Am over in Aspen, Colorado at the Anderson Ranch doing a 2-week workshop / residency by the above title (basically kinetic sculpture), with Mark Koven and Anat Pollack (and special guest Jim Campbell next week). Didn’t really know what to expect, but the place is gorgeous and the other workshoppers are amazing (will give links to sites as I have time to find them). Anderson is def a place to consider…. Pics up when we actually make anything! -n
Not to again mention Winkleman’s appearance on the US telly about the big Warhol sale a few weeks ago, but there are quite a few good reads about the art market on the web as of late. Not gonna list all the ones I’ve seen (one reason being that it’s not really a focus of mine), but I enjoyed quite a few, if for no other reason than their critical eyes on how “the market” effects production, what it means for art now and in the near future. A few:
The Reality of the Collector-Driven Art World (blog post, Ed Winkleman);
Bursting art’s bubble (The Times, South Africa);
The problem with a collector driven market (The Art Newspaper, NYC-based writer);
and shorter, and more outside (and contrary to a few of the points above), Is That a Hirst?, by newcomer Irish gallerist, Haydn Shaughnessy. I thought this last piece also went well with Haydn’s Irish Times article on Digital Art a few weeks ago: Beyond Art and Design.
So, we’ve got two extra beds/couches in a lovely house in Kassel from 20 – 25 July (had cancellations). Self catering, and we’ll cook together… €195 per person for all 5 nights, including taxes and exchange, and we will have a car to get to/from the festival (if we squeeze for the 5 minute ride, otherwise there is also public transport). See the room here. Any takers? Email me.
litho stone in progress, piece will be 1080 x 380 mm
Am on residence at the Frans Masereel Centre in Belgium at the moment, working on a new series that is being printed by printmaker and artist Zhane Warren, and published by Art on Paper Gallery (Johannesburg). It’s an extension of my Compressionist works, and my last solo show at AOP, Call and Response.
Compressionism is a “digital performance and analog archive.†I traverse bodies, spaces and objects with my scanner face, while its head is in motion. After being Compressed into digital images the size of a small sheet of paper, the files are then stretched, cropped and colored by hand, then printed as editioned, archival works. Later pieces in the series further transform details of these prints into hand-made art objects: etchings, engravings, aquatints, planographs, carborundum, monotype and more.
Compressionism is an exploration of media and perception, a transfiguration in time and seeing.
I’ve done some new performative scans since my show with Haydn Shaughnessy (these will be printed on metallic paper through photographic processes), and am amidst working in stone litho, silk screen, wood cut and dry point. We’re playing up the bands of light and color that Brenton Maart remarked on in Art South Africa, a relic of the digital scanning performances, by creating manufactured spaces on our stones and screens. Will post links to images of the finished works in a little over a week!
LINK: the flickr set in progress :)
The extremely underrated Greg Shakar will have a (I think his first) solo exhibition opening at the new Greylock Arts gallery in Massachusetts – an endeavor by the wonderful and wondrous Marianne Petit and her partner Matthew Belanger. The former was my supervisor when I was at ITP; she is a total star many times over, and you should watch any and every thing she ever does.
Greg is a very smart, technically clued-up and thoughtful artist. I’m sure it’s gonna be a great show. The re-blog:
Gregory Shakar creates interactive audio sculptures and immersive environments. As an artist and musician he is devoted to the creation of emotive and expressive electronic art. Viewers participating in his interactive installations encounter melodic bolts of lightning, giant sonorous metronomes, and enormous undulating pixels. His performance work includes audience participatory symphonies performed on hundreds of mobile phones and music for quasi-harmonic audio-visual environments.
Shakar’s work has been exhibited internationally including at Ars Electronica (Linz, Austria), Digital Arts Festival (Tokyo, Japan), Nagoya City Museum of Art (Nagoya, Japan), Sonar Festival (Barcelona, Spain), the London Institute for Contemporary Art (London, UK), the Smithsonian Museum of American History (Washington, D.C), Lincoln Center’s Avery Fisher Hall (New York) and The Kitchen (New York).
For more information about the artist visit his website at: moodvector.com.
We are pleased to present the first survey of the artist’s work in an exhibition entitled “MoodVectorsâ€.
July 13th – August 18th
Friday July 13th, 5:30-8:30 p.m.
HELLO, my name is, is the title of Juliana I. Smith’s installation for her final exhibition with MAPS, Master of Art in Public Sphere. The installation includes two video works, objects, and drawings mainly from performances she has done in public places. Juliana works with themes of chosen home (Wahlheimat), mobility, tourism and voluntary migration. Through MAPS, she had the opportunity to spend five months at Wits School of Arts in Johannesburg, South Africa. There she co-founded “Kazoo- it’s a live art thing” with Anthea Moys. They held their launch event last December at The Premises Gallery in
Johannesburg, and were the co-curators of Armed Response II at the Goethe-Insitut this past April. She recently had a video installation at the “6th International Symposium on the Aspects of Tourism”, at the
University of Brighton. Juliana’s theoretical work focuses on the “resident” artist versus the “insider” artist in Johannesburg, and makes comparisons to Berlin and New York. How does a place and site affect artwork? In a global and cosmopolitan city like Johannesburg, loaded with a violent history, turbulent politics is one able to make artwork without reflecting the environment?
