Selected Bulletin: Friday, January 4th, 2013
January 4th 2013
Re: UPDATE: New Observations Magazine Makes 25% Of Goal
From: Artist Organized Art
To: The Subscriber Email Address
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PLEASE HELP: New Observations Magazine Needs To Cover Printing. Donate Easily On Our Page
Great News! We have already made 25% of our goal
Many Thanks To All Our Supporters
We can only make our goal because of you. Please donate on our GoFundMe page
New! *GIFTS & PRIZES* offered at the $75, $150, and $300 levels. These include rare copies of Issue #70 Guerrilla Girls (Previous GoFundMe Donations Honored)
LONG AWAITED RETURN IS FEBRUARY
New Observations Magazine #129
The Way Of Art On The Loose
The Long Awaited Return Of New Observations Magazine Comes In February
Issue #129 Out Of The Box (The Way Of Art On The Loose) is packed with remarkable, rare, unique, cutting edge and archival content from some of our community’s most engaging members.
www.gofundme.com/newobservations
But We Need Your Help To Cover Printing
Please Donate Whatever You Can And Share This
www.gofundme.com/newobservations
It’s Easy To Donate At Our GoFundMe Page
Happy Holidays Everyone And Thanks For The Support!
Erika Knerr, Publisher — NEW YORK
New Observations magazine
Issue 129 OUT OF THE BOX – The Way of Art On The Loose
Guest Edited by Joshua Selman
New Observations Press
New Observations is a conceptual print magazine published by artists for artists and the greater community, as a work of collaborative art. After 128 back issues from 1981-2001 we are ready to print issue #129, twelve years later, as a limited edition. We need your help to do that.
We have put together a remarkable issue with Guest Editor, Joshua Selman. The offset printing of our 129th Issue, “OUT OF THE BOX – The Way of Art On The Loose,” reintroduces the magazine exploring alternative ways that artists have interacted with art making and their communities, bringing together seminal artists from Fluxus, Street Art, Correspondence Art, Contemporary Intermedia, Experimental Utopias and beyond. We are presenting artists who have reacted to social conditions that lack flexibility, by distributing work either for free, or outside of rational transaction, loosening the exchange structures in their communities, through various offerings.
We have inside coverage of Lance Fung’s Artlantic Wonder, the five year Art Park being created in Atlantic City and how the first phase, with installations by Robert Barry, Ilya and Emilia Kabakov, John Roloff and Kiki Smith survived hurricane Sandy to open to the community, in just a month of its aftermath. Alison Knowles created a piece for the issue titled “Out of the Box,” that was also performed on SWITCH TV in Holyoke, MA and documented for the magazine. Hannah Higgins has contributed a meditation on Buckminster Fuller. We have a feature section from very rare, never before seen documentation from the Larry Miller Archive that is being guest designed by Sara Seagull. We are also very happy with our New Logo by guest designer, Betsy Brecht.
And there is much, much more, promising an exciting and important re-launch.
Contributors:
Robert Barry, Mark Bloch, Christoph Cox, Buckminster Fuller, Lance Fung, General Idea, GLOVE, Ilya and Emilia Kabakov, Erika Knerr, Alison Knowles, Layman Lee, Larry Miller and Sara Seagull, Hannah Higgins, Jessica Higgins, Gaia, Lucio Pozzi, John Roloff, David Shapiro, Kiki Smith, Alex Stern, Sarah Sze, Lucja Wasko-Mandes, Ryszard Wasko and others…
www.gofundme.com/newobservations
Our Target is $8,000.00. Our priorities for funding are Printing & Distribution Costs. We are printing 64 Full Color Pages with TigerPress of Western Mass!
Come to the re-launch event in NYC! The community is invited to celebrate the achievement. As soon as we have the printed edition look for your personal invitation.
