable life. This, in turn, means that we are heading into a society where our identities, such as our fingerprints and veins, have their own wings, divorced from their original owners, i.e., ourselves.
This exhibition will introduce new pieces that leverage interactive devices and cutting-edge technologies, as well as existing pieces that reveal something intrinsic about ourselves. Through a number of hands-on exhibits, a blend of scientific technologies and art works by designers and artists from both Japan and overseas, the exhibition aims to create an opportunity for the visitors to identify their undeniable “self.” Our permanent exhibition, held on the first floor, features the work of metal-cast artists Hotsuma Katori and Shinobu Tsuda. Both being born in the same period, in the Hokuso area of Chiba Prefecture, the two were opposites in artistic viewpoints; Katori emphasized tradition while Tsuda called for revolution. Works on display will be rotated every three months. Susan Lenz. Volunteer, Decision Portrait Series. Detail. The magic of Google Alerts led me to artist Susan Lenz’s embroidery and fiber arts blog. For this project, Susan wanted to illustrate important and everyday decisions by creating portraits. For Volunteer, (other portraits listed here) she created a portrait of Henry Art Gallery volunteer Pat Albiston. Pat was one of the tireless volunteers who worked to create the Embroidery Stitch Identification Guide, a new resource available online.
From Pat (Henry Volunteer) via Art in Stitches:
I gave my time to the University of Washington Henry Art Gallery for 31 years (4 to 5 hours once a week during the academic year) to work with a committee to identify the stitches in the Henry Gallery’s Textile Collection and to standardize the stitch names. The index includes all the stitch names we found cross referenced to the most commonly used name which leads to additional information. The committee membership varied over the years but I was there for the entire 31 years. It was a fabulous experience and friendships developed until we were also a support group for each other. We were allowed to handle all but the most fragile pieces in the collection. What an opportunity!
Read Susan’s whole post, here.
Volunteer, Decision Portrait Series. Stitched words: Stitch identification; 4 to 5 hours a week for 31 years at the Henry Art Gallery. Xylene photo transfer on tea-stained muslin. 25" x 19" unframed; 31" x 25" framed. Stitches used: straight, running, couching! This Saturday in addition to the Arnold Palmer of Book Sales/Book Swaps there will be a guided tour starting at 2 pm featuring I Myself Have Seen It: Photography & Kiki Smith and Vortexhibition Polyphonica Opus III.
The tour will last 50 minutes and will be led by a trained guide. It’s another opportunity to see the Kiki Smith show in its last month (!!!) at the Henry as well as get an introduction to the latest iteration of the collections show, Vortexhibition Polyphonica Opus III.
To reserve a spot on the tour please email tours@henryart.org or call 206.221.4980.
Tours are free with museum admission or Henry membership.
Upcoming tours: I just returned from San Francisco, and let me tell you, I am jealous - very jealous. I went there for the opening of the new exhibition at the San Francisco Museum of Modern Art... In an unprecedented act of generosity, Doris and the late Don Fisher, renowned collectors of contemporary art, gave their outstanding collection to SFMOMA, and in celebration of this occasion, the museum mounted a superb exhibition called Calder to Warhol.... Dear friends, The summer comes... To prepare well the start for the new season, numerous calls for projects and publications around big international events are already available: the 6th Berlin Biennale, the 2nd Asia-Europe Young Urban Leaders Dialogue in Shangai, “Centro Abierto 2010” in Lima... The occasion for us to renew our objectives: facilitate the artistic mobility and discover the other manners to think of the relations between population, art and territory! In these time of general crisis, it is more than ever necessary to stay aware of what's going on in Europe and in the world, to tighten the links of solidarity between cultural actors and with other social sectors too. With strong and active networks, we would be able to glimpse perspectives. So let us know if you get some news!! Good reading! The team of ARTfactories/Autre(s)pARTs Dear friends, Welcome to ARTfactories/Autre(s)pARTs Newsletter after a few months of interruption. We celebrate the first birthday of our new platform of resources, www. ARTfactories.net. On-line a call to support the space-project Z-Bau in Nürnberg (Germany), an article about the Project "Independent cultural spaces in Spain"and many other documents to feed the debates, the reflections and our actions. Have a good exploration! The team of ARTfactories/Autre(s)pARTs
L'Avant Rue is a cultural centre open to residencies for contemporary research. This old steam factory built by the Eiffel Workshop is directed by a street art troupe : friches théâtre urbain. L'Avant Rue receives artists working on multidisciplinary and unconventionnal forms. Our main centre of interest is site specific projects. For each residency, we imagine in concertation with the artist, a meeting with an identified public sector in order to encourage completion of the project and the permeability of the artistic process . Former use : a steam factory built in 1898 by Eiffel workshop A residency centre for multidisciplinary art forms L'Avant Rue organizes Ministry of Culture and Communication "Trans Europe Halles": membre, La Fédération des Arts de la Rue (IDF & National) "GoFa Award 2010" Exhibition
First open call exhibition held by GoFa, featuring selected works displayed over three parts.
