Friday, December 19, 2008
Saturday, November 22, 2008
Lori Waxman recently told me about an interesting public printmedia project at the Sharjah Biennale: Thai art collective SOI Project created a fruit stand stocked with real fruit and printed paper models of fruit. Visitors to the stand could cut and fold their own paper fruit, which in turn could be exchanged for a piece of real fruit.
Tuesday, July 22, 2008
Thursday, May 29, 2008
Call for Entries:
In October 2008, the fourth annual Art in Odd Places (AiOP), Pedestrian will take place on 14th Street in Manhattan NYC: the great divider of uptown and downtown / highbrow and lowbrow. From the East River to the Hudson River, artists of all mediums will encourage the masses of daily pedestrians to rediscover this corridor of diverse commerce, political upheaval, and historic significance.
AiOP seeks proposals from visual and performing artists of all media who are interested in exploring connections between public space, pedestrian traffic, and ephemeral transient disruptions. DEADLINE FOR PROJECT SUBMISSION IS MAY 30.
In any event, you may want to check out examples from past AiOP festivals. Gumball-machine galleries, winking coins, and so much more! Visit the AiOP website for submission guidelines and images of past projects.
Tuesday, May 20, 2008
Tuesday, May 6, 2008
Monday, May 5, 2008
It's an interview with artist Amy Walsh, and has a very unique way with her art. She uses silkscreen in her sculptures. I like how the sculptures are interactive and sort of form into a public space all by itself. It's demanding presence, seems like it would make you want to go look inside it. And with examination, you find all these silkscreened goodies inside! Kind of reminds me of some of the more simplistic, but very elegant stencils that some of my classmates did...
Sunday, May 4, 2008
In one of my history classes a teacher showed us this form of Graffiti, i had never seen or heard of before i thought it was really interesting. It's called Laser Light Graffiti. It's obviously not permanent, but it allows the Graffiti to be placed on a much larger scale. It's also not damaging or degrading. I think it's pretty sweet.
This from Justin, who's been having technical difficulties accessing the blog:
One thing I found interesting is that Barry McGee is designing shoes. What does it mean when a graffiti artist goes from the street to the gallery to the shoe store? Does that mean that the art world is recognizing street art as a viable art form or that graffiti is a passing fad like neon spandex that will become highly commercial for a couple of years and then fade out along with roller-blades and slap-bracelets? So then is Barry McGee a legitimate artist blurring the lines between street art, high art and fashion or is he just some guy trying to grab whatever money people will throw at him?
Friday, May 2, 2008
From the City of Chicago's Website:
Mayor Daley's Graffiti Blasters
"Graffiti is vandalism, it scars the community, hurts property values and diminishes our quality of life.
Started by Mayor Daley in 1993, Graffiti Blasters stepped up the battle against graffiti by offering a free removal service to private property owners. The Department of Streets & Sanitation's crews remove this vandalism with "blast" trucks or paint crews.
Graffiti Blasters employs 18 "blast" trucks that use baking soda under high water pressure to erase painted graffiti from brick, stone and other mineral surfaces. They also use 14 paint trucks to cover graffiti on the remaining surfaces.
This year, "Graffiti Blasters" is celebrating its 15h anniversary and has cleaned more than 1.6 million instances of graffiti vandalism. It has become one of the most popular municipal services offered by the City of Chicago, and a role model for other cities.
As with the City's many anti-crime and beautification programs, we depend on community groups, block clubs, chambers of commerce and individual residents to reach out to us for this invaluable service. If a cleaned building is struck again, we make every effort to return and remove the new graffiti quickly.
The Department of Street & Sanitation also works very closely with the Chicago Police Department to apprehend graffiti vandals in the act of defacing property. Parents or guardians may be liable for monetary damages, if a minor in the same household commits any type of vandalism, including graffiti.
No community in Chicago has to tolerate graffiti. Please join us in eliminating graffiti and making this an even more beautiful city.
To report graffiti or request its removal, call the city's service request line at 3-1-1."
Thursday, May 1, 2008
Go to www.fecalface.com I came across Alexis Mackenzie's work the other day. there is a video of the artist making a collage. at the end of it its played in fast motion and you really get a clear picture of how intricate and multilayered her collages are. She uses crystals and feathers.