With Gratitude,
Erika Knerr
Publisher and Designer
For more information:
www.newobs.org
New Observations LTD is a 501(c)3 non-profit organization dedicated to bringing artists’ voices to the public forum through a guest-edited arts journal founded in 1981. Its editorial program allows for freedom of thought, expression and experimentation, offering artists the opportunity to explore in-depth thematic topics.
New Observations is a registered trademark.
www.gofundme.com/newobservations
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ARTIST ORGANIZED ART
Each Announcement Now Comes With An Inclusion In Our Newsletter At No Additional Cost
Let people know what you’re doing. Our low cost announcements reach over 75,000 arts professionals and their followers. Get started sending announcements about exhibitions, book launches, crowdfunding campaigns, concerts, broadcasts and more. Our all time high is over 150,000 subscribers. Our qualified list touches the nerve center of the international art world. 44% North America, 33% Europe, 23% Asia+ and beyond. We can help turn your next release into a global fact at a fraction of the cost. We are a 501(c)(3) non-profit supporting artist organized media, events and cultural education. When you sponsor an announcement with us you support artists working in communities everywhere in the world. Learn More.
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#permalink posted by E-List: 1/04/13 08:45:29 PM
Selected Bulletin: Friday, December 21st, 2012
December 21st 2012
Re: Long Awaited Return Of New Observations Magazine, February
From: Artist Organized Art
To: The Subscriber Email Address
Subscribe |
Unsubscribe |
Join us on Facebook or
Google+
PLEASE HELP: New Observations Magazine Needs To Cover Printing. Donate Easily On Our Page
LONG AWAITED RETURN IS FEBRUARY
New Observations Magazine #129
The Way Of Art On The Loose
The Long Awaited Return Of New Observations Magazine Comes In February
Issue #129 Out Of The Box (The Way Of Art On The Loose) is packed with remarkable, rare, unique, cutting edge and archival content from some of our community’s most engaging members.
www.gofundme.com/newobservations
But We Need Your Help To Cover Printing
Please Donate Whatever You Can And Share This
www.gofundme.com/newobservations
It’s Easy To Donate At Our GoFundMe Page
Happy Holidays Everyone And Thanks For The Support!
Erika Knerr, Publisher — NEW YORK
New Observations magazine
Issue 129 OUT OF THE BOX – The Way of Art On The Loose
Guest Edited by Joshua Selman
New Observations Press
New Observations is a conceptual print magazine published by artists for artists and the greater community, as a work of collaborative art. After 128 back issues from 1981-2001 we are ready to print issue #129, twelve years later, as a limited edition. We need your help to do that.
We have put together a remarkable issue with Guest Editor, Joshua Selman. The offset printing of our 129th Issue, “OUT OF THE BOX – The Way of Art On The Loose,” reintroduces the magazine exploring alternative ways that artists have interacted with art making and their communities, bringing together seminal artists from Fluxus, Street Art, Correspondence Art, Contemporary Intermedia, Experimental Utopias and beyond. We are presenting artists who have reacted to social conditions that lack flexibility, by distributing work either for free, or outside of rational transaction, loosening the exchange structures in their communities, through various offerings.
We have inside coverage of Lance Fung’s Artlantic Wonder, the five year Art Park being created in Atlantic City and how the first phase, with installations by Robert Barry, Ilya and Emilia Kabakov, John Roloff and Kiki Smith survived hurricane Sandy to open to the community, in just a month of its aftermath. Alison Knowles created a piece for the issue titled “Out of the Box,” that was also performed on SWITCH TV in Holyoke, MA and documented for the magazine. Hannah Higgins has contributed a meditation on Buckminster Fuller. We have a feature section from very rare, never before seen documentation from the Larry Miller Archive that is being guest designed by Sara Seagull. We are also very happy with our New Logo by guest designer, Betsy Brecht.
And there is much, much more, promising an exciting and important re-launch.
