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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 a recording 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.
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