Palimpsists
Noise, Idaho is a sound project I've been doing for a while. I put out one album a year on the day James Dean died.
Thursday, September 26, 2019
Wednesday, September 25, 2019
Ann Hamilton: "the event of a thread" | Art21 "Extended Play"
Charles LeDray The Power of Tiny at the ICA
Charles LeDray, MENS SUITS (installation view), 2009.
(Courtesy of the artist and Sperone Westwater, New York.)
by Andrea Shea, July 16th, 2010
Miniatures have mesmerized us for centuries. Doll houses, ship models, Matchbox Cars, toy dogs, Mini Coopers, nanotechnology.
But why do we love these tiny little things?
Full article here
Dario Robleto - the Prelives of the Blues
Dario Robleto video here article here
Dario Robleto reinterprets the meaning of rock, tonight at NOMA
The "Dario Robleto: The Prelives of the Blues" exhibit that opens at The New Orleans Museum of Art... is like a cross between The Da Vinci Code and The Rock N Roll Hall of Fame. Robleto, a brainy Texas-based conceptual artist, embeds his sculptures with buried symbolic clues so obscure that there's no way we'd figure things out without being tipped off.How could you possibly know that the authentic male and female pelvises in the show were sculpted from pulverized rock n roll record albums, thereby implying the importance of pop music in romance?
How could you possibly know that the silvery drumstick was fashioned from glass produced during atomic bomb tests, thereby symbolizing the brief, explosive life of rocker Keith Moon?
How could you know that the black thread on the spools in the canning jars was really stretched-out audio tape recordings of minor chords, meant to capture a sublime sense of melancholy?
How could you know that those tiny pink seashells had been exposed to hours and hours of Muddy Waters music, meant to … , well, truth is, I forgot to ask Robleto exactly how the delta blues and the seashells add up.
Here come the details.
The “Dario Robleto: The Prelives of the Blues,” an exhibit of music-inspired works by the San Antonio-born conceptual artist opens with a “Where Y’Art” reception from 5 to 9 Friday at The New Orleans Museum of Art, 1 Collins Diboll Circle, in City Park...
Wafaa Bilal - The Ashes Series
Video here and here
David Winton Bell Gallery
5 April - 26 May, 2013
5 April - 26 May, 2013
The Ashes Series marks a shift in the platform of Iraqi-American artist Wafaa Bilal. Known for provocative, performative, and innovative artwork often using technology and new media, Bilal has cultivated an aesthetic of conflict, tension, and direct confrontation with the social, political, and ethical dynamics of the modern world. In contrast, the photographs in The Ashes Series are still - almost serene. The exhibition, curated by Ian Alden Russell, is the premier of the complete The Ashes Series - ten photographs of models constructed by the artist based on mass-syndicated images of the destruction of Iraq in the aftermath of Operation Iraqi Freedom. Quiet scenes of a chair persistently standing amidst the rubble, Saddam Hussein's unmade bed, or a lone hospital bed pillow left behind testify to the external violence that literally ripped these spaces open to the public's gaze. In all the photographs, he has removed the human figures that were present in the original images, replacing them with 21 grams of human ashes distributed throughout the ten models. Referencing the mythical weight of the human soul, these 21 grams insert a human aura into the photographs, troubling the serenity of the scenes - the afterimage of conflict. The proverbial dust, captured suspended in mid-air by the camera, will never settle.
Levi van Veluw
Narrative and Scale
I've talked a little bit about the relativity of scale in my own work while sharing the Florida coast mapping and its relationship to my exploratory thesis collages. The collages deconstruct an existing photographic image into an operative surface rather than an object. This new surface hopes to investigate basic structure and measure that might inform occupiablility. Scale can be entirely arbitrary. The collages that investigate surface are entirely augmented when inserted into the Florida mapping. Understanding their scale is only possible relative to their context.
Unit Situational: Institutionalizing Measurement - The unit situational visually presents how the notion of measurement can be expanded - and how it can shift the location of accuracy. It proposes re-imagining measurement, and represents a counter-approach to the rigidity previously asserted; it gives more space to the concept of unit as well as to that of numbers in order to show the various possible dimensions of measurement. Situations make the concept!" [PG 71]
I just showed my undergraduate Design 1 students the Powers of 10 video to help understand fundamental field making in architecture. They just started a project called Matrix that investigates the relationship of edges and field conditions outside of the objects they make. The thing they are making is an interpretation of the geometry that starts to shape the stretch of campus between the Fine Arts building and Library West. These collages focus less of the object and more on systems of measurement, hard edge versus soft edge, height, width and registration. The idea is that these studies exist as part of larger (ultimately infinite) fabric of systems. This analysis operates in a similar way to language. The three major components of language are form, content, and use. Form involves three sub-components of syntax, morphology, and phonology. Narrative can exist in infinite variations, but the components that build it are always the same.
[2][3][4] [Richard Serra]
“Before, there was no way of discerning where anything was in relation to
where you were, because you had no point of reference. What that piece
does is give you a point of reference in relationship to a line, and your
upstanding relationship to a vertical plane, and infinity, and a personal
relationship to a context."
[Richard Serra in an interview with Sholto Byrnes for the Independent]
This quote from Richard Serra ties back into Stewart's On Longing. [PG 71] "The gigantic becomes an explanation for the environment, a figure on the interface between the natural and the human." This chapter talks a great deal about understanding the gigantic through (human mark on) landscape (more specifically sky). I'm curious to discuss Stewart's ideas on literal versus figurative distance between subject and audience.
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