Contributors:
Robert Barry, Mark Bloch, Christoph Cox, Buckminster Fuller, Lance Fung, General Idea, GLOVE, Ilya and Emilia Kabakov, Erika Knerr, Alison Knowles, Layman Lee, Larry Miller and Sara Seagull, Hannah Higgins, Jessica Higgins, Gaia, Lucio Pozzi, John Roloff, David Shapiro, Kiki Smith, Alex Stern, Sarah Sze, Lucja Wasko-Mandes, Ryszard Wasko and others…
www.gofundme.com/newobservations
Our Target is $8,000.00. Our priorities for funding are Printing & Distribution Costs. We are printing 64 Full Color Pages with TigerPress of Western Mass!
Come to the re-launch event in NYC! The community is invited to celebrate the achievement. As soon as we have the printed edition look for your personal invitation.
With Gratitude,
Erika Knerr
Publisher and Designer
For more information:
www.newobs.org
New Observations LTD is a 501(c)3 non-profit organization dedicated to bringing artists’ voices to the public forum through a guest-edited arts journal founded in 1981. Its editorial program allows for freedom of thought, expression and experimentation, offering artists the opportunity to explore in-depth thematic topics.
New Observations is a registered trademark.
www.gofundme.com/newobservations
——————————-
——————————-
ARTIST ORGANIZED ART
Each Announcement Now Comes With An Inclusion In Our Newsletter At No Additional Cost
Let people know what you’re doing. Our low cost announcements reach over 75,000 arts professionals and their followers. Get started sending announcements about exhibitions, book launches, crowdfunding campaigns, concerts, broadcasts and more. Our all time high is over 150,000 subscribers. Our qualified list touches the nerve center of the international art world. 44% North America, 33% Europe, 23% Asia+ and beyond. We can help turn your next release into a global fact at a fraction of the cost. We are a 501(c)(3) non-profit supporting artist organized media, events and cultural education. When you sponsor an announcement with us you support artists working in communities everywhere in the world. Learn More.
#permalink posted by E-List: 12/21/12 07:37:17 PM
Selected Bulletin: Friday, November 9th, 2012
November 9th 2012
Re: Update: ARTLANTIC: WONDER – November Preview – Atlantic City
From: Artist Organized Art
To: The Subscriber Email Address
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Liza Cartmell, President of Atlantic City Alliance, Discusses ARTLANTIC: WONDER (01:52)
ATLANTIC CITY
Art Wins At ARTLANTIC: WONDER
The Art Of Survival Through The Survival Of Art
I read the news today.. and despite all odds, and an 800 mile wide superstorm, this special week teaches much about artists, communities and the art of survival through the survival of art.
On November 9th, in Atlantic City, an amazing connection between people from distant points is re-affirmed, in the aftermath of Hurricane Sandy, when five internationally recognized artists make their way to one of Sandy’s hardest hit sites on the east coast, the Atlantic City Boardwalk, in a show of solidarity with the local community. Together, Robert Barry, Ilya & Emilia Kabakov, John Roloff and Kiki Smith meet with the Atlantic City Alliance, local artists, architects, designers, labor unions, landscapers, local businesses and business associations, city agencies, universities, public schools, their teachers and others out of collective celebrations and concern for Atlantic City’s shared cultural asset and public art project, ARTLANTIC.
Slideshow: Breathtaking drawings and site photos, from the ARTLANTIC Archive (10:38)
Despite the facts and the hardships wrought by Hurricane Sandy, the outpouring of unity over the the public art project to transform large, underused parcels of land into public art spaces that will be available for the local community and visitors to enjoy year-round, showed astounding resilience. Hundreds of inquiries about the fate of the works and workers have come roaring in from Artlantic’s local communities, many themselves experiencing hardship, or temporarily displaced. Nor did the storm spare the international artists. Kiki Smith’s studio was flooded. Robert Barry lost power and had to relocate to his son’s house. Ilya and Emilia Kabakov live in Long Island and were without power and unable to get any gas for their car. John Roloff, who is flying in from California, had to watch from the West Coast as the superstorm tried unsuccessfully to degrade his entire work.
