...is a weblog about the liberal arts 2.0 edited by Jason Kottke since March 1998 (archives). You can read about me and kottke.org here. If you've got questions, concerns, or interesting links, send them along.
You may remember Martin Klimas from his photos of shattering figurines (which I love).
His latest project involves arranging paint just above massive speakers, turning the sound up, and photographing the results. This is Steve Reich's "Music for 18 Musicians":
I wonder what dubstep looks like? (via @pomeranian99)
The Awl has an interview with a street artist named Hanksy, who takes images from Banksy and incorporates Tom Hanks into the mix. WIIIILLLSONNNN!!
I've come across comments or stories written about Hanksy saying I'm directly ripping off Banksy's style. Like, "Where does this guy get off, stealing Banksy's work?" They are completely missing the point. It's a satire. My goal was never to make a profit. It came about and there was a genuine excitement around the people at the gallery and the community in general.
I'm pretty sure the interviewer, EA Hanks, is Tom's daughter and she got her dad on the record about Hanksy:
Regarding your work, Tom Hanks sends the message, "I don't know who Hanksy is, but I enjoy his (her?) comments via the semi-chaos of artistic expression."
But the T.HANKS trash can remains my favorite Tom Hanks street art:
In 1930, Iowa artist Grant Wood painted American Gothic. The models he used for the painting were his sister Nan Wood Graham and his dentist, Byron McKeeby. Here they are next to the painting:
Wood made the painting after spotting a small house in Eldon, Iowa:
Restorers at the Prado Museum in Madrid, working on what they thought was a 16th or 17th century replica of the Mona Lisa, have discovered that the painting was actually done by a student of Leonardo's at the same time as the original.
Museum experts are in the process of stripping away a cover of black over-paint which, when fully removed, will reveal the youthfulness of the subject they say. The final area of over-paint will come off in the next few days.
The original "Mona Lisa" hangs in the Louvre but the sitter looks older than her years as the varnish is cracked. The painting is so fragile that restoration or cleaning is deemed too risky. The Prado version, however, will show the sitter as she was: a young woman in her early 20s.
Korean artist Kang Duck-Bong makes PVC pipe sculptures that look like they're moving.
(via colossal)
In a piece for Vanity Fair, Kurt Andersen argues that for the first time in recent history, American pop culture (fashion, art, music, design, entertainment) hasn't changed dramatically in the past 20 years.
Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. (And then there's the miraculous drop in violent crime in the United States, by half.) Here is what's odd: during these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past -- the 00s, the 90s, even a lot of the 80s -- looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History.
Think about it. Picture it. Rewind any other 20-year chunk of 20th-century time. There's no chance you would mistake a photograph or movie of Americans or an American city from 1972-giant sideburns, collars, and bell-bottoms, leisure suits and cigarettes, AMC Javelins and Matadors and Gremlins alongside Dodge Demons, Swingers, Plymouth Dusters, and Scamps-with images from 1992. Time-travel back another 20 years, before rock 'n' roll and the Pill and Vietnam, when both sexes wore hats and cars were big and bulbous with late-moderne fenders and fins-again, unmistakably different, 1952 from 1972. You can keep doing it and see that the characteristic surfaces and sounds of each historical moment are absolutely distinct from those of 20 years earlier or later: the clothes, the hair, the cars, the advertising -- all of it. It's even true of the 19th century: practically no respectable American man wore a beard before the 1850s, for instance, but beards were almost obligatory in the 1870s, and then disappeared again by 1900. The modern sensibility has been defined by brief stylistic shelf lives, our minds trained to register the recent past as old-fashioned.
Inspired by a video of a chain-smoking two-year-old from Indonesia, photographer Frieke Janssens took a series of portraits of kids smoking.
A video shows how Janssens made the photos...the cigarettes were made of cheese.
For an installation at the Gallery of Modern Art in Brisbane, artist Yayoi Kusama made a totally white room and gave colored dot stickers to all the visiting children and let them stick them wherever they wanted.
I love everything about this...I scrolled through the entire list. This one was my favorite:
(via waxy)
The Olympic Games used to include competitions in painting, sculpture, literature, architecture, and music.
From 1912 to 1948 rules of the art competition varied, but the core of the rules remained the same. All of the entered works had to be inspired by sport, and had to be original (that is, not be published before the competition). Like in the athletic events at the Olympics, gold, silver, and bronze medals were awarded to the highest ranked artists, although not all medals were awarded in each competition. On a few occasions, in fact, no medals were presented at all.
(via @itscolossal)
Since the late 1980s, Mark Landis has been donating forged paintings he's painted to a number of museums around the country. No one really knew why...until John Gapper from The Financial Times tracked him down.
For nearly three decades, Landis has visited museums across the US in various guises and tried to donate paintings he has forged. As well as Father Scott, he has posed as "Steven Gardiner" among other aliases. He never asks for money, although museums have often hosted meals for him and made small gifts. His only stipulation is that he is donating in his parents' names -- often his actual father, Lieutenant Commander Arthur Landis Jr, a former US Navy officer.
Landis has been prolific and amazingly persistent. A few weeks before he came to Lafayette, "Father Scott" arrived at the Nelson-Atkins Museum of Art in Kansas City, Missouri, with a forgery of Head of a Sioux by Alfred Jacob Miller that he said he was giving in memory of his mother, "Helen Mitchell Scott". Landis has so far offered copies of that work to five other museums. Yet in all this time, although curators speculate about his motives, no one has found out why he is doing it.
Artist Ariana Page Russell has a skin condition called dermatographic urticaria that causes her skin to become inflamed when lightly scratched. Russell uses the condition to make art on her body.
(via collacubed)
From artist Lim Heng Swee. Grab a print at Etsy while you can.
Fun fact: Tom Hanks does the voice for Woody in the movies but in most other media, he's voiced by Tom's younger brother Jim Hanks.
What's this then? Jovian moon? Instagrammed photo of Earth taken from the ISS? Head of a nail?
Nope, it's actually a well-worn frying pan from a project by Christopher Jonassen.
Ha! Evan Roth is selling a series of "multi-touch finger paintings" called Open Twitter, Check Twitter, Close Twitter. The paintings are made by placing tracing paper over an iPhone screen while he checks Twitter with a painted finger.
Artist Jonus Lund is broadcasting what he's browsing in realtime. Each time he goes to a new site in his web browser, his site updates. When I visited earlier, he was looking at Lifehacker.
This is ... well, I don't really know what to say about it. It's a video game version of Marina Abramović's The Artist is Present. You buy a ticket, walk into the museum, look at some art, and then you wait in line. (via waxy)
Ursus Wehrli is coming out with a new book, The Art of Clean Up, which features pairs of photographs of different objects, in disorder and then sorted. Here's my favorite pair:
Photos from the book are disappearing from various sites around the web as takedown notices are sent out, but you can get the gist of the book by watching this video by Wehrli about how one of the photos was made:
On Saturday night, an 11-by-6-inch Rembrandt pen-and-ink drawing called "The Judgement", worth $250K, was stolen from the Ritz-Carlton Marina del Rey. Interestingly, Rembrandt pieces are the second most stolen pieces of art.
Art experts reached Sunday said works by Rembrandt are among the most popular targets for art thieves, second only to those by Picasso, because of the artist's name recognition and their value. Anthony Amore, chief investigator at the Isabella Stewart Gardner Museum in Boston and co-author of the book "Stealing Rembrandts," said there have been 81 documented thefts of the artist's work in the last 100 years.
It's like I always say: When I edit Kottke, art gets stolen.
Update:
That was fast. The drawing has been recovered. Thanks, Patrick.
By Sarah Illenberger, who does many other things in a similarly playful style. Print is available. And now that I'm looking, I think I've seen her Soft Brain piece before. (Hey, I have!)
I posted about Chris Burden's Metropolis II a few months ago. The artist is almost set to deliver the piece to Los Angeles County Museum of Art and there's a proper preview for it:
My favorite line of the interview with Burden that runs over the video:
The idea that a car runs free, those days are about to close.
(via sippey)
Thomas Pavitte designed and then solved the world's largest connect-the-dots puzzle (of the Mona Lisa). It took him 9 and 1/2 hours.
A time lapse video of Pavitte solving the puzzle is up on Vimeo. (via colossal)
Laura Bifano is selling prints of pixelated animals in her Etsy shop, like this honey badger one:
(via colossal)
This is pointillism taken to its limit.
Leonardo da Vinci's 'The Mona Lisa' reduced & remixed down into 140 exact circles of colour. Makes no sense close up. Makes every sense from the other side of the room.
Prints are available.
Artist Jeremy Hutchison commissioned a series of intentionally incorrect products from factories around the world.
"I asked them to make me one of their products, but to make it with an error," Hutchison explains. "I specified that this error should render the object dysfunctional. And rather than my choosing the error, I wanted the factory worker who made it to choose what error to make. Whatever this worker chose to do, I would accept and pay for."
Hutchison received a comb without tines, the ordering of which prompted a letter from the confused factory rep:
I have read your email, which makes me confused. As you know, combs shold be fabricated correctly and customers should like to buy combs which can comb hair. However, from your words, it seems you need us to fabricate combs incorrectly and combs can not comb the hair. I can not understand this well. Pls kindly explain detailedly.
There is also a Magritte-esque pipe with no place to put tobacco, and these impractial sunglasses:
(via @kevmaguire)
Art scholars have authenticated a painting by Leonardo da Vinci that has been lost for centuries.
Simon brought the panel to the Metropolitan Museum of Art about two years ago to have it examined by several curators and conservators. "It was brought in for inspection in the conservation studio," said a person close to the Metropolitan who asked not to be identified. "The painting was forgotten for years. When it turned up at auction, Simon thought it was worth taking a gamble. It had been heavily overpainted, which makes it look like a copy. It was a wreck, dark and gloomy. It had been cleaned many times in the past by people who didn't know better. Once a restorer put artificial resin on it, which had turned gray and had to be removed painstakingly. When they took off the overpaint, what was revealed was the original paint. You saw incredibly delicate painting. All agree it was painted by Leonardo."
A pair of fair use crusaders hired some "street art underground" friends to place several posters of the Kind of Bloop album cover on the building that Jay Maisel owns in Manhattan as payback for Maisel threatening to sue Andy Baio over using a representation of Maisel's photo of Miles Davis for Bloop's cover.