1st stage: June 26th - July 4th
2nd stage: July 10th-18th
3rd stage: July 24th - August 1st This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition. (July 31-August 1) GO NATIVE
The National Museum of the American Indian takes a page from the deeeeep south this weekend during All Hands on Design! Native Designers from Argentina. The museum's summer showcase of the South American nation continues on the National Mall with visiting indigenous artists, hands-on activities, documentaries and live music.
(July 31-October 10) ILLUSTRATING A POINT
Meanwhile, curators are digging deep during Great Illustration: Drawing and Books from the Walter's Collection, showing tomorrow through October at Walters Art Museum on North Charles Street in Baltimore. The free exhibit draws attention to unearthed treasures of illustration hidden away in the museum's archives.
(August 1) FREDERICK DOUGLAS FAMILY FUN
It's not often that the serious subjects of slavery and abolition are juxtaposed with "family fun," but history and celebration come together in Southeast D.C. during the Frederick Douglas Family Fun Festival this Sunday from 11 to 3. The home of the iconic abolitionist is open to all with special music, crafts and opportunities for education.
Submit! Send Art Beat submissions to ArtBeat@wamu.org. (July 29) ARIEL PINK'S HAUNTED GRAFFITI
Ariel Pink's Haunted Graffiti is an analog band trying to make it in a digital world. The lo-fi Los Angeles-based pop-rockers spend the evening at the Rock N Roll Hotel tonight, on H Street in Northeast D.C.
(July 29-January 2) UP WHERE WE BELONG
From jazz and blues to folk, country, and rock; contemporary music has had a wide-ranging relationship with Native American society. The symbiotic synthesis is the subject of Up Where We Belong: Native Musicians in Popular Culture showing through the end of the year at the National Museum of the American Indian on the National Mall.
(July 30-August 6) WINNEBAGO MAN
The darling of documentary film festivals far and wide opens tomorrow night at the Avalon Theatre in Northwest Washington. Winnebago Man tells the story of Jack Rebney, an RV salesman with a dirty mouth and a heart of - well, something close to gold. The expletive-laden outtakes of his attempts at self-promotion ended up on YouTube, turning Rebney into a crotchety cult hero.
Submit! Send Art Beat submissions to ArtBeat@wamu.org. (July 28-September 12) THE DA VINCI NODE
What's the old adage..."genius loves company?" If it holds any truth, you may want to make your way to Da Vinci - The Genius showing through mid-September at the National Geographic Museum in downtown D.C. The free exhibit features full-scale reproductions of the original Renaissance man's sketches and schemata, demonstrating the full scope of his innovations and quite possibly cracking the code.
(July 29) QUEEN OF SOUL
Some American musical genius drops by Wolf Trap tomorrow night. Aretha Franklin bares her soul, along with rhythm and blues at the Feline Center in Vienna, Virginia tomorrow night. If you decide to go, it would be wise to show some R-E-S-P-E-C-T and arrive promptly at 8.
(July 29-August 29) EXTREME ART
Meanwhile, the James Bond of oil paintings debuts his latest works tomorrow at Gallery Plan B in D.C.'s Logan Circle neighborhood. Artist Jason Wright takes time off from skydiving with his Navy Seals unit to paint. Not surprisingly, the daredevil uses a knife instead of a brush. His incisive works are on display through the end of August.