More.. (Read the commentary by Curator, Lance Fung: About ARTLANTIC: WONDER)
Aerial view of John Roloff’s illusionistic space, Étude Atlantis, on an 8,500 square-foot site
Simply put, the survival of the works in Atlantic City, which is so eloquently detailed in this week’s New York Times Art & Design section (http://www.nytimes.com/2012/11/05/arts/design/artlantic-weathers-hurricane-in-atlantic-city.html), is emblematic of the strength of community in the face of the super threat, the superstorm, the super pac and all kinds of distortions and outside pressures which, without value placed on our societies, leads to careless projects of human warehousing in place of the amazingly positive effects art seems to have on communal well being.
More.. (Full Text: About ARTLANTIC: WONDER).
John Roloff’s elaborate, Étude Atlantis, under construction in Atlantic City -photo: Peter Tobia
Though the 5 year public art project was announced only last June, in this special congress, the preview on November 9th (affectionately referred to as the “Sneak Peak”) the central medium is the artists meeting. Yet, the odds on having a preview of this ambitious project, by November 9th, were nearly impossible, even without the superstorm.
In five month’s time the collectivity has achieved something massive. The Barry, Kabakov and Smith installation is on a seven-acre site that will have two open spaces with two sculptures walled by 14-foot-high undulating terraces covered in indigenous grasses and wildflowers. Today, the Kabakovs are recognized among the most important Russian artists to have emerged in the late 20th century. The Kabokov sculpture is a large, plywood pirate ship. The half-submerged ship is at the center of ARTLANTIC: WONDER. Opposite the ship is a life-sized version of “Her,” a self-portrait in bronze by Kiki Smith surrounded by a red-themed garden. “Her” depicts a woman tenderly embracing a doe and alludes to an embrace between humanity and the natural world. Embedded in the landscape surrounding both open spaces is Robert Barry’s illuminated text piece in a landscape design by New York-based Balmori Associates. Robert Barry is a conceptual artist whose work is concerned with the immaterial nature of ideas. He is best known for “Carrier Wave,” in which he used the carrier waves of a radio station as an object. His illuminated text piece will be embedded in a grass mound that mirrors the roller coaster on the Steel Pier. Mr. Barry has connections to Teaneck, New Jersey.
In five month’s time the collectivity has achieved something massive on a 7 acre site
John Roloff is known primarily for his outdoor kiln/furnace projects done from the late 1970’s to the early 1990’s as well as other large-scale environmental and gallery installations investigating geologic and natural phenomena. His work, Étude Atlantis, on an 8,500 square-foot site, is an elaborate illusionistic space. Bold linear stripes converge into a spiral pattern that leads to the center of the space, where an embedded cistern appears to be alive and weeping suggesting a pathway into the Indian Ocean. He hopes to create a reciprocal piece in Australia completing the link between the two works and the two hemispheres. The landscape design is by Philadelphia-based Cairone & Kaupp, Inc. More..
If not for the human connection behind these works, the project would have been seen as wild eyed. However, the numerous inputs by, from and for the local community have created a welcoming context for the ambitious project.
ARTLANTIC: WONDER is the first curated public art installation that will open on the Atlantic City boardwalk at two different sites as part of the five-year, multi-phase public art installation that is being undertaken as part of a partnership between the Atlantic City Alliance (ACA), the Casino Reinvestment Development Authority (CRDA) and Lance Fung of Fung Collaboratives. It will promote positive social interaction by creating unique public spaces where families, tourists, and members of the local community can come together in playful and imaginative ways while adding quiet, green spaces in a city where there are very few. More..