I hope that every time Jay leaves the house, he sees these posters -- and as he looks at them or tries to tear them down he thinks about how evil what he did was. Maybe he'll realize that at some level all art borrows from other art, and suing another artist for fair use appropriation undermines all artists. Maybe he'll feel guilty about being such a thief. And then maybe he'll think about giving that money back -- or donating it to charity or something. But probably not.
Something tells me this isn't going to end well. (via @jakedobkin)
Can't remember who tipped me off to this (Cederholm? Hoefler? Pieratt?), but Colossal is a top-notch visual art/design blog. There are a dozen things on the first two pages that could slide right into kottke.org quite easily. He's on Stellar too!
Textify.it is a web app that uses text to make alphabetic pointillist representations of images. I turned a photo of the Most Photographed Barn in America into this:
It's also available as an iOS app. (via prosthetic knowledge)
Olafur Eliasson's latest project is now on display at the ARoS Aarhus Kunstmuseum in Denmark...it's a circular viewing platform with rainbow-hued glass.
I love Idan Friedman's profiles project...he hand-embosses the profiles of everyday people into disposable aluminum pans.
Royals and world leaders are forever immortalized on coins and normal people get disposable pie tins. Makes sense. (via ★feltron)
Synesthesia is a short film by Terri Timely that attempts in an artful way to give the viewer a sense of what synesthesia ("the blending or mixing of senses") is like.
Cory Arcangel has a solo exhibition coming up at The Whitney.
Cory Arcangel: Pro Tools, an exhibition of new work, revolves around the concept of "product demonstrations." All of the works featured in the exhibition -- ranging from video games, single channel video, kinetic sculpture, and prints, to pen plotter drawings -- have been created by means of technological tools with an emphasis on the mixing and matching of both professional and amateur technologies, as well as the vernaculars these technologies encourage within culture at large.
Opens May 26 and runs through September. Interview Magazine has a recent profile and interview.
The presidents were to be depicted from head to waist, but the sculpture was scaled back due to insufficient funding.
In the late 70s, Anton Perich built something resembling an inkjet printer to make large-scale paintings like this:
The photography section of Perich's web site is also worth a look...lots of photos of the Warholish NYC scene in the 70s and 80s: Warhol, Jagger, Mapplethorpe, John Waters, etc. (via today and tomorrow)
Logo Tourist is a project by Risto-Jussi Isopahkala that depicts cityscapes and famous Parisian landmarks made up of famous logos. Here's the Arc de Triumph (sponsored by Pepsi and Adidas):
See also Logorama.
Clement Valla collects Google Earth images where the 2-D to 3-D terrain mapping doesn't work as well as it should.
(via lens culture)
My vacation reading: Master of Shadows: The Secret Diplomatic Career of the Painter Peter Paul Rubens by Mark Lamster.
Peter Paul Rubens gives us a lot to think about in his canvasses of rushing color, action, and puckered flesh, so it's not surprising that his work as a diplomat and spy has been neglected. One of my goals in writing Master of Shadows was to fill that gap in the record. Here, after all, is an actual Old Master using actual secret codes, dodging assassination, plotting the overthrow of foreign governments, and secretly negotiating for world peace.
Certainly, a biographer could not ask for a more compelling subject. Rubens was a charismatic man of extraordinary learning, fluent in six languages, who made a fortune from his art. He never fit the paradigm of the artist as a self-destructive figure at odds with convention. More than one of his contemporaries actually thought his skill as a statesman surpassed his unmatched talent before an easel.
Art history page-turner? Yep.
David Lynch's hair compares favorably to several works of art, mostly modern, including Starry Night, Water Lilies, and Lichtenstein's Brush Stroke.
Just, wow.
James Gulliver Hancock is attempting to draw every building in NYC. Here are a few buildings on Rivington:
See also Every Person In New York.
But we've got to wait a whole year...the exhibition opens on Feb 26, 2012.
The MoMA retrospective will be thematic. There will be rooms devoted to Ms. Sherman's explorations of subjects like the grotesque, with images of mutilated bodies and abject landscapes, as well as a room with a dozen centerfolds, a takeoff of men's magazines, in which she depicts herself in guises ranging from a sultry seductress to a vulnerable victim. There will also be a room that shows her work critiquing the fashion industry and stereotypical depictions of women.
Jealous of all the attention garnered by Sports Illustrated's annual swimsuit issue, Tyler Green of Modern Art Notes decided to compile his own swimsuit publication. Here's a sample from a Mr. P. Picasso:
Watch as a woman gets chocolate sauce poured all over her face for almost ten minutes. I don't know what to think of this one: mesmerizing? yucky? erotic? hunger-inducing? I have a hungry tingling disgust going on here...
This is a piece called Operators Are Standing By by Jean Bevier. No idea who did this, but I love it. (via prosthetic knowledge and thx for the correction, dan)
After noticing the similarities between artists and dictators, photographer Philip Toledano commissioned a series of paintings and sculpture with himself as Stalin, Kim Il Sung, etc.
Xavier Antin's Just in Time project utilizes four printing techniques to produce full-color books.
A book printed through a printing chain made of four desktop printers using four different colors and technologies dated from 1880 to 1976. A production process that brings together small scale and large scale production, two sides of the same history.
* MAGENTA (Stencil duplicator, 1880)
* CYAN (Spirit duplicator, 1923)
* BLACK (Laser printer, 1969)
* YELLOW (Inkjet printer, 1976)
For the second straight year, the best Super Bowl bet is between art museums in the cities playing in the big game.
The Milwaukee Art Museum and the Carnegie Museum of Art have agreed to a Super Bowl bet! Even better: The museums have put major works by major artists on the line. The bet continues an annual tradition begun last year when MAN instigated a wager between the Indianapolis Museum of Art and the New Orleans Museum of Art.
Both museums are offering up significant impressionist paintings: The Carnegie Museum of Art has wagered Pierre Renoir's playful, fleshy Bathers with a Crab (cicra 1890-99, above) on a Pittsburgh Steelers victory. The Milwaukee Art Museum has put on the line Gustave Caillebotte's serene Boating on the Yerres (1877, below).
As you might have heard, MoMA recently acquired 23 typefaces for its Architecture and Design collection. I was curious about how such an acquisition works, so I sent a quick email to Jonathan Hoefler, one of the principals at Hoefler & Frere-Jones, a New York City type foundry that contributed four typefaces to the MoMA.
Kottke: Three of the four H&FJ typefaces acquired by MoMA are available for purchase on your web site. Did they just put in their credit card info and voila? Or was there a little more to it?
Hoefler: MoMA's adopting the fonts for their collection was much more complex than buying a copy online (and not only because Retina, one of our four, isn't available online.) I should start by stating that you can never actually "buy fonts" online: what one can buy are licenses, and the End-User License that surrounds a typeface does not extend the kinds of rights that are necessary to enshrine a typeface in a museum's permanent collection. The good news is that H&FJ has become as good at crafting licenses as we have at creating typefaces, an unavoidable reality in a world where fonts can be deployed in unimaginable ways. This was a fun project for our legal department.
It was actually a fascinating conversation with MoMA, as we each worked to imagine how this bequest could be useful to the museum for eternity. What might it mean when the last computer capable of recognizing OpenType is gone? What will it mean when computers as we know them are gone? How does one establish the insurance value of a typeface: not its price, but the cost of maintaining it in working order? Digital artworks are prone to different kinds of damage than physical ones, but obsolescence is no less damaging to a typeface than earthquakes and floods to a painting. On the business side there are presumably insurance underwriters who can bring complex actuarial tables to bear on the issue, but I think it's an even more provocative issue for conservators. 472 years after its completion, the frescoes of the Sistine Chapel underwent a restoration that scholars still find controversial. What might it mean for someone to freshen up our typefaces in AD 2483?
--
Thanks, Jonathan.
In addition to sculpture, Richard Serra makes films. This is Serra's first film from 1968, featuring a hand's repeated attempts to catch pieces of lead.
Watching just 20 seconds made me surprisingly anxious. (via sippey, i think)
The photographs taken of everyone who sat with Marina Abramovic at her The Artist is Present show at MoMA are being compiled into a book called Portraits in the Presence of Marina Abramovic.
Just as Abramovic's piece concerned duration, the photographs give the viewer a chance to experience the performance from Abramovic's perspective. They reveal both dramatic and mundane moments, and speak to the humanity of such interactions, just as the performance itself did. The resultant photographs are mesmerizing and intense, putting a face to the world of art lovers while capturing what they shared during their contact with the artist.
Shinchi Maruyama throws water from his hands or from glasses and catches the temporary sculptures they make with his camera.
The Morning News has an interview with Maruyama and a photo gallery of his work; this one is really cool.
This is a wonderfully whimsical introduction to doodling by way of graph theory, snakes, Oroborous and mobius strips. Oh, and the Mobiaboros.
(via vulture)
For a piece called Metropolis II, artist Chris Burden is building a huge track and put 1200 Hot Wheels cars on it...the noise is deafening when they're all circulating.
It includes 1,200 custom-designed cars and 18 lanes; 13 toy trains and tracks; and, dotting the landscape, buildings made of wood block, tiles, Legos and Lincoln Logs. The crew is still at work on the installation. In "Metropolis II," by his calculation, "every hour 100,000 cars circulate through the city," Mr. Burden said. "It has an audio quality to it. When you have 1,200 cars circulating it mimics a real freeway. It's quite intense."
(thx, aaron)
The Pierre Bergé – Yves Saint Laurent Foundation in Paris is currently displaying an exhibition of David Hockney's iPhone and iPad drawings. The exhibition is on display through Jan 30, 2011.
Hockney uses the Brushes app to create his digital paintings and even has his suits made with a pocket just for the iPad:
He picks up his iPad and slips it into his jacket pocket. All his suits have been made with a deep inside pocket so that he can put a sketchbook in it: now the iPad fits there just as snugly. Even his tux has the pocket, he tells me.
Mosaic collages like this one -- where each "pixel" is a tiny self-contained image -- are fairly common but I haven't seen too many like these before:
Lovely effect; they're fun to look at zoomed in or out. (via matt)
Man, what if Spike Jonze had made Being Bill Murray instead? Casey Weldon did a series of paintings of Bill Murray as characters from Wes Anderson's movies...but non-Murray characters like Max Fischer, Margot Tenenbaum, and the Baumer.