Send Art Beat submissions to ArtBeat@WAMU.org. (July 23) B-MORE FOR YOUR MONEY
Musical forces meet at the Joseph Meyerhoff Symphony Hall in Baltimore tonight, paying tribute to two of the city's superlative composers. The Baltimore Symphony Orchestra performs compositions by Frank Zappa and Phillip Glass under the baton of Music Director Marin Alsop at 7:30, with B-more beatboxer Shodekeh joining in occasionally to drum up a cacophony of cadence.
(July 24 - Late August) NOISES OFF
But there's an even greater racket emanating from Northwest DC's Keegan Theatre in Dupont Circle tomorrow night at 8 p.m. Meta-comedy Noises Off makes its District debut, as this ensemble comedy about staging an ensemble comedy is staged through late August.
(June 25) THESE BOYS GET AROUND
And if you've made peace with the heat and are ready to revel in it, Wolf Trap's Feline Center presents the perfect opportunity to live it up, California-style this weekend. The Beach Boys bring nothing but good vibrations to the outdoor Vienna, Virginia venue Sunday at 2 p.m. for a mid-summer afternoon surf-rock party. (July 21-September 12) IT FIGURES
The National Museum of Women in the Arts has been on the prowl, gathering its 2010 selection of women to watch during the exhibit Body of Work: New Perspectives on Figure Painting. Eight artists take a modern approach from a different point of view when painting people, on display through mid-September.
(July 21) COLD LECTURE
The Cold War has once again become fodder for the water cooler. You can brush up on your history tonight during The Empires Who Came in From the Cold: Decolonization and the Cold War, as Texas A&M professor Jason Parker leads a lecture on the transfer of sovereignty and the conflict between the superpowers. Class commences at 4 p.m. in the Thomas Jefferson Building of the Library of Congress on Capitol Hill.
(July 22) MEET ELANOR ROOSEVELT
Meanwhile, Northwest D.C.'s Avalon Theatre offers a rare opportunity to hang with history tomorrow morning during Meeting Eleanor Roosevelt. The live one-woman show follows the dynamic first lady from her inauspicious days as an awkward, unloved child to social reformer and inspirational world leader. Join us Sunday, July 31, 2010 at FRANK Restaurant to celebrate Food Day.
Food Day was founded in 2003, and has carried on as an annual mid-summer event, celebrating Canada’s rich culinary heritage, our delicious northern bounty and the best managed food system on the planet. It is a great opportunity for Canadian’s to share our culinary experiences, as world leaders in cultural diversity, food ethics, magnificent flavours and fun!
For more information on Food Day at FRANK, or to make a reservation, please call: 416-979-6688
More about Food Day
Food Day was founded by renowned culinary activist, educator, and writer Anita Stewart. Since 1983, she has been travelling Canada’s vast expanse, identifying and writing about our country as a regionally diverse food nation. Today, many of our top food leaders credit her with influencing their style and philosophy.
Click here for more information on Food Day.
Audio visual station
The past couple of weeks have been exciting around here, at least for me, as I am starting to see everything I have been working on for our upcoming show, At Work: Hesse, Goodwin, Martin, be realized. One of those things has been the audio elements we’d like to include in the show. While we are not producing a traditional audio guide, we will have some audio stations in the galleries, to provide you, our visitors, with a different way to gain insight into the lives and work of the artists. The process of creating these audio elements has been very interesting. Scripts need to be written, interview questions thought of, extensive editing done by our media team…I didn’t even know that an art gallery would have a recording studio, and now I can say that I have sat in one!
Audio stations can be a great way to provide different perspectives on the artwork in an exhibit, particularly when they are varied in terms of content and style. When At Work opens, you will have the opportunity to listen to one of our archivists talk about visiting Betty Goodwin’s studio and why the AGO is so interested in her notebooks. For a completely different experience, you will also be able to sit back, relax and listen to a soothing recording that guides you through a new way of looking at Agnes Martin’s work, The Islands.
If you are interested in getting a sense of some of the work featured in the show in audio form, Matthew Teitelbaum, the Director of the AGO discusses Agnes Martin’s painting The Rose, featured in this exhibition, as part of the AGO’s pre-existing Director’s Highlights podcast series.
Click here to play:
What are your thoughts on audio stations or tours? Do you use them, and if so, do they enhance your experience in the gallery?