The Kabakovs’ half-submerged ship in process at ARTLANTIC: WONDER -photo: Peter Tobia
Miss Audrey, President of The Atlantic City Business and Community Association (ACBCA) offers the following statement with regard to a presentation in Atlantic City by Fung Collaboratives: “I always visualize the world belonging to everybody, not just people who are sitting at the top. We all dream and we look out here and we see empty space and what we could do with these empty spaces and here he (Lance Fung) comes along with his vision which he’s already been all over the world doing. So I think it’s a wonderful thing. It gives hope to the residents to be part of something. Artists come into an urban city and what they see is different from what is normally seen. That’s the artist’s eye, now you can transform that.” (More Statements From Atlantic City Community)
Visit ARTLANTIC’s website at http://artlanticblog.com to enjoy unbelievable slide shows, videos, make contact, meet the community, watch live web-cam feeds and learn more about this fantastic project. The conversation also continues on Facebook at http://facebook.com/fungcollaboratives get updates without leaving Facebook by clicking the LIKE button. To find out more about the Curator, Lance Fung, and about past projects with Fung Collaboratives go to http://fungcollaboratives.org
About Lance Fung
Curator Lance Fung has a reputation for ambitious, innovative approaches to public art. He is perhaps best known for The Snow Show, a series of exhibitions that teamed world-renowned artists with cutting-edge architects to design ephemeral, large-scale installations from ice and snow in Lapland, Finland in 2004 and then at the 2006 Winter Olympics in Turin, Italy. Following the The Snow Show, Fung curated Lucky Number Seven for the seventh SITE Santa Fe International Biennial in 2008 and Wonderland, a public art exhibition in San Francisco in 2009. He has created important exhibitions such as Crossing Parallels at the SSamzi Space in Seoul, Korea; Going Home at the Edward Hopper Historical Museum in Nyack, New York; Revisiting Gordon Matta-Clark at Next: The Venice Architectural Biennale in Venice, Italy; The Ship of Tolerance by Ilya and Emilia Kabakov, in Siwa, Egypt; and The Snow Show: Venice at the 50th International Art Exhibition/La Biennale di Venezia; and Dreams and Conflicts–The Viewer’s Dictatorship, in Venice, Italy. Fung is also developing a cultural village in Bali as well as “Sink,” an exhibition about marine conservation.
About The Atlantic City Alliance (ACA)
The ACA is a recently established New Jersey not-for-profit corporation whose primary mission is to develop and implement a full-scale, broad-based, multi-year marketing program for Atlantic City. The ACA will work with the Casino Reinvestment Development Authority (CRDA) to market and promote the Atlantic City Tourism District via a public/private partnership. The ACA also works with local and state government, the private sector and other organizations to further enhance the marketing program. Visit www.doatlanticcity.com About The Casino Reinvestment Development Authority (CRDA) Established in 1984 by the State of New Jersey, the Casino Reinvestment Development Authority provides capital investment funds for economic development and community projects that respond to the changing economic and social needs of Atlantic City and the State of New Jersey. It encourages business development and permanent job creation, promotes opportunities for business expansion, and commits to facilitating a vibrant economic investment and employment environment for New Jersey. Visit http://www.njcrda.com
Press Contacts
Dan Schwartz/Michelle DiLello
Susan Grant Lewin Associates 212/947-4557
dan at susangrantlewin.com
michelle at susangrantlewin.com
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ARTIST ORGANIZED ART
Each Announcement Now Comes With An Inclusion In Our Newsletter At No Additional Cost
Let people know what you’re doing. Our low cost announcements reach over 75,000 arts professionals and their followers. Get started sending announcements about exhibitions, book launches, crowdfunding campaigns, concerts, broadcasts and more. Our all time high is over 150,000 subscribers. Our qualified list touches the nerve center of the international art world. 44% North America, 33% Europe, 23% Asia+ and beyond. We can help turn your next release into a global fact at a fraction of the cost. We are a 501(c)(3) non-profit supporting artist organized media, events and cultural education. When you sponsor an announcement with us you support artists working in communities everywhere in the world. Learn More.