Prints are available. And these were a part of a show called Bad Dads, consisting of art inspired by various Anderson films. Again, prints are available.
Andy Denzler does these great paintings that look as though they're highly compressed JPEGs with encoding issues.
The newest exhibition in The Tate Modern's cavernous Turbine Room is Ai Weiwei's Sunflower Seeds:
The room is filled with millions of handcrafted ceramic sunflower seeds:
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall's vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China's most prized exports. Sunflower Seeds invites us to look more closely at the 'Made in China' phenomenon and the geo-politics of cultural and economic exchange today.
For the first couple of days, people could walk around on the tiny sculptures (as you can see on Flickr), but health concerns prompted the museum to put a stop to that. Still pretty cool, but this remains my favorite Turbine Hall exhibition. (via hilobrow)
If you liked the video mapping on the IAC building, this one might be even better. For the 600th anniversary of the construction of the tower clock in Prague, The Macula projected a really great video on the tower...watch at least through the brick stacking animation.
Love this. In 1936, a 16-year-old Dutch girl played a shooting gallery game at the fair: hit the target and a camera takes a photo, which the girl receives as a prize. Almost every year between then and now, Ria van Dijk shot the target and got her prize.
Van Dijk is now 88 and still shooting.
Last Saturday, the IAC building in Chelsea became the screen for a giant video art project.
Cassandra Jones takes photographs she finds online and stiches them together to form animations like this Eadweard Muybridge homage:
Really nice. Jones' other work is worth a look as well. (via heading east)
Huh. The word "denim" comes from "serge de Nîmes", a fabric made in Nîmes, France, and "blue jeans" comes from "Bleu de Genes", blue pants made in Genoa (aka Genes). Both cities claim to have been manufacturing denim for centuries, but there has never been much proof in the way of artifacts and such. So the recent discovery of several paintings from the mid-1600s depicting people wearing jeans is surprising. Look at this jean jacket:
He's even got his collar popped.
Rosmarie Fiore did this series of long exposure photographs of Atari games a few years ago.
Fiore did a similar project with pinball machines...instead of photos, the ball was covered in paint and left trails on vellum. Reminds me of some of the other time merge media I collected awhile back. (via @brainpicker)
Photographer Adam Magyar uses scanner cameras to take these huge panoramic photos which are a little difficult to explain.
Adam uses the same technologies as the finish line cameras at the Olympic Games, which take thousands of images a second and records through a 1 pixel wide slit. The time and space slices are then placed next to one another to generate an image without perspective. This method is capable of recording movement only, with static objects and buildings appearing as stripes and lines.
Here's just a small slice of one of his photos...you'll notice that it does look an awful lot like the photo-finish photos of sprinters.
(via lens culture)
I remember reading that Greek and Roman statues were originally painted, but I didn't know that through the use of modern scientific equipment, we actually know how they looked.
(via @brainpicker)
I don't know what is being represented in either of these posts from but does it float, but they're both capital G Gorgeous.
The images from 'The most interesting trend in the development of the Internet is not how it is changing people's ways of thinking but how it is adapting to the way that people think' are from 3D compositions (concepts for Iron Man 2) by Prologue.
Here's an example from 'The most intense moments the universe has ever known are the next 15 seconds', which is a gallery of the University of Florida Sparse Matrix Collection.
(Thanks, Adam)
Here's a great story of Jami getting her bike stolen last night in Brooklyn. Wait, why is that great? Because, thanks to some internet sleuthing, a lot of luck (!!!), and solid police work from Brooklyn's finest, she had it back by 11:30 this morning!
While we're on the subject of bikes, according to a recently filed patent, Apple is looking at making a smart bike. I look to the future and I see 1) Consternation that Apple has signed an exclusive agreement to release the bike on Trek frames only for a period of 3, 4, or 5 years depending on which rumor you believe. 2) Several media stories crediting Apple for popularizing the riding of bikes. 3) Several media stories criticizing Apple for claiming they popularized the riding of bikes, even if they didn't.make that claim, 4) Much rejoicing 3 weeks after release of the bike when someone has figure d out how to jail break the phone into a fixed gear. 5) 250 posts from John Gruber refudiating predictions of iBike failure. I look forward to all of it.
Lastly, on the topic of bikes. My friend Chris Piascik is drawing all the bikes he's ever owned. This wouldn't be a big deal for most people, Chris, however, has owned a gazillion bikes. The drawings are accompanied by vignettes on the bikes and I think the project will end up being more of a memoir than Chris originally anticipated. (Disclosure: If I had to name a favorite artist, it'd probably be Chris, and I post his art often on UW.)
Lauren Was and Adam Eckstrom, as Ghost of a Dream, create artstructuresculptures out of scratch tickets to show "unfulfilled dreams as well as money that could have been saved and possibly spent on the item itself". "Dream Car" uses $39K worth of discarded tickets, and "Dream Home" uses $70K. That one's really nice.
For what it's worth, Was and Eckstrom aren't the first to see art in scratch tickets. Rebecca Simering has explored the medium, as has the "I Love My Life The Way It Is" project. ILMLTWII is a project I want to believe in, but before sending scratch tickets to strangers in England, you should be aware of the risks.
(Via Cool Hunting / Derek)
Wikipedia has a page dedicated to controversial album art, which I found recently while looking up background on the 23rd birthday of Appetite for Destruction (yipe).
Eric Bana - Out of Bounds (1994)
The cover art features Bana naked from behind while streaking at a crowded AFL game. He is reaching for the ball and his buttocks are covered with the message "contents may offend". The scene was created digitally, with the overlap of two photos. An alternative cover for the album was later released.
I was really hoping Eric Bana had a musical release in his background because musical releases by actors are usually hilarious, but this one appears to be comedy. Sigh.
This computer display covered by glass beads must be how bees see the web.
(via today and tomorrow, which is celebrating five years of excellence this week)
Scott Snibbe's interactive art projects are available for sale on the iPhone/iPad and he's pretty happy about it.
Over the past few days my first three apps became available on the iTunes store: Gravilux, Bubble Harp, and Antograph. I've been dreaming of this day for twenty years: a day when, for the first time, we can enjoy interactive art as a media commodity no different from books, music, and movies.
I remember the Gravilux Java applet from back in the day and happily bought it for the iPad.
In a barnburner of an article for the New Yorker, David Grann investigates the work of Peter Paul Biro and the forensic analysis of artworks for which he is well-known.
He does not merely try to detect the artist's invisible hand; he scours a painting for the artist's fingerprints, impressed in the paint or on the canvas. Treating each painting as a crime scene, in which an artist has left behind traces of evidence, Biro has tried to render objective what has historically been subjective. In the process, he has shaken the priesthood of connoisseurship, raising questions about the nature of art, about the commodification of aesthetic beauty, and about the very legitimacy of the art world. Biro's research seems to confirm what many people have long suspected: that the system of authenticating art works can be arbitrary and, at times, even a fraud.
However, the more Grann and others dug into his past, the more Biro seemed to be in fraudulent territory himself.
Possible clues have emerged that Eadweard Muybridge may not have taken all the photographs attributed to him.
Naef explains why he thinks that stereographs attributed to Muybridge were in fact taken by Watkins, who sold the negatives to Muybridge. Muybridge then printed and sold them under his own name. "I think from what I've seen and knowing what I know about Muybridge - and I'm not an expert on Watkins by any mean and Weston is - I think yes Muybridge published pictures by other people," Brookman said. "Some by Watkins potentially, but I think Muybridge was also a photographer and a significant photographer."
Tyler Green of Modern Art Notes has a three-part interview with photography curator Weston Naef about why he thinks this is so. Part one is here. (No word yet on why Muybridge has so many unnecessary letters in his name.)
Michael Crawford monkeys around with a map of the US. This piece is called Los Angeles Getting More Annoying as We Speak:
I also liked his alteration to a Chuck Close portrait: Rauschenberg Minus Nebraska.
Composition with JavaScript is a Piet Mondrian painting with moveable lines and changeable colors so that you can make your own version.
Composition with Javascript is an interactive work made using HTML, CSS, Javascript and jQuery, based on Piet Mondrian's "Composition with Yellow, Red, Black, Blue and Grey" (1920). It allows everybody deconstruct the original painting and form it again in whatever he or she wants. Lines are shiftable (just drag it with your mouse) and colours changeable (click on it). Texture of the painting was preserved for authentic look. One can play with composition, forms and colours, alter the harmony of the piece or even destroy it and compose something pictorial.
Pixel is a short documentary film exploring the artistic use of pixel-style animation in contemporary video games.
(via waxy)
A masked bandit broke into the Paris Museum of Modern Art last night and stole 5 paintings. Included in the grab were a Picasso and a Matisse.
Here is the list of paintings and what they look like:
''Le pigeon aux petits-pois'' (The Pigeon with the Peas) by Pablo Picasso
''La Pastorale'' (Pastoral) by Henri Matisse
'L'olivier pres de l'Estaque'' (Olive Tree near Estaque) by Georges Braque
'La femme a l'eventail'' (Woman with a Fan) by Amedeo Modigliani
''Nature-mort aux chandeliers'' (Still Life with Chandeliers) by Fernand Leger
(via @jkottke)
My friend Chris Piascik has done a daily drawing every day for over 2 years. Some really good stuff. It's almost always a crazy squiggly monster of some sort or intricately hand-drawn typography.
He also loves The Misfits. A couple months ago, he mixed The Misfits' Crimson Ghost logo with a cat to get Cattitude. I thought the Crimson Ghost would go well with Justin Bieber, too, and have been asking Chris to do it for weeks. He finally did, and oh man, he might be making it a T Shirt, as well. 10 points if you get the reference in the title of this post.
In 1975, a bunch of artists competed in a soapbox derby in San Francisco. It is "far out, man".
The banana is the fastest fruit I could think of.
MoMA intern Julia Kaganskiy did an interview with Paco Blancas, who you might recognize as the man who has sat with Marina Abramović at MoMA more than a dozen times.
Maybe it's just an image that pops while I'm connected with Marina. Let's say it's an image of someone I love deeply, and then this creates the emotion, the tears just come out. Most of the time it's tears of joy. You're just being and thinking about somebody or something that's important in your life. And then just acknowledging this person or situation and moving on into being present because yeah, the tears come, but I don't want to cry for the entire sitting. I want to move on and continue to be with Marina, to be present.