Kendra Ainsworth is a Masters student in Museum Studies at the University of Toronto, and an Interpretive Planning intern at the AGO. Joseph Wright of Derby’s Antigonus in the Storm is on display for a limited time at the AGO as part of the exhibition Drama and Desire: Artists and the Theatre.
Antigonus in the Storm (Act III, scene iii) from Shakespeare’s “The Winter’s Tale” 1790-92. Joseph Wright of Derby, British, 1734-1797. Oil on canvas 153.9x 221.3cm. Gift from Joey and Toby Tanenbaum 1990.
Grab a life preserver! The AGO has recreated the sound and light effects of a real storm at sea. This painting illustrates a violent storm in Shakespeare’s “The Winter’s Tale.” Check out the shipwreck at the right and bouncing bear in the foreground!
To bring the experience to life at the AGO, the sounds of crashing waves, thunder, and sea gulls are accompanied by flashes of lighting. Visitors can turn the handle on two sound machines traditionally used in 18th century theatre productions. One imitates the wind (from canvas passing over wood) and the other rain (from beads rotating in a drum.)
Visit the Gallery and take advantage of this rare opportunity to make noise at the AGO! Over-interpret the work of Leonora Carrington, and the woman who could reasonably be called the last of the Surrealists will turn upon you. You could say – many have – that painted portraiture is under threat as never before. By the middle of the 19th century, photographic representation was beginning to rob painted portraits of their reason for being. Then, throughout the 20th century, the human figure was subjected to relentlessly inventive scrutiny by wave after wave of painters who wrenched the body and face awry to try to capture the real human hidden deep inside.
Connoisseurship is a handsome word, calling to mind the dry lips of Sir John
Pope-Hennessy and back copies of Apollo. Juno nominated Drip Audio Recording Artists Inhabitants are a dynamic quartet who continue to evolve and transform their music while becoming one of Vancouverʼs most original bands. Through solid ensemble musicianship and brave compositional prowess they have pushed into new sonic territory with recordings and live performances of spacious and expressive explorations of chaos and form.
Inhabitants come to the Western Front to participate in a residency and performance where they will utilize a week of recording at the onsite sound studio culminating in a performance in the Luxe Hall. The project revolves around a new major composition commission by the bandʼs trumpeter JP Carter.
During the recording residency and live performance Carter will be joined by band mates Dave Sikula on guitar, bassist Pete Schmidt and drummer Skye Brooks.
INHABITANTS on MYSPACE “Inhabitants craft a wicked brew, blending cathartic noise, solid rhythmic patterns and deft melodic passages.
Hypnotic and dense, these Inhabitants occupy territory that will continue to yield riches with further exploration. ...displays music chops, a sense of fun, and a deep connection to the droning soundscapes they create. Academy Award winners Robert Duvall and Sissy Spacek discuss their new movie, "Get Low," about a cantankerous recluse who stages his own memorial service while he’s still alive, so he can find out what everyone says about him. The two actors talk about the unexpected parallels of their lives and careers, and about working together for the first time on this film. “Get Low” opens Friday, July 30, at Lincoln Plaza cinemas and the Regal Union Square Theater. Award-winning filmmaker Danielle Ash talks about her work in animation and discusses her recent films: "Pigeon Dance" and “Pickles for Nickels.” Her films use a variety of techniques involving stop-motion animation, cardboard sets and puppets, which are combined with elements of computer animation. Western Front is pleased to announce our role as affiliate in YouTube Play, an online initiative developed by YouTube and the Guggenheim Museum. As an affiliate, Western Front will generate local awareness and participation in the project. YouTube Play aims to showcase a wide range of online video from around the world. Visit youtube.com/play to learn more and submit a video.
Western Front Executive Director Caitlin Jones has been invited to contribute to the YouTube Play blog, “The Take”, along with numerous other leading artists, scholars and curators. To visit the blog, please see the link to the right of this page.
How to Participate:
Now through July 31, 2010, participants are invited to submit new or existing videos created within the last two years at youtube.com/play. Submissions may include any form of creative video, including animation, motion graphics, narrative, non-narrative, or documentary work, music videos, and entirely new art forms.