#permalink posted by E-List: 11/09/12 03:34:54 PM
Selected Bulletin: Monday, October 1st, 2012
October 1st 2012
Re: Céleste Boursier‐Mougenot at UMCA Oct 4 – Dec 2 2012
From: Artist Organized Art
To: The Subscriber Email Address
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Céleste Boursier‐Mougenot at UMCA Oct 4 – Dec 2 2012
To Suspend The Question of Meaning
Christoph Cox in Conversation with Céleste Boursier‐Mougenot
The University Museum of Contemporary Art (UMCA) at UMass Amherst
The University Museum of Contemporary Art (UMCA) at UMass Amherst is pleased to present a site-specific sound and video installation by Céleste Boursier‐Mougenot, the internationally acclaimed French artist, from October 4 – December 2, 2012. In conjunction with this exhibition, a catalogue containing an interview conducted between the artist and Christoph Cox, Professor of Philosophy at Hampshire College and a critic and theorist of art and music, will soon be published. The interview is reproduced here with the permission of the UMCA, Céleste Boursier‐Mougenot, and Christoph Cox. https://fac.umass.edu/UMCA/Online/ Acknowledgements: This exhibition has been made possible through generous support from Etant donnés: The French-American Fund for Contemporary Art. Additional support and coordination comes from the Paula Cooper Gallery, New York.
The Entire Interview: (Read It Here)
EXCERPTS:
Christoph Cox: You began your career as a musician and composer. What prompted your move into sound installation and the context of the visual arts?
Céleste Boursier‐Mougenot: I’ve always been immersed in the visual arts and aesthetic considerations because my family is very connected to the arts. My great grandfather was a passionate landscape photographer who worked with daguerreotypes. His son, my grandfather, was a painter and illustrator who made some animated films. My father made stained glass for churches, made sculpture and mosaics for public art projects, and later became a sort of garden historian. My parents considered all forms of art and literature to be really important. Their artist and writer friends often visited and stayed with us.
The concept of space (broadly considered) was also a recurrent interest for all of us. One of my brothers, who was interested in mapping, studied engineering and topographical geography. Another brother is a landscape architect. My mother worked as a sociological urbanist. So it’s also quite natural that I’ve considered the notion of space and integrated it into my musical practice.
At home, we listened to all kinds of music (classical, ethnic, rock and pop, experimental, free jazz etc.) and went to musical performances, art exhibitions, and movies every week. I grew up without a TV. When I was about twenty years old and got my own apartment, I bought my first TV. Instead of working on my music projects, I spent so much time watching it at night that I finally threw it away. I kept in the back of my mind that some day I would do a project that would reverse the passivity of TV watching and pull viewers somewhere else, into a space where they have to identify what they are watching. (This eventually resulted in zombiedrones. Many of my works have roots in questions, thoughts, or ideas I had a long time ago. It took me more than 15 years to get the means to start my index piano project.)
CC: When you transpose or transduce one form or media into another, the two forms have to be linked closely enough that the transposition doesn’t seem arbitrary; but they also have to be distant enough so that something surprising or enigmatic is revealed in the process. How do you balance between these two constraints?
CBM: Yes, you’re right, constraint is the master word of my practice. Usually I restrict myself to one material and one process to extract the sound or musical field of the work. The architecture of the presentation space is also an effective constraint by which works can be transformed. The Amherst exhibition is the first to present a set of my works in the same space.
CC: Many of your works are generative structures that establish a situation and then leave it to operate on its own. This makes me think of experimental composers such as Steve Reich (e.g., Come Out) and Alvin Lucier (e.g., I Am Sitting in a Room) who, in the 1960s and 70s, developed an interest in generative music. Are those figures influences for you?