At the behest of MoMA, photographer Marco Anelli has been taking photographs of all the people participating in Marina Abramović's performance in the main atrium of the museum and posting them to Flickr. To review:
Abramović is seated in [the atrium] for the duration of the exhibition, performing her new work The Artist Is Present for seven hours, five days a week, and ten hours on Fridays. Visitors are invited to sit silently with the artist for a duration of their choosing.
The photographs are mesmerizing...face after face of intense concentration. A few of the participants even appear to be crying (this person and this one too) and several show up multiple times (the fellow pictured above sat across from Abramović at least half-a-dozen times). The photos are annotated with the duration of each seating. Most stay only a few minutes but this woman sat there for six and a half hours. This woman sat almost as long as was also dressed as the artist. (It would be neat to see graphs of the durations, both per day and as a distribution.)
Has anyone out there sat across from Abramović? Care to share your experience? (via year in pictures)
Update: On the night of the opening exhibition, the third person to sit across from Abramović was her ex-boyfriend and collaborator of many years, Ulay (pictured here on Flickr). James Wescott reports on the scene:
When she looked up again, sitting opposite her was none other than Ulay. A rapturous silence descended on the atrium. Abramović immediately dissolved into tears, and for the first few seconds had trouble meeting Ulay's calm gaze. She turned from superhero to little girl -- smiling meekly; painfully vulnerable. When they did finally lock eyes, tears streaked down Abramović's cheeks; after a few minutes, she violated the conditions of her own performance and reached across the table to take his hands. It was a moving reconciliation scene -- as Abramović, of course, was well aware.
Here's a description of one of the projects they did together in the 70s:
To create this "Death self," the two performers devised a piece in which they connected their mouths and took in each other's exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.
Wescott also sat across from the artist:
I was immediately stunned. Not by the strength of her gaze, but the weakness of it. She offered a Mona Lisa half-smile and started to cry, but somehow this served to strengthen my gaze; I had to be the mountain.
Carolina Miranda sat down across from Abramović:
When I finally sat down before Abramovic, the bright lights blocked out the crowd, the hall's boisterous chatter seemed to recede into the background, and time became elastic. (I have no idea how long I was there.)
Amir Baradaran turned the exhibition into a venue for a performance of his own...he even made Abramović laugh. Joe Holmes got a photo of the photographer in action. (thx, yasna & patrick)
Update: The look-alike who sat with Abramović all day did an interview with BOMBLog.
At certain times I thought that we were really in sync. Other times I didn't. Other times I was totally hallucinating. She looked like a childhood friend I once had. Then she looked like a baby. [...] I thought time was flying by. Then time stopped. I lost track of everything. No hunger. No itching. No pain. I couldn't feel my hands.
Update: Author Colm Tóibín sat opposite Abramović recently (here he is on Flickr) and wrote about it for The New York Review of Books. (thx, andy)
Update: Singer Lou Reed sat. (thx, bob)
Update: Rufus Wainwright sat. And perhaps Sharon Stone? (via mefi)
Update: More first-hand accounts from the NY Times.
Update: And CNN's Christiane Amanpour. (thx, ian)
In the mid-1960s, Bell Labs' A. Michael Noll programmed a computer to paint like Piet Mondrian. Can you tell who did this one before clicking through?
(via @christianbok)
Everett Fahy, the former head of the European painting department at the Met, believes that one of the museum's paintings by Francesco Granacci is actually by Michelangelo.
I believe Michelangelo painted it in 1506, two years before he started on the Sistine ceiling. It was already in my brain in 1971, the year after it was bought. When the Metropolitan showed it in 1971, I wrote for an exhibition called 'Masterpieces of Fifty Centuries' that the second panel recalled the figures in the Sistine Chapel. As years went by, it firmed up. I had long believed it to be by Michelangelo, but exactly when I don't know. There wasn't a moment when I suddenly said, 'This is absolutely by Michelangelo.' It was a gradual recognition.
One the clues Fahy used to make his determination involves the rocks in the painting; they resemble the quarry at which Michelangelo spent several months in 1497. The painting can be viewed larger on the Met's website.
This collection of early computer generated art (1952-1978) includes this quite Whovian swirl:
(via do)
I got a look at the Henri Cartier-Bresson exhibit at MoMA the other day and loved it. Seeing his work, especially his earlier on-the-street stuff, makes me want to drop everything and go be a photographer. If you're into photography at all, this show is pretty much a must-see.
(BTW, I chuckled when I saw this photo on the wall...it was the subject of an epic Flickr prank a few years back.)
The Selby has some shots of Cindy Gallop's apartment, which has to be one of most personality-drenched living spaces I've seen since Martha Stewart's house. (Not that I've seen Martha Stewart's house. But I can imagine.) Here is, for example, Gallop's Gucci chainsaw:
There is also a video tour on Vimeo and a 2006 New York magazine article about how Gallop turned a former YMCA locker room into her "ultimate bachelorette pad".
She had a specific vision for her new home. "I was looking for something dramatic," she says. So she told her designer, Stefan Boublil of the Apartment, a creative agency in Soho, "When night falls, I want to feel like I'm in a bar in Shanghai."
This is probably the best way to see the Sistine Chapel aside from getting on a plane to Rome.
A selection of shoes that makes everyone 2 meters tall. (via dj)
In paintings of the Last Supper done over the past 1000 years, the portion sizes of the food depicted have increased by 69%.
From the 52 paintings, which date between 1000 and 2000 A.D., the sizes of loaves of bread, main dishes and plates were calculated with the aid of a computer program that could scan the items and rotate them in a way that allowed them to be measured. To account for different proportions in paintings, the sizes of the food were compared to the sizes of the human heads in the paintings.
From Cory Arcangel, two dancing display stands that spin at slightly different speeds. I actually watched the whole thing.
These sculptures are made from 2 over the counter 'Dancing Stands' (the tacky kinetic product display stands you can often see in down market stores) which have been modified to spin at slightly different speeds. When my modified stands are placed next to each other they go in and out of phase slowly.
Photographer Michael Najjar took some of his photos from the Andes and turned them into stock market infographics. Here's Lehman Brothers stock price from 1980 to 2008.
Boy, their stock price really fell off a cliff there, didn't it? The rest of the series is worth a look as well, although Najjar's site features the worst use of Flash I've seen in many months...it automatically fullscreens and generally wastes a bunch of time with transitions. To find the rest of the photos, wait until the map starts loading and put your mouse at the bottom of the screen. A menu will s.l.o.w.l.y. slide up...High Altitude is what you're looking for. (via info aesthetics)
Americans take their art and NCAA brackets too seriously, so this is perfect: America's Greatest Living American Abstract Painter Tournament. The top seeds are Ellsworth Kelly, Cy Twombly, Robert Ryman and Mark Bradford...go and vote for your favorites. (via sippey)
Watch a live-stream of performance artist Marina Abramović as she sits in the atrium of the MoMA all day every day until the exhibition ends on May 31. (via @gregorg)
What a great way to start off this morning: a new series of map-based illustrations by Christoph Niemann. Reserve Battery Park is a favorite. So is this omelet recipe:
Remember the painting or reality post from a couple of weeks ago? Alexa Meade's living still lifes are like that except better.
Shaquille O'Neal curated an art exhibition that opened this weekend at Flag Art Foundation in Chelsea.
Do you ever get time to visit museums?
I used to go a lot with my kids. Donald Trump is a great friend, and he has four or five Picassos on his plane. And that's where I would look at them. One time, I was at a museum and tried touching a Picasso. You break it, you buy it, they said. I was told it would cost $2 million.
A number of designers, artists, and photographers share how they combat creative block. One solution begins:
Slice and chop 2 medium onions into small pieces.
Put a medium sized pan on a medium heat with a few glugs of olive oil.
Add the onions to the pan, and a pinch of salt and pepper.
Art made from Ikea products. Greg, your project didn't make the cut.
Ward Shelley paints these wonderfully intricate timelines of different things...his life, Frank Zappa's career, and the history of the avant garde.
The Indianapolis Museum of Art and the New Orleans Museum of Art have a Super Bowl bet...the loser loans a significant piece of art to the winner for three months. The directors of the two museums trash talked back and forth via email and Twitter before agreeing on the paintings to be loaned.
"Max Anderson must not really believe the Colts can beat the Saints in the Super Bowl. Otherwise why would he bet such an insignificant work as the Ingrid Calame painting? Let's up the ante. The New Orleans Museum of Art will bet the three-month loan of its Renoir painting, Seamstress at Window, circa 1908, which is currently in the big Renoir exhibition in Paris. What will Max wager of equal importance? Go Saints!"
(thx, stuart)
Upcoming at MoMA: a retrospective of the work of Henri Cartier-Bresson.
For more than twenty-five years, he was the keenest observer of the global theater of human affairs -- and one of the great portraitists of the twentieth century. MoMA's retrospective, the first in the United States in three decades, surveys Cartier-Bresson's entire career, with a presentation of about three hundred photographs, mostly arranged thematically and supplemented with periodicals and books.
After MoMA, the exhibition will visit Chicago, SF, and Atlanta. Quite excited for this one.
Artist Motoi Yamamoto creates intricate large scale mazes using salt. I love this one, an installation at the Sumter County Gallery of Art in South Carolina:
His Utsusemi installations are worth checking out as well.
American Pixels is a project by Joerg Colberg that uses jpeg compression algorithms to create compelling images. From the technical notes:
ajpeg is a new image compression algorithm where the focus is not on making its compression efficient but, rather, on making its result interesting. As computer technology has evolved to make artificial images look ever more real - so that the latest generation of shooter and war games will look as realistic as possible - ajpeg is intended to go the opposite way: Instead of creating an image artificially with the intent of making it look as photo-realistic as possible, it takes an image captured from life and transforms it into something that looks real and not real at the same time.
Artist Christopher Locke makes fossil sculptures of extinct technology, including cassette tapes, rotary telephones, and boom boxes.
Roman Cortes took Diego Velázquez's Las Meninas and applied a pseudo 3-D parallax effect to it using only CSS. Awesome. Now redo The Kid Stays in the Picture entirely in CSS.