Tuesday, April 29, 2008
I am interested in how something intimate like a dream can be so socially experienced. So as my final project I created four dream pillows. The "Falling teeth" dream is one of the most common and vivid dreams among dreamers. I did a little research and discovered multiple interpretations. It was some what difficult to create imagery for the three interpretations that I chose to print. (The three meanings are death, money, and lack of attractiveness and confidence.) It takes a while to grasp the imagery but I think that in the long run it is successful because, just like a dream, it its hard to decipher at first glance but they definitely give you something to think about. So any thoughts?
Monday, April 28, 2008
As part of Anchor Graphics' Scraping the Surface series, Craig Jobson will be giving a lecture on the History and Culture of the Zine, and will discuss his own work as designer and publisher of several diy magazines this Wednesday, April 30th from 6:30 - 7:30pm.
The discussion will take place at:
Columbia College Chicago
623 S. Wabash Ave. Room 203
It is free and open to the public.
Saturday, April 26, 2008
I had been meaning to post my midterm project to get some feedback and ideas from others. I was interested in the idea of relationships in all its aspects ie. love, sex, and communication. Showing all these in a simple form was the man idea. When I was done with the project it seemed to work more on the sex level, which I think worked out better. I heard someone say, "that's dirty." I was interested to see if other people had ideas on how to improve or continue the idea. Some ideas from the critique were to shoot photos of a couple in the kitchen, restaurant, and other places. Then again maybe it works as it stands.
Sunday, April 20, 2008
Friday, April 18, 2008
I found this article in Time magazine online and was shocked to learn that technology like this existed. It is exciting and I think it could become a new tactic for street artists although it is super expensive currently. I am interested in it as more of a tool to create imagery and its language being read differently than that of stencils rather than a politically charged tool. Has anyone ever heard of this or know anything more about it?-Kristen
On a breezy November night, Yan etches Chinese characters across most of the side of City Hall. They read "Save Queen's Pier" (an ironic appeal on behalf of a now demolished landmark), and the reason he can write them with impunity is because they are drawn using a laser pointer in high-intensity light — not spray paint. By standing on the roof of a parking lot across the street, he also avoids any danger of trespassing. When he's done, Yan erases the words by clicking a button on the laser pointer, connected to a laptop and projector at his feet. He then moves on to tag other prominent buildings, including the city's Cultural Centre.
The system used by MC Yan is known as L.A.S.E.R. Tag and is a creation of the Graffiti Research Lab (GRL), a New York City art group founded in 2005 to outfit the world's street artists with innovative, open-source technology. Given that L.A.S.E.R. Tag can be operated from hundreds of feet away, the opportunities for subversion are tantalizing. A message can be written on the face of a major public building and the perpetrators long gone before the authorities pinpoint where the laser came from. In a more everyday context, L.A.S.E.R. Tag's ability to allow artists to get their messages across without any permanent defacement of buildings may well increase public support for the art form. And ultimately, it is graffiti for a tech-savvy generation. "Kids these days are born with a computer strapped to their fingers," says GRL co-founder James Powderly, who formerly worked in space robotics but has always been obsessed with graffiti. "We see ourselves as Q, from James Bond, but we don't want just to show this new stuff, we want to implant it."
Along with co-founder Evan Roth, Powderly taught classes at New York's Parsons School of Design and over the past year they have showcased the laser technology in Mexico City, Barcelona, Amsterdam and Vienna. Last month they showed up at a Taipei conference on new media and left behind equipment as a gift for a local graffiti group. Next summer, Powderly and Roth will travel to Beijing,
In fact, the technology has already been demonstrated in the Chinese capital. New York–based Paul Notzold recently traveled to Beijing where he used L.A.S.E.R. Tag to create a kind of performance art, encouraging pedestrians to send text messages to a central phone hooked up to his laptop. The text messages were then projected onto the Millennium Art Museum. "I was tentative about putting up unsanctioned messages on buildings, because of the government," Notzold says. "There were your typical radio shout-outs, and there were also some statements that could be kind of activist protest statements." The event took place without incident.