CBM: I’ve been influenced by so many artists’ works that to speak about these ones instead of others seems to me unfair. I think that the domain of influences can remain private. Research into causality or paternity doesn’t really interest me. (I have my own father and am myself the father of four kids!) The feedback effect in my practice in a way tries to disrupt this line of thinking. It seems to me that concrete stories or memories about the works are often more interesting than theoretical references. It’s also that I’ve been disappointed by certain artists who constantly refer to established works, but whose own work is not as interesting as their talk about it. If an art critic or historian sees a correlation, that does not disturb me. But I like it when people can havean aesthetic experience without reference to art history.
CC: The idea that there is music waiting to be revealed everywhere seems to me to connect with a recent artistic and curatorial interest in animism and the life of things.
CBM: I often say that I’m a techno-animist, and that my work is dedicated to the “living.”
#permalink posted by E-List: 10/01/12 12:01:43 AM
Selected Bulletin: Thursday, September 13th, 2012
September 13th 2012
Re: Jaime Davidovich / Angie Eng / Gaia / Dick Higgins / And..
From: Artist Organized Art
To: The Subscriber Email Address
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NEW YORK CITY
“Video, Video”
Jaime Davidovich
SWITCH Episode 13
30 Minutes With The Pioneer Of Public Access Television Reframes Youtube
When cable television emerged in the mid-1970s, Jaime Davidovich was one of the first artists to recognize its potential for the contemporary arts. In 1976 he helped establish Cable SoHo. A year later he established the Artists Television Network to encourage the dissemination of video art through a commercial broadcast medium under the name SoHo Television. A project of the Artists Television Network it was broadcast on Manhattan public-access television cable TV. Programming included video art, early music videos, performances and interviews with artists including Laurie Anderson, John Cage, and Richard Foreman among many others.
Jaime Davidovich is also known for The Live! Show, a weekly public-access television program with a variety show format that appropriated the formal norms of television along with avant-garde performances, artwork, political satire, and social commentary. He developed the character Dr. Videovich, a psychologist and specialist in television addiction. The show also featured commercials for Videokitsch, commercially produced items and art multiples.
“Video, Video” Episode 13 of SWITCH features Jaime Davidovich in a groundbreaking 30 minute non-stop interview backed up by a parade of rare footage from his own archive.
Watch it now: SWITCH/13/jaime_davidovich
About SWITCH: www.artistorganizedart.org/switchproject
BERLIN
The Executives
Angie Eng
Gallery -Able
8 Sept – 8 Oct 2012
Angie Eng’s first European solo exhibition presents a series of paintings and animations, The Executives at Gallery -Able in Berlin. Every decade has its celebrity type. Today it’s the CEO. Eng approaches this subject with a Jungian and sociological eye. The executive is grouped as a power authority archetype reduced to a suit and tie. Eliminating the entire body, Eng redraws the psyche as thought patterns visualized by line and gesture. Also on view are her one-liner animations that expand upon her drawings to her preferred medium, moving images.
Located in the Neukölln district in Berlin, Gallery –Able promotes the work of artists from a wide range of contemporary culture and seeks to contribute to the development of cultural activities in the neighborhood. The space allows emerging artists to exhibit their work. Through art exhibitions, film screenings, performances, concerts, lectures, etc. the venue provides a wide range of cultural practices.
For more information contact: http://www.kultur-able.com | info@kultur-able.com
Galerie Able Hobrechtstraße 28 Berlin Neukölln
Angie Eng is a media artist who works in video, photography, installation and time-based video performance. Much of her video work draws inspiration from ancient rituals, mysticism and nomadic cultures. Her work has been performed and exhibited at the Whitney Museum at Philip Morris, Lincoln Center Video Festival, The Kitchen, New Museum of Contemporary Art, Renssalaer Polytechnic Institute, Eyebeam Art and Technology Center, Roulette Intermedium, Experimental Intermedia and Cité de la Musique. Her videos have been included in digital art festivals in local and international venues in Cuba, France, Greece, Japan, Holland, Germany, Former Yugoslavia and Canada. She has received numerous grants and commissions: New Museum of Radio and Performing Arts, Harvestworks, Art In General, Lower Manhattan Cultural Council, New York State Council on the Arts, Jerome Foundation and Experimental TV Center. She lives and works between New York and Paris.