I love this project: a couple of NYC artists do paintings of items that they want and sell the art to buy the items.
Each painting shows one thing we want, and sells for the price of the real item. So you can buy A Slice of Pepperoni for $3.00 or Dinner at Nobu for $152.00. When the painting sells we use the money to go out and buy that thing.
The other half of the project is the documentation of the purchase/enjoyment of the item; here's the outcome of "Custom Adidas". (via clusterflock)
Update: C.J. Cubitt reminded me of J.S.G. Boggs, an artist who draws realistic-looking money and trades it for goods and services...the goods, receipt, and any change become the artwork. Here's one of his hand-drawn bills:
Update: Dorothy Gambrell of Cat and Girl solicits donations and then draws the stuff she buys. (thx, sean & seth)
Update: The same artists also do Needs for Sale...the sales benefit charities.
An oldie but goodie from Cory Arcangel: an mp3 of Iron Maiden's The Number of the Beast compressed 666 times. (via lined and unlined)
Jeanne-Claude, one-half of the art duo Christo and Jeanne-Claude, has died at the age of 74. The front page of the couple's web site has a short tribute. I loved The Gates.
For his piece Steak Filter, Noah Feehan ran a video signal of a steak cooking through the actual steak. The deterioration of the video signal becomes a sign of how done the steak is.
Quite literally, I am plugging composite video into a big steak, which is then cooked. The video signal going through the steak is the image of the steak cooking. Gradually, the steak loses moisture and signal can no longer pass.
The videos don't really show too much, but I love the idea. (via eat me daily)
Fabio Viale makes unusual marble sculptures, like this skull that looks like it's made out of styrofoam.
(via this is that)
Berliners! Artist Martin Butler is trying to find 33,000 people to recreate the Berlin Wall for the 20th anniversary of the Wall's fall.
The idea is to form on the 9th of november 2009 -- the night the Wall fell 20 years ago -- a line of people that will recreate the Berlin Wall with their physical presence, marking the path where the wall once stood. Thousands of people will form a human chain that will make its way on the 9th of november around 8.15pm. This action will last for approximately 15 minutes.
If you want to be a part of the piece, sign up on the web site. (thx, søren)
Update: A U2 concert at the Brandenburg Gate has run into some trouble after -- and I swear I am not making this up -- a huge wall has been constructed to keep non-ticket holders out of the concert. (thx, john)
Michael Paulus is offering new versions of his cartoon skeleton sketches at his Etsy store.
I've got a previous version of his Hello Kitty...love it.
In addition to being a painter of some repute, Peter Paul Rubens was also a diplomat:
In Master of Shadows, Mark Lamster tells the story of Rubens's life and brilliantly re-creates the culture, religious conflicts, and political intrigues of his time. Commissions to paint military and political leaders drew Rubens from his Antwerp home to London, Madrid, Paris, and Rome. The Spanish crown, recognizing the value of his easy access to figures of power, enlisted him into diplomatic service. His uncommon intelligence, preternatural charm, and ability to navigate through ever-shifting political winds allowed him to negotiate a long-sought peace treaty between England and Spain even as Europe's shrewdest statesmen plotted against him.
and a graphic designer.
Moretus was Rubens's most frequent design client. To save his friend money, Rubens generally did his work for Plantin on holidays, so he would not have to charge Moretus his rather exorbitant day rate (Rubens was notorious for his high prices), and even then he agreed to be paid in books.
Congrats to Jen Bekman on getting funding for 20x2001.
"I love the idea of taking the friction out of the art world," said Mr. Conrad. "A lot of people want to buy nice things, but don't know how. Jen has built a business from that, which is growing very nicely and has a lot of repeat customers."
[1] In light of the new FTC guidelines for disclosure by bloggers2, a few somewhat relevent statements. 1. 20x200 has in the past paid $1200 to sponsor the kottke.org RSS feed. 2. I have linked to 20x200 and Jen Bekman's gallery several times on kottke.org, for which Jen Bekman has thanked me, which is a good feeling, to be thanked, and perhaps that subconsciously predisposes me towards future linking because who doesn't like to be thanked? 3. Jen Bekman is a friend. 4. I also know Caterina Fake, Zach Klein, and Scott Heiferman socially; they are a few of 20x200's angel investors. 5. I am a resident of New York City, in which 20x200 is headquartered. 6. I have purchased art from 20x200 in the past. 7. I may have received a 20x200 print from Jen Bekman herself, either as a straight-up gift or as a promotional item. Honestly, I can't remember if she gave me anything, what it was, or the circumstances of the giving. 8. I have received 20x200 prints as gifts from others. They are thanked. 9. I know my wife and my wife knows Jen Bekman. 10. I may have unwittingly posed for photos next to 20x200 artwork hanging in my residence or in the residences of others, giving the impression that I am endorsing said artwork. Apologies. 11. I have agreed to, at some point in the future, curating a selection of artworks for 20x200 and then chatting casually with Jen Bekman about my choices, an edited transcript of which will appear on the 20x200 web site. As far as I know, no payment for this service is forthcoming and if it was, I would refuse it politely. 12. Jen Bekman's dog's name is Ollie. So is my son's. ↩
[2] Why just for bloggers? Do New York Times book, music, and movie reviewers disclose that they received review copies for free? ↩
Stolen art in the Los Angeles area results in some unorthodox art posters. Here's a missing Warhol print of Mick Jagger:
Looks like something Warhol himself might have come up with.
That's the name of Ohio-based artist Richard Whitehurst's latest work.
The artist plans to place himself in a room, the only entrance or exit being a 22 ft long plywood tunnel constructed by Whitehurst himself. Then he says that for the duration of the gallery's opening (from 7:00 p.m. to midnight) he will rape anyone who travels through the tunnel into that room.
Whitehurst prototyped the idea with a previous project called The Punch-You-In-The-Face Tunnel.
As it turns out, I ended up breaking the nose of the third person to crawl through the tunnel, an aspiring model. She went to the hospital and eventually sued me. Her modeling career was put on hold. The civil case was long and drawn out and the matter still hasn't been resolved. To this day she still has unpaid medical bills. The point of this long aside is that all this took place two years ago, and I'm still having an impact on this young lady's life, something not many other artists could claim about their work.
Rape seemed like the next logical step.
Me? I would have built The Tickle Tunnel. I guess that's why I'm not an artist. (via mxml)
Update: Oh, hell, it's fake. (thx, dozens of people who aren't saps like I am)
In 2001, Tim Hawkinson created Uberorgan for the gallery at MassMOCA.
Several bus-size biomorphic balloons, each with its horn tuned to a different note in the octave, make up a walk-in self-playing organ. A 200 foot-long scroll of dots and dashes encodes a musical score of old hymns, pop classics, and improvisational ditties. This score is deciphered by the organ's brain - a bank of light sensitive switches - and then reinterpreted by a series of switches and relays that translate the original patterns into non-repeating variations of the score.
Part sculpture, part giant musical instrument, Hawkinson's installation was a loose interpretation of the human body's organ systems. Uberorgan conducted itself for five minutes every hour, on the hour. The exhibition traveled from MassMOCA to the Getty Center in Los Angeles, where it graced the museum's entrance hall during the exhibit of Hawkinson's work called Zoopsia, a name that means "visual hallucinations of animals."
You can hear a minute long sample of the Uberorgan on the Getty Center website. To me it sounds like a duet between a three-year-old jamming out on a bass saxophone and an elephant in a good mood.
Update: Tim Hawkinson and the Uberorgan are featured the Art:21 episode,"Time." Seeing and hearing the piece, even on the small screen, is impressive, and Hawkinson explains how he came about creating such a voluminous, volume-driven work of art. (thx, cliff)
The art of Sandhi Schimmel Gold is junk. The artist uses junk mail to create semi-mosaic'ed handmade portraits. Using advertising ephemera and all kinds of textures and colors, she's constructed representations of Frank Sinatra, Kurt Vonnegut, Jackie O, and Audrey Hepburn, among others. She combines painting with collage to render faces that are unbelievably detailed and realistic. If you want to see what Schimmel would do with your visage you can commission a piece. I'd like to see my neighbor's mug constructed from of all of his Cabela's catalogs that find themselves in my mailbox.
An interesting article in The Brooklyn Rail debates the value of commercialism versus criticism in the art world. Riffing off of an essay called "Frivolity and Unction" from Dave Hickey's book, Air Guitar, writer Shane McAdams opines that art doesn't have to be "important" to be good:
"Art" can be unimportant and still allow for the experience of a work of art to be life-changing. I value the memories I have of listening to baseball games on my grandparents' porch, but Baseball, as a concept, remains entirely unimportant. Such concepts as baseball, art, and Hickey's example of rock and roll, are wholly unimportant except for the experiences they foster and the history to which they contribute.
Kasey McMahon decided to combine an interest in taxidermy with her PC. Fearing that the natural world is being replaced by technology, the artist installed a working computer inside of an idle beaver. First, she crafted a computer from the motherboard up, tested it, then hollowed out a stuffed beaver and molded the two together using spandex spray, resin, and fiberglass. After three months of work, the result was Compubeaver, followed up by its accessory, Text-o-Possum, a stuffed possum that's equipped with a laser in its back leg that projects a virtual keyboard. McMahon was generous enough to provide a 29-step guide for the rest of us, in the hope that we'll each case mod a beaver and create our own animal-based data processor. Just imagine using a raccoon laptop at Starbucks. Perhaps that would inspire them to provide free WiFi.
Update: See also installing Linux on a dead badger. (thx, michael)
Brian Dettmer began crafting skeletons from cassette tapes after being inspired by the relatively rapid death of analog media. The artist, whose previous work includes meticulous autopsies of books, enjoys deconstructing found objects and transforming them into complex, chimerical sculptures. His plastic bones have resulted in a series of skulls, both human and animal, crafted from tapes consistent with a musical genre, such as rock and metal. Each piece is devoid of any adhesive, and although Dettmer keeps his process a secret, it's rumored that the cassettes are welded together using heat, moulds, and his damp hands. No word yet on how they sound.
Did Jackson Pollock hide his name in one of his most well-known paintings?
Pollock's possibly writing his name in Mural testifies to an overlooked feature of his works: they have a structure, contrary to the popular notion that they could be done by any 5-year-old with a knack for splatters. In my view, Pollock organized the painting around his name according to a compositional system-vertical markings that serve as the loci of rhythmic spirals-borrowed directly from his mentor, Benton.