Selection Process:
After the submission period closes, the Guggenheim Museum will identify up to 200 videos for online viewing at youtube.com/play. From this group, up to 20 videos will be selected by a jury of experts, comprised of distinguished artists, filmmakers, graphic designers, and musicians, to be presented at the Guggenheim Museum in New York during a special event on October 21, 2010, on view to the public October 22–24, with simultaneous presentations at the Guggenheim museums in Berlin, Bilbao, and Venice.
For more information please visit: http://www.guggenheim.org/new-york/interact/participate/youtube-play
or contact Sarah Todd at media@front.bc.ca Ben Zimmer, the On Language columnist for the New York Times Sunday Magazine, discusses recent invented words: from Sarah Palin’s recent use of the word “refudiate,” to words like "ginormous," which have become part of the popular lexicon. We’ll be taking calls!
What are some of your favorite—or least favorite—made up words? Tell us by leaving a comment! For this week’s Underappreciated, New Yorker fiction editor Willing Davidson discusses the life and work of Henry Roth. Roth’s first novel Call it Sleep was first published in 1934 to mixed reviews. However, when it was published again thirty years later, it was a great success: selling over a million copies. Roth didn’t write another novel until the multi-volume Mercy of a Rude Stream came out in the mid-1990s. His final novel An American Type was published posthumously. Davidson assembled it from a stack of nearly 2,000 unpublished pages. When this year’s James Beard award winners were announced, it was hard to ignore the fact that they were all men. Joining us to talk about why women only hold one-tenth of executive-level chef positions in the United States are: Joyce Goldstein, James Beard award winner and current James Beard award committee member, food journalist Laura Shapiro, author of the book Perfection Salad: Women and Cooking at the Turn of the Century, and Anita Lo, executive chef of the Michelin-starred restaurant Annisa and a former Iron Chef winner. Legendary actor and director Sammo Hung talks about starring in over 75 movies, as well as working as a producer, director, action-choreographer/stuntman in as many as 230 films. He received a Star Asia Lifetime Achievement Award at the New York Asian Film Festival, and choreographed the action in the film “IP Man,” which will be released on DVD July 27. He’s joined by his wife, action heroine and occasional co-star, Joyce Mina Godenzi, who serves as translator. Steven Adler is a fan of cartoons! Find out what else he revealed to us after his appearance on The Leonard Lopate Show. What have you read or seen in the past year that moved or surprised you?
Iron Man (1 and 2)
Departed
Old Earthquake
Jaws
Towering Inferno
Family Guy
What are you listening to right now?
Queen
Andy Gibb
April Wine
Van Halen
Led Zeppelin
Aerosmith
Kiss
What’s one thing you’re a fan of that people might not expect?
Cartoons!
Slash is going to be putting out a cartoon about when they were teenagers. Steven’s character is called Sparky.
If you only had one day left, how would you spend it in New York City?
Eating pizza! Longtime NPR contributor Daniel Schorr earned his reputation as a legendary journalist the hard way – by breaking stories during the Cold War and Watergate that won him numerous awards – not to mention the scorn of various presidents. He died at the age of 93. He was last on with Leonard Lopate in 2008, and you can hear him discuss his 50 years of covering politics.
Hear another interview with Daniel Schorr from The Leonard Lopate Show in 2001 below.
We’ll discuss the overuse of antibiotics in animal feed, and the Food and Drug Administration’s recent calls for limiting the practice. Then, this year’s first installment of our Underappreciated summer reading series looks at the one-time bestselling German writer Hans Fallada. Also, filmmaker Tamra Davis tells us about her documentary “Jean-Michel Basquiat: The Radiant Child,” about the late artist’s meteoric rise and fall. Plus, our resident word maven, Patricia T. O’Conner, reveals the winners of our Bad Sign Language contest and takes your calls on the vagaries of the confusing English language. The Food and Drug Administration recently called for limiting the overuse of antibiotics in farm animals, over concerns that the practice is leading to the development of antibiotic-resistant bacteria. Time magazine staff writer Bryan Walsh and Maryn McKenna, author of Superbug: The Fatal Menace of MRSA, discuss the practice of putting antibiotics in animal feed, the public-health problems it poses, and the challenges the FDA faces in issuing stricter policies for reducing the practice. |
Award 35th Anniversary Exhibition"" />
sponsored by C Art Gallery
The MIT Press, ISBN-13: 978-0262013727, 2010, English, U.S.A.
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