Traditional graffiti is in no danger of being outmoded anytime soon, however. While L.A.S.E.R. Tag technology is getting cheaper, it's not cheap. The complete setup costs $8,000 — that's $7,993 more than a can of spray paint from a typical U.S. hardware chain. Jay FC, one of the founders of the Hong Kong–based graffiti collective ST/ART, maintains that the cost is contrary to the spirit of street art. "It's supposed to just be something that anyone can pick up and do," he says.
For now, Roth and Powderly must be content with loaning and donating L.A.S.E.R. Tag equipment, and they are finding a particularly enthusiastic reception in Asia. "Technology has a very different meaning in China, in Korea," says Marc Schiller of popular street-art website Wooster Collective. Schiller sees L.A.S.E.R. Tag as standing in the tradition of such pioneering new-media artists as the late Korean-born Nam June Paik. "[In Asia] it's not thought of as incompatible or separate from art," he says.
U.S. media lecturer Alice Arnold argues that if lighting-based expression has a real source, it's Hong Kong, because the city "has always been at the forefront of light signage." But there's just one snag: light pollution. Compared to Hong Kong's extravagantly lit skyscrapers, MC Yan's tags don't stand out as intensely as they should, no matter how big they are. "In New York we can be the brightest thing in town," says Powderly. "In Hong Kong, we've never felt like we were losing so badly." Perhaps his next project should be a system that works in daylight instead.
Saturday, March 15, 2008
Here are some links to the work of Kelley Walker. I don't like his work that much, but Charles Saatchi does. I have been looking at similar topics with my work. Also here is a wikipedia article on reflexivity.
I used to get hung up on consumerism too (like a lot of people in this class seem to be), but not so much these days. Just consume what you like.
(posted by Adam)
Friday, March 14, 2008
We talk a lot about how art works in the social sphere and how it changes when it becomes consumerized. These are images from the website:
Although commonly sold in specialty stores, these t-shirts are often considered to be art in the social space. I'm sure that there are those who would disagree, but it would be interesting to identify exactly when an artwork starts to lose its identity as it becomes more popular.
Tuesday, March 11, 2008
I may have been up on a floor of a campus building that I'm not supposed to be on and saw this image. I instantly liked it for the message and the execution, and I was glad that I had stumbled upon it in the manner that I had.
But it made me wonder: this image is technically in the social space, but it's limited to a very select group of people who get to see it. How does this change it's meaning and what would be different if everyone could have access?
Monday, March 10, 2008
Abc News7 covered the story a few months ago, when the issue was 'fresh', reporting for both sides. The video can be seen here: http://abclocal.go.com/wls/story?section=news/local&id=5886129
My final project was a comment on this issue, using a little bit of satire and humor. I did a "composite sketch" of four famous latino actors/singers. The faces of Ricky Martin, Enrique Iglesias, Gael Garcia-Bernal, and Mario Lopez are meshed together (a la Photoshop) to form this 'typical Latino' face who is wanted by the FBI because he attempted to illegally rent in Evanston. Just as in rough composite sketches in real Wanted Posters, I wanted to play off the idea of how social constructs define the features which make one stereotypically latino.
I posted 38 flyers in downtown Evanston and Northwestern, but especially around apartment complexes. Take a look, and tell me what you think!
Long story short, my apartment had a bed bug problem earlier this year. Most people don't know much, if anything about bed bugs, but they're a growing problem in cities, so I decided to address this in my final project. I'm working on a collaborative piece with an online community of bed bug victims at bedbugger.com.
I was inspired by hobo symbols and wanted to create a image to tag infested buildings (like mine) to warn people away, but also to serve as a sign of solidarity among fellow sufferers of bug trauma and raise awareness of the problem.
Check it out at this link, which has more pictures and a detailed description of my goals and process.
if anyone has also had bed bugs and would like to become a part of the project, please email me at email@example.com for further information
(posted by Debi. I can't figure out how to turn off my Blogger username)
Thursday, March 6, 2008
Lately, in my own work, I have been very interested in the drawings/doodles I create in the margins of all my notebooks--sometimes without even realizing it. In my paintings I find myself constantly reiterating every detail from my photographic or observational references. Just like anyone else who doodles, I let myself fall into a completely different zone. Creating these shapes and creatures almost from my subconscious, and yet I also notice that even when I am simply scratching away at a tiny corner of my notebook, I manage to include even the slightest of details.