BALTIMORE
GAIA Commissioned
By Baltimore Museum Of Art
Nov 18, 2012 – May 5, 2013
When Baltimore Museum Of Art re-opens its contemporary galleries on November 18 it will include a commissioned work for the space by street artist Gaia. A temporary two-dimensional work will be installed in one of the new spaces of the BMA’s contemporary wing. For this commission Gaia is inspired by the museum’s iconic painting by Paul Gauguin, Woman of the Mango, and its adjacent Remington neighborhood.
Gaia, a Baltimore-based street artist, whose name stands for Earth Goddess, is known for using animal imagery to convey nature’s voice in urban landscapes, often evoking a sense of mythical feedback as an omen from global warming. Other subjects include portraits of urban developers Nelson Rockefeller, Robert Moses, Henry Flagler, James Rouse, Le Corbusier and Mies van der Rohe. Gaia recently curated the multi-site mural project Open Walls Baltimore (OWB) which was scheduled to include fellow artists Maya Hayuk, Swoon, Chris Stain, MOMO, Freddy Sam, Jaz, Jetsonorama, Overunder, Vhils, Nanook, Mata Ruda, Specter, Interesni Kaski, Ever, Doodles, John Ahearn and Sten & Lex.
The carrier pigeon perched within a hand is an image that I have revisited many times in the past year. Much like the hybridized creatures I have produced in the past, this gesture displays a moment of domination and submission but also of steward and nature. Pigeons are beautiful creatures and one of the few that can tolerate the city. This print is a celebration of a dying urban sport and of an unsung animal.” – Gaia
http://posterchildprints.com/Carrier-Pigeon/
Purchase Gaia’s limited edition print “Carrier Pigeon.”
Size 22 x 28 inches, Edition Limited Edition of 135, Materials: Three Color Hand Pulled Silk Screen on Coventry Rag, 100% Cotton Archival Paper
http://www.artbma.org/reopens_with_gaia.pdf
More information from Baltimore Museum Of Art
Book Launch: 9/25 (Tuesday) 5PM – UIC, Gallery 400 (400 South Peoria.) The book co-edited by Hannah Higgins and Douglas Kahn; Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts (UCal Press, 2012)
CHICAGO
DICK HIGGINS
Thousand Symphonies
Fulcrum Point New Music at the
Graham Foundation, 4 West Burton Place,
Chicago IL
Sept 18 7PM
Chicago Timeline:
September 18 (Tuesday):
Founding Fluxus Artist Dick Higgins’s Thousand Symphonies will be performed by Fulcrum Point New Music at the Graham Foundation at 4 West Burton Place in Chicago at 7:00. This is the 50th anniversary of the score (‘write a thousand symphonies’) and of Fluxus, so the event is especially meaningful. Dick Higgins performed it first in 1968 by having a New Jersey police officer shoot up music paper, which was then played. Dennis Rosenthal arranged for Chicago police to shoot new sheets last week and Fulcrum Point’s Stephen Burns is arranging a fabulous concert as its new instigator, composer, conductor.
September 20-23:
Dennis Rosenthal will feature Dick Higgins at the new Chicago Expo at Navy Pier. Swing by if you’re in the neighborhood.
September 22 (Saturday):
Prof. Hannah Higgins, Daughter of Dick Higgins and the author of Fluxus Experience, speaks at Alexander Eisenschmidt’s “Visionary Architectures” Symposium at the MCA.
September 25 (Tuesday), 5:00:
Australian academic Douglas Kahn will be speaking on “Conceptualism and Energy” at UIC, Gallery 400 (400 South Peoria) and after that Hannah Higgins will launch a book co-edited with Douglas Kahn titled Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts (UCal Press, 2012).
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#permalink posted by E-List: 9/13/12 10:01:05 AM