Try and find it for yourself.
Dazzling work by Hiroshi Sugimoto.
Hiroshi Sugimoto uses a 400,000-volt Van De Graaff generator to apply an electrical charge directly onto his film.
See also Peter Miller's Polariod experiments.
Update: Robert Buelteman uses electricity to take photos of flowers.
Impressionism - painting outside of a studio with quick, loose brushstrokes to capture an evocative impression of their subject. Van Gogh was an Impressionist but wanted to express how he felt about what he saw so he distorted the subject. This helped to lead to Expressionism practised by artists from Edvard Munch through to Francis Bacon. The Fauves (wild beasts) expressed themselves by painting with bright colours. Jackson Pollock did it by throwing or dripping paint on a canvas. His paintings were abstract -- Abstract Expressionism.
Cezanne was very important. He began as an Impressionist but then started to look at a subject from two different perspectives to represent how we see. Picasso and his friend Georges Braque were very impressed and started to paint subjects from lots of different views. This is Cubism. Marcel Duchamp was a Cubist but then changed art for ever. He said the idea is more important than the medium and refused to stick with the limited choice of canvas or stone. So he chose everyday objects and called them art because he had altered their context. This led to Conceptual Art where the idea becomes the medium.
The Dadaists were very cross. They blamed the horrors of the First World War on the Establishment's reliance on rational and reasoned thought. They radically opposed rational thought and became nihilistic -- the punk rock of modern art movements. Dada plus Sigmund Freud equals Surrealism. The Surrealists were fascinated by the unconscious mind, as that's where they thought truth resided. Piet Mondrian thought he could paint everything he knew, felt and saw by using two lines placed at rectangles and three primary colours. This was called Neo-Plasticism and was inspired by Cubism. So was Futurism, which is Cubism with motion added. Vorticism is the same as Futurism, but British. The Minimalists might represent the real truth because they weren't trying to represent anything. Performance Art is Dada live.
That's from Will Gompertz in the Times. (via sippey)
Drei Klavierstücke op. 11 is a set of pieces written for the piano by Arnold Schoenberg in 1909, some of the first western music to written in an atonal style. Cory Arcangel took a bunch of YouTube videos of cats playing the piano and fused them together into a performance of op. 11.
This project fuses a few different things I have been interested in lately, mainly "cats", copy & paste net junk, and youtube's tendency in the past few years to host videos that are as good and many times similar to my favorite video artworks. I think all this is somehow related.
Cory's no-bullshit statements about his art are just as entertaining as the work itself:
So, I probably made this video the most backwards and bone headed way possible, but I am a hacker in the traditional definition of someone who glues together ugly code and not a programmer. For this project I used some programs to help me save time in finding the right cats. Anyway, first I downloaded every video of a cat playing piano I could find on Youtube. I ended up with about 170 videos...
You can catch Cory's project in-person at Team Gallery in NYC and at Kunsthaus Graz in Austria.
David Galbraith calculates that if buildings by famous architects were priced like paintings, a Le Corbusier building would be worth more than the entire US GDP.
The top floor of Corbusier's Villa Stein (one of perhaps the top 500 most important houses of the late 19th/early 20th centuries - i.e. a Van Gogh of houses) is for sale for the same price per sq.ft. (approx $1400) as buildings in the same area of suburban Paris, designed by nobody in particular. Meanwhile, Van Gogh's Portrait of Dr. Gachet sold for an inflation adjusted price of $136 million yet a poster of similar square footage and style costs around $10.
In terms of signaling, it's difficult to hang a house on one's parlor wall...buying a Corbusier means living in it wherever it happens to be located, at least part of the year.
Errol Morris follows up on his recent series about Dutch forger Han van Meegeren by addressing some of the comments he received. Here's Morris on the interaction of historical research and modern content management techniques.
The first version of the Time article that I saw was the "electronic" version from the Web. It is particularly strange, if only because the text (from 1947) is surrounded by modern information, including contemporary advertisements for Liberty Mutual, teeth whitening preparations, wrinkle-cream, and most e-mailed articles. Emmy Göring and Henriette von Schirach complaints are directly adjacent to "Will Twitter Change the Way We Live."
I also enjoyed the discussion of "Hitler-soup" at the end.
Global Street Food is an exhibition the various contraptions people use to make and sell food on the street.
"Global Street Food" is dedicated to the fascination with improvised kitchens in public places. Urban fast food stations navigating the contrast between pragmatic dilettantism and complexity in the smallest of spaces. Mike Meiré will be presenting several objects and street kitchens from different parts of the world in the Buckmneister Fuller Dome. An exhibition depicting the sculptural quality of authentic objects and their cultural identity
(via today and tomorrow)
The recent acquisitions should give you some idea of the curatorial vision of the Museum of Bad Art. (thx, joe)
Over on his NY Times blog, Errol Morris finishes up his excellent seven-part series on Vermeer forger Han van Meegeren. Here are the links to all seven parts: one, two, three, four, five, six, and seven.
In a piece from 1979 called Big Wheel, artist Chris Burden took a massive 19th century iron flywheel and set it spinning with the rear wheel of a small motorcycle. The flywheel spins for *three hours* on a single charge.
A description of the work from the NY Times:
Several of his larger works present a characteristic blend of purity, violence and monumentality now aimed at demonstrating simple principles of motion or mass in breathtakingly sculptural ways. In "The Big Wheel," Burden uses a motorcycle's rear wheel to set a three-ton iron flywheel, the survivor of a 19th-century factory, into a fast and furious spin that lasts about three hours. The contrast is wonderful: this old, simple Goliath of a wheel, man's first "machine," powered by a modern David -- small, complex and delicate.
A project from Jin-wook Hwang:
Seedbomb is a non-military bomb that protects earth from worsening desertification and lessens sandstorms. [...] When a Seedbomb is released from an airplane, Seedbomb is disassembled in the air and seed capsules inside of the bomb spread out widely and fall on the ground.
As individual seeds grow into plants, the case surrounding each seed breaks down due to the moisture generated by the plant through transpiration.
Artist Daniel Martinico took William Shatner's finest moment as an actor and stretched it out into a 15-minute video.
You'll notice the crowd gets quiet after the first few seconds. It draws you in, forces you to pay attention, even if it's just staring at the back and forth eye tics on Shatner's face for a minute at a time. "In that moment everyone responds to it," Martinico says. There's laughing at first, but then people get into the rhythm of it and study the various little muscles as they pull and twitch on Kirk's face. "It's a phenomenal range in just a few seconds."
Here's the first two minutes of the video.
It's pretty mesmerizing, even small and at poor quality. (via greg)
For his The Girl Studies project, Charlie White paired photographs of two groups of people becoming women in very different ways: teen girls and adult male-to-female transsexuals.
In the images in White's series, both figures are blossoming into womanhood, though each along a different path. As observers, however, we have been taught to view the subjects in much the same way: with sheer terror.
These are fascinating. (via bygone bureau)
From part three of Errol Morris' investigation into Dutch forger Han Van Meegeren, here's art historian Jonathan Lopez:
Forgery is about the way the present looks at the past. The best forgeries may imitate the style of a long dead artist, but to appeal to people at the moment that they're being tricked, forgeries must also incorporate some of the aesthetic prejudices of the moment. When fakes work well, they give us a vision of the past that seems hauntingly up to date. And that's one of the things that makes forgery so seductive.
Errol Morris posted the first part of a seven-part series of posts about Han van Meegeren, art forger extraordinaire.
To be sure, the Van Meegeren story raises many, many questions. Among them: what makes a work of art great? Is it the signature of (or attribution to) an acknowledged master? Is it just a name? Or is it a name implying a provenance? With a photograph we may be interested in the photographer but also in what the photograph is of. With a painting this is often turned around, we may be interested in what the painting is of, but we are primarily interested in the question: who made it? Who held a brush to canvas and painted it? Whether it is the work of an acclaimed master like Vermeer or a duplicitous forger like Van Meegeren -- we want to know more.
Morris ends the post with a cliffhanger that, if I didn't know any better, was written specifically for me: "The Uncanny Valley."
Update: Part two has been posted.
A metaphor for the current state of the American auto industry: two cars in an art gallery crashing into each other over a period of six days.
(via today and tomorrow)
Update: This exhibit is currently on display at The Boiler in Brooklyn. (thx, jeff)
Update: See also Chris Burden's Samson.
A museum installation consisting of a 100-ton jack connected to a gear box and a turnstile. The 100-ton jack pushes two large timbers against the bearing walls of the museum. Each visitor to the museum must pass through the turnstile in order to see the exhibition. Each input on the turnstile ever so slightly expands the jack, and ultimately if enough people visit the exhibition, Samson could theoretically destroy the building.
Here's a video. (via things)
The trailer for Herb and Dorothy, about a pair of unlikely art collectors. From a 1997 article in the Austin Chronicle:
She was a librarian. Her husband was a postal worker. They lived on his salary and bought art with hers. Both are now retired. They have no children. "We bought art we could afford and that would fit into the apartment," they say. Water from the fish tank once splashed a Warhol they owned. It later had to be restored.
Much of their collection has passed to the National Gallery of Art.
Simon Schubert creates 2-D scenes by folding paper slightly. Only slightly...this isn't origami.
See also one of my favorite things at the Met, the studiolo from the Ducal Palace in Gubbio. (via today and tomorrow)
Update: See also these intricate etchings in aluminum foil by Marco Maggi. (thx, mike)
Some days I feel just like a gaussian goat.
This is perhaps what the world would look like if human vision could perceive all of an object's possible quantum mechanical states at the same time. (via today and tomorrow)
So, this happened: video of Andy Warhol painting Debbie Harry on an Amiga computer.
Update: AmigaWorld did an interview with Warhol about his Amigas (he owned two at the time).
The thing I like most about doing this kind of art on the Amiga is that it looks like my work.
(thx, paul)
Imagine Finding Me is a project by Chino Otsuka where she inserts her adult self into photos taken of her as a child. More examples at Wallpaper. See also Ze Frank's Youngme / Nowme and those neat half-kid, half-adult photos that I can't find a link to right now...little help? (via waxy)
This is an odd little excerpt from Vanity Fair of a book about the 1911 theft of the Mona Lisa and other art in Paris.