For the past few months I have been trying to incorporate the stylistic elements of my "doodles" and place them in areas other than scraps. So after finishing the design for my flyer, I started a sketchbook with the intention of drawing in it at least once a day and then updating my blog each time a new image developed. Though I eventually let go and included digital sketches and ideas for other projects, I still hope to maintain the website as a public sketchbook and an on-going project to motivate myself and my work.
Rather than only using spray paint or silk-screen, Silva uses found objects and shapes them into eye-catching installations by either literally cutting into and around the surface and/or painting directly onto them with enamel. I was first acquainted with his work in the fall of '06 and have maintained an interest in his media. I find it intriguing that he puts a lot of time and detail into his work on these objects that people had originally thrown out and then gives them back to the community. What I also love is his attention to the material and location where he presents his work and how they affect his translation of what colors to use and objects or people to place in these particular locations.
Under Silva's artist statement he says:
"I believe that collective consciousness is infinitely more important than that of individual intellect. For this reason, I am most interested in the interventions of public art. It is my goal to find more ways to expose the general public to art that they can relate to and be inspired by. I want to create progressive, quality public artworks as visual alternatives to the manipulative energies of advertising in public spaces. My goal is to push the envelope of the public art movement by producing work that uses engaging combinations of materials and content to encourage the perceptual and spiritual evolution of the general public.
I am saddened by the cruelty, ignorance and greed of humans. My priority as an artist is not to receive accolades and praise for my talents, but rather to inspire others to help to create a just and meaningful world."A couple questions I want to ask are do you think this is a successful and affective way to distribute art? Does the fact that most of his work can be easily removed add or retract from his goal? And just like questions brought up in class about Swoon, how does the idea of moving street art into an interior installation work for or against his purpose?
I am very interested in the "social" aspect of silkscreen. In the context of the class, that means interacting with work outside of the gallery space or the typical "art world." After some creative googling, I came across a different meaning of "social silkscreen."
I was very excited to learn about Homeboy Industries, headquartered in Los Angeles. It was started in 1992 by Father Gregory J. Boyle, a Jesuit Priest, to create businesses that provide training, work experience, and above all, the opportunity for rival gang members to work side by side. Other economic enterprises have been created since the first venture, including Homeboy Bakery, Homeboy Silkscreen, Homeboy/Homegirl Merchandise, Homeboy Graffiti Removal, Homeboy Maintenance, and Homeboy Landscaping.
Homeboy Silkscreen was started in 1996, and is currently the largest division of Homeboy Industries. It has employed nearly 500 gang members who have learned the fundamentals of silkscreening while developing a work ethic working side by side with their enemies. State-of-the-art silkscreening and embroidery techniques are used to create custom clothing and accessories for a variety of schools, churches, private companies, and city organizations.
Take a look at the Homeboy Industries Web site at http://www.homeboy-industries.org/index.php
Wednesday, March 5, 2008
Sunday, March 2, 2008
These houses had all been previously marked with a circled "D"--a designation made by the city which meant that these structures were intended to be demolished. All it took was the simple gesture of painting the buildings bright orange for them to actually be destroyed. This destruction brings up interesting questions. In an anonymous letter to thedetroiter.com, the DDD writes, "From one perspective, our actions have created a direct cause and effect relationship with the city. As in, if we paint a house orange, the city will demolish it. In this relationship, where do the city's motivations lie? Do they want to stop drawing attention to these houses? Are the workers simply confused and think this is the city's new mark for demolition? Or is this a genuine response to beautify the city?"
The rest of the group's statement can be found here: http://www.thedetroiter.com/nov05/disneydemolition.php
There are tons of other artists and groups whose work addresses the declining neighborhoods of Detroit. Artist Tyree Guyton decorated the abandoned houses on one street with discarded objects he gathered from the streets.
Back in 2001, Kyong Park stripped and dismantled an abandoned house from Detroit and shipped it to Orleans, France where it was reconstructed. There the house itself became an exhibition space.
For more photos and information on this project, visit http://www.arch.udmercy.edu/De_Sign-Cat-24620.html#