The shocking theft of the Mona Lisa, in August 1911, appeared to have been solved 28 months later, when the painting was recovered. In an excerpt from their new book, the authors suggest that the audacious heist concealed a perfect -- and far more lucrative -- crime.
Expecting new revelations, I read on but it was the same story told in previous books. Regardless, it's a great story and worth the read but nothing new if you've heard it before.
Update: Someone's doing a documentary. (thx, rakesh)
A sampling of art by Lucas Monaco, whose work deals with maps, flows, and overlaps.
I really love that last one. (via moon river)
Josh Poehlein's Modern History project takes screen grabs from YouTube videos and assembles them into collages.
These are wonderful. And he's giving them away.
I am offering large printable files to anyone interested at no cost. Computer files are the most easily reproducible information on the planet. In this particular case I see no reason to imbue a false sense of preciousness on the work. The information I gathered to create the collages is publicly availaibe, and the collages themselves are no different.
(via conscientious)
Whoa. I'm a sucker for art that punches you in the face like this.
This particular image is trapped in the permalink-unfriendly JavaScript interface of Aram's gallery...it's the 4th image if you want to click through to see it larger.
Aram's piece reminded me of John Maeda's Amber Waves, available as wallpaper here. (via moon river)
[Ok, I'm gonna try not to mention The Matrix here.]
Thomas Broome makes paintings where words that describe the objects comprise the objects themselves. The effect looks sorta like The Matrix. [Dammit!]
Update: See also the visual effects by H5 in this Alex Gopher video. (thx, tom & philip)
Trailer for a new film called Guest of Cindy Sherman. It's a documentary about a man who becomes romantically involved with the famous artist, only to find that his ego can't handle her fame. I wonder if we actually get to see the real Sherman in the film...the trailer is very teasing about it.
Update: Unsurprisingly, Sherman's not happy about the film. (thx, paul)
A collection of quirky toilet signage. And for what to read after you've latched that door, there are several sites dedicated to writing found on the walls of bathroom stalls. (Warning: most of it does contain language that falls soundly in the "potty mouth" category.)
Please Do Not Throw Toothpicks in The Urinals The Crabs can Pole Vault.
I wonder if they frisk for pens and markers before allowing admittance to the Art Museum Toilet Museum of Art.
Designer Naoto Fukasawa has designed juice boxes that both look and feel like their juices' fruits of origin. That newly-reinstated orange on Tropicana cartons is turning green with envy.
Peculiar little video by Keith Loutit for a song called "Clementine." Utilizes tilt-shift photography to achieve its miniature look.
via Nothing for X
An excerpt from one of Galileo Galilei's letters to Don Virginio Cesarini:
Long experience has taught me this about the status of mankind with regard to matters requiring thought: the less people know and understand about them, the more positively they attempt to argue concerning them, while on the other hand to know and understand a multitude of things renders men cautious in passing judgment upon anything new.
Want more Galileo? The Istituto e Museo di Storia della Scienza in Florence is loaning out their exhibit, Galileo, the Medici and the Age of Astronomy to The Franklin in Philadelphia. It features one of the last two telescopes belonging to the astronomer, as well as his notes, paintings, and other instruments, including the cylindrical sundial and Michelangelo's compass.
Ian Curtis is as haunting made of tape as he is on tape.
The artist, known as iRI5, is in her mid-twenties and lives in Georgia. Her work features found objects like old magazines, books, playing cards, and trash that she turns into treasure.
via Noise Addicts
Love at first sight apparently applies to men only:
Researchers believe that this difference between men and women can best be explained by the fact that the former use eye contact to seek fertile and fit mates. Meanwhile, the latter shy from making eye contact or drawing unwanted attention onto themselves for fear of unwanted pregnancies and single parenthood, it has been said.
The same study found that it takes approximately 8.2 seconds of eye contact for a man to decide if a woman is attractive. It's hard not to stare at the eyes of photographer Rankin's hypnotizing Eyescapes for a whole lot longer, but that's a different type of beauty.
From a post that includes all 120 crayon names, codes, and trivia:
The name Crayola was coined by Alice Binney, wife of company founder Edwin, and a former school teacher. She combined the words craie, which is French for chalk, and ola, for oleaginous, because crayons are made from petroleum based paraffin.
I don't remember ever having scribbled with sticks of Manatee or Jazzberry Jam, but I do distinctly recall meticulously practicing my hearts and starts with the dulled point of Carnation Pink.
via Colour Lovers
Biogen is an art installation by Hanna von Goeler that's inspired by the genetic engineering of tomatoes. Consisting of oil paintings, sculptures, a mobile made of tomato skin, and a model of a "tomato six pack," von Goeler's work is striking, and notably unappetizing.
Food Fray offers an equally fascinating, though less creative case against GM fruits and veggies. Both the art and the argument raise questions about the dangers of chewing with an open mind.
Brooke Inman's Everything Color Circle is mesmerizing. As somebody with limited organizational skills, I find it mind-boggling that she was able to put this together. And to think that it could be destroyed in a nanosecond if a sugar-addled kindergartner armed with construction paper wandered into the room.
[via Design Milk]
Noriko Ambe cuts marvelous shapes into books and stacks of paper. This particular image is gonna stick with me.
The eyes! (via today and tomorrow)
From artist Michael Kontopoulos, a video of machines that almost fall over.
A system of sculptures that is constantly on the brink of collapse. My intention was to capture and sustain the exact moment of impending catastrophe and endlessly repeat it.
I do this too, only I use chairs and my own body and frequently tip over and hurt myself. Anything for my art.
Kontopoulos also did something called Conversation Piece, inspired by legendary film editor Walter Murch.
Film editor Walter Murch, who edited many of Francis Ford Copolla's films, developed a theory about edits while working on The Conversation (1974). He noticed that in many cases, the best place to make a cut was when he blinked. Subsequently, Murch wrote about the human blink as a sort of mental punctuation mark: a signifier of a viewer's comfort with visual material and therefore, a good place to separate two ideas with a cut.
Fascinating. (via this is that)
Improv Everywhere turned the 23rd Street C/E subway platform into an art gallery opening, complete with a cellist, sparkling drinks, signs explaining the "art", and a coat check. An explanatory sign placed near a drain read:
Drain (1975)
MTA and unknown artists
Mixed Media on Metal and ConcreteDescribing the irresistibility of natural urges, and situated thematically near the restroom, this drainage grate offers deliverance. Consequently, here lies an indeliable yellow nitrogen stain, as evidence of the passings of hundreds, if not thousands of strained commuters. Each straphanger, surreptitiously seeking relief, has helped create this totally organic, revolutionary art piece.
A painting that has been hanging in the home of the Cobbe family for 300 years is now believed to be the only portrait of William Shakespeare painted in his lifetime.
For many people he is the round-headed bald man seen on the First Folio of his collected works but evidence was presented yesterday arguing that we should rethink this. Instead we should visualise Shakespeare as a rosy-cheeked, long-nosed man who was something of a looker.
The portrait appear to be in good condition and Shakespeare looks a lot like Joseph Fiennes, who played the Bard in Shakespeare in Love.
I love these two pieces by Lizzie Buckmaster Dove: Cacophony: Rip Rack Roar Rumble and Cacophony: Toot Tweet Twitter Trill. (via this is that)
On the long list of books I would read if I had the time for such a thing, reading, is Art & Fear. Ted Orland, one of the authors and a working artist himself, describes the book thusly:
This is a book about the way art gets made, the reasons it often doesn't get made, and about the difficulties that cause so many artists to give up along the way.
Kevin Kelly called the book "astoundingly brilliant" and pulled this excellent excerpt from it.
The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the "quantity" group: fifty pound of pots rated an "A", forty pounds a "B", and so on. Those being graded on "quality", however, needed to produce only one pot -- albeit a perfect one -- to get an "A". Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the "quantity" group was busily churning out piles of work - and learning from their mistakes -- the "quality" group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.
Special heads-up to Merlin Mann: the first book in the Customers Who Bought This Item Also Bought list for Twyla Tharp's The Creative Habit that you've been going on and on about is, bum bum bum, Art & Fear. You should maybe 1-click that sucker right into your book-hole. (via modcult)
The interior walls of the Whitney Museum were painted by the Frank Painting Company in 1966. The company painted the wall again 40 years later, this time as part of artist Jordan Wolfson's unusual contribution to the Whitney Biennial. (via reference library)
smarthistory is a fantastic substitute for that art history class you never took in college.
smARThistory.org is a free multi-media web-book designed as a dynamic enhancement (or even substitute) for the traditional and static art history textbook.
This looks like a great resource.
For all of the talk that Shepard Fairey is just a plagiarist, I think that the clearest indication that his art is above board and adding something new to the world is that until a few days ago, no one knew who had taken the photo of Obama that became the basis of the iconic Hope poster, not even Fairey or the photographer who took it.
Reuters are understandably somewhat put out on their own and Young's behalf, but like it or not, Fairey's use of the picture are well within the parameters of "fair use". His transformative use of the image - both in flipping and re-orienting it, adding jacket and tie and the "O" Obama logo, and converting it to his block print style make it consistent with all legal precedents for use.
Update: But, but ,but, not so fast. It looks like Tom Gralish has found the actual photo that Fairey used; it was taken by AP's Mannie Garcia at a National Press Club event in April 2006. (thx, ryan)
A neat poster of 60 Noses by Shawn Feeney.
A collection of sixty female and male noses, arranged chronologically from people ages 16 - 90. The original pencil drawings (based on arrest photos) are faithfully reproduced on beautifully textured, 100% cotton Hahnemühle paper.
Feeney drew the noses while working as a forensic artist.
Video of Willard Wigan's work. Wigan makes exceptionally tiny sculptures that fit on pin-heads or within eyes of needles. He once lost a sculpture of Alice in Wonderland:
I think I inhaled her.
Some of the parts of his sculptures are no bigger than human blood cells and to steady his hands, he works in between the beats of his heart.
The stillness of it is very important -- you have to control the whole nervous system, you have to work between the heartbeat -- the pulse of your finger can destroy the work.
(thx, alex)
The Danziger Projects gallery in New York is running an exhibition called Can & Did, a collection of art, graphics, and photography from the Obama campaign. The opening party is on Inauguration night (Jan 20) and it runs through the end of February. All details in the press release.
Ortho at Baudrillard's Bastard found a bunch of Revolutionary War era prints featuring dogs peeing on various things (ministers, maps, tea accessories, etc.) and asks why are these dogs peeing on things?
Update: Seventeenth-century Dutch artist Emanuel de Witte painted peeing dogs in his paintings as well. (thx, pb)
I Am Sitting in a Room is a piece by composer Alvin Lucier. It consists of an audio recording of Lucier sitting in a room reciting a few lines. That recording is played in the same room and recorded. Then that recording is recorded. And so on.
I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
Here's an mp3 of the original performance. Listening to it, I wonder how much of the distortion at the end is due to the "resonant frequencies of the room" and how much is just artifacts of the rerecording process. (via djacobs)
Upgrade: It's the Larsen effect in action.
The frequency of the resulting sound is determined by resonant frequencies in the microphone, amplifier, and loudspeaker, the acoustics of the room, the directional pick-up and emission patterns of the microphone and loudspeaker, and the distance between them.
(thx, eric)
Top: The Jackson 5, Encino, CA, 1970. Photographed by John Olson for Life Magazine.
Bottom: "Bad Route" by Miguel Calderon, 1998. Featured in Wes Anderson's The Royal Tenenbaums.
Leonardo da Vinci was a polymath and all that but this would have blown his tiny mind: the Mona Lisa "painted" using just 50 semi-transparent polygons. (via waxy)
On Stanley Kubrick, George Lucas, Robert Morris, Robert Smithson, Jane Jacobs, 2001, Star Wars, and minimalism: Star Wars: A New Heap.
Kubrick's film presented a future of company men moving with assurance and clear intention toward a godlike minimalist object. Lucas, on the other hand, gave us a slapdash world of knuckleheads pursued by industrial-scale minimalists. Visually, Kubrick's film is as seamless and smooth as the modernist authority it mirrored. Like the mid-century modernists, 2001 associated abstraction with the progressive ideals of the United Nations as embodied by its New York headquarters. Lucas, on the other hand, was a nonbeliever. Even the initially smooth and unitary form of the Death Star was shown, as the rebel fighters skimmed its surface, to be deeply fissured with an ever-diminishing body of structural fragments. These crenulated details suggested a depth and complexity to modern life that modernism's pure geometries often obscured.
And this:
A flying saucer had never been a slum before. The immaculate silver sheen of the saucer was reinvented as a dingy Dumpster full of boiler parts, dirty dishes, and decomposing upholstery. Lucas's visual program not only captured the stark utopian logic that girded modern urban planning, it surpassed it. The Millennium Falcon resisted the modernist demand for purity and separation, pushing into the eclecticism of the minimalist expanded field. Its tangled bastard asymmetry made it a truer dream ship than any of its purebred predecessors. It is the first flying saucer imagined as architecture without architects.
(thx, matt)
Spanish artist Miquel Barcelo spent more than a year painting the recently unveiled ceiling in the UN's Geneva offices. Check out the larger photos at Artdaily and USA Today. The painting isn't exactly aesthetically beautiful, but I love its scale and power. Wonderful.
Cory Arcangel has a new show opening tonight at Team Gallery in Soho called Adult Contemporary. I got a peek at it last night and my favorite piece is called Photoshop CS: 110 by 72 inches, 300 DPI, RGB, square pixels, default gradient "Spectrum", mousedown y=1098 x=1749.9, mouse up y=0 4160 x=0. It's easy enough to whip up your own by following those instructions in Photoshop but the print itself is gorgeous. When you get up close to it, there is no discernible gradation between the colors and, because it's so uniform and smooth and glossy and big, you lose your sense of depth perception and you don't really know how close you are to it. I almost fell over looking at it because I was so disoriented.
20x200 has a really nice special edition print by Jason Pollan of 132 drawings of birds from the Museum of Natural History. There's something very old school about this print, like it's the work of an obsessed 1870s ornithologist.
Thanks to artist Carsten Holler, you can spend a night in the Guggenheim Museum in Manhattan.
Revolving Hotel Room is an art installation comprising three outfitted, superimposed turning glass discs mounted onto a fourth disc that all turn harmoniously at a very slow speed. During the day the hotel room will be on view as part of the Guggenheim's theanyspacewhatever exhibition, which runs from October 24, 2008-January 7, 2009. At night, the art installation becomes an operative hotel room outfitted with luxury amenities.
The view from the rotating bed.
Holler was previously responsible for the seriously fun-looking slides in the Tate Modern's Turbine Hall a couple of years back.
The mirrors in rAndom International and Chris O'Shea's Audience project chat amonst themselves until something catches their collective eye.
When members of the audience occupy the space, the mirrors inquisitively follow someone that they find interesting. Having chosen their subject, they all synchronise and turn their heads towards them. Suddenly that person can see their reflection in all of the mirrors. They will watch this person until they become disinterested, then either seek out another subject or return to their private chatter. The collective behaviour of the objects is beyond the control of the viewer, as it is left entirely to their discretion to let go of their subject.
This Vimeo video is a good look at how the project works. (via sippey)
Update: New from O'Shea is Hand From Above.
Unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity [on a large screen].
Now that he has a book coming out on the subject of genius and high achievement, the New Yorker finally lets Malcolm Gladwell write about David Galenson's work on age and innovation. (A previous effort was Gladwell's first article to be rejected by The New Yorker.) For an overview of Galenson's work, check out my post from August.
The most interesting bit of Gladwell's piece is his discussion of the economics of the two different types of artist. The conceptual artist's talent is noticed and rewarded immediately. But conceptual innovators need more help to reach their full potential.
Sharie was Ben's wife. But she was also-to borrow a term from long ago-his patron. That word has a condescending edge to it today, because we think it far more appropriate for artists (and everyone else for that matter) to be supported by the marketplace. But the marketplace works only for people like Jonathan Safran Foer, whose art emerges, fully realized, at the beginning of their career, or Picasso, whose talent was so blindingly obvious that an art dealer offered him a hundred-and-fifty-franc-a-month stipend the minute he got to Paris, at age twenty. If you are the type of creative mind that starts without a plan, and has to experiment and learn by doing, you need someone to see you through the long and difficult time it takes for your art to reach its true level.
Gladwell discusses the article in a podcast and will be answering reader questions about it later in the week.
A collection of artworks featuring Kate Moss, including a self-portrait drawn with lipstick.
Evan Roth has been putting metal plates with messages and symbols cut into them into his carry-on luggage when he goes through security at the airport.
Here's Roth's idea, which he calls "TSA Communication" and tells me has already made it through three trial airport runs: Take a metal plate, stencil and cut out a message -- words or an image -- place the plate at the bottom of your carry-on bag, and watch what happens as the TSA employee operating the airport X-ray machine notices ... or doesn't notice.
So far, he's used plates with outlines of the American flag, a "NOTHING TO SEE HERE" message, and something he calls The Exact Opposite Of A Box Cutter, a plate with a box cutter shape cut out of it.
Daniel Eatock's counterbalancing shelves.
5 pine planks (each 6 feet), 5 metal brackets, tools and materials from the gallery utility closet or found on the gallery grounds. Each of the five shelves that comprise this work is balanced on a single bracket. All maintain their level balance by the precise placement of the objects they bear.
With a little more conceptual work and product placement, he could have turned this into a piece about consumerism and the collapse of the networked global economy blah blah blah.
Why have I not heard of artist Tara Donovan before...her stuff is great.
Though Ms. Donovan's new prints won't be on view, her glass-shattering talents will be: she intends to recreate "Untitled (Glass)," a process-oriented sculpture that she first made in 2004. It involves stacking sheets of tempered glass into a perfect cube, then working carefully one by one from bottom to top, striking a single corner of each pane with a hammer. As with the print, Ms. Donovan will contain the glass with a wooden frame while she works. Once the mold is removed, the cube "stays in place," she said. "You can still see the layers, but everything's really broken into itty-bitty teeny-weeny shards."
Donovan is one of the 2008 MacArthur genius fellows. (via delicious ghost)
Color palettes taken from a MoMA exhibition of nighttime paintings by Vincent van Gogh. Review of the show by the NY Times.
This year's harvest of crop art from the Minnesota State Fair included Grand Theft Festal, a mashup of Grand Theft Auto and Festal-brand canned corn done in millet, alfalfa, canola, and white clover seeds. The artist recorded a timelapse video of its construction. (via mark simonson)
Mark Rothko's daughter Kate remembers her father nearly 40 years after his death.
Rothko may have been depressed at the end of his life, he may not have been as clear as he should have been when it came to writing a will; but with regard to his work, and where it might end up, he had long held strong views. While selling to private individuals from his studio, he would scrutinise their reactions to paintings; they had to pass a test they did not know they were taking. If they failed, they went home empty-handed, irrespective of the size of their wallets. Lighting, on which wall of a gallery a painting might hang; these things obsessed him.
I saw Rothko's Seagram Murals at the Tate Modern in May.
How to identify interactive or new media art.
7. Someone in your audience wearing a Crumpler bag, slinging a fancy digital SLR and/or standing with their arms folded smugly says, "Yeah..yeah, I could've done that too..c'mon dude..some Perlin Noise? And Processing/Ruby-on-Rails/AJAX/Blue LEDs/MaxMSP/An Infrared Camera/Lots of Free Time/etc.? Pfft..It's so easy..."
(via russell davies)
Short film: Blow Job by Andy Warhol. Mostly SFW...it's just the face of the recipient. Here's some info on the film.
When Andy Warhol decided to shoot Blow Job, he rang Charles Rydell and asked him to star in it, telling him that "all he'd have to do was lie back and then about five different boys would come in and keep on blowing him until he came," but that the film would only show his face.
Charles agreed, but when he didn't show up for the following Sunday afternoon shoot, Andy reached him at Jerome Hill's suite at the Algonquin and screamed into the phone "Charles! Where are you?" Charles responded: "What do you mean, where am I? You know where I am - you called me," and Andy the said "We've got the camera ready and the five boys are all here, everything's set up!" Charles's shocked reply was: "Are you crazy? I thought you were kidding. I'd never do that!"
In order to explain serial computation vs. parallel computation, the Mythbusters guys pit two paintball guns against each other in a art contest...one shoots one ball at a time and the other very much doesn't. (thx, steve)
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