Tag Archives: get excited

Make Things (Happen), Sights

Get Excited: Artists Make Things (Happen)

Check out these shows featuring make things (happen) artists! 

Through 6/22
Surveillapocalypse
Five Myles, Brooklyn
(Maria Hupfield, David Gregory Wallace)

Through 6/30
SIP 2013 Fellowship Show Part 1
Blackburn 20|20, NYC
(Dionis Ortiz)

Through June
Lexa Walsh: Mapping the Archive
de Young Museum, San Francisco

Through 7/6
Piero Passacantando : I Paint You, You Paint Me
Ed Varie, NYC

6/21–8/17
Sondheim Finalists Exhibition
The Walters Art Museum, Baltimore
(Lauren F. Adams)

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And help make things (happen) artists support great alternative art spaces!

Take Genevieve Quick’s personalized tour of OMCA for Royal Nonesuch Gallery’s fundraiser.

Help Islington Mill* purchase a bus to provide access and mobility for its numerous artists/musicians/visitors (*co-founded by Maurice Carlin).

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Sights

get excited: cool things everywhere

Being an artist involves so many activities, I’ve fallen behind on seeing art. But there’s lots out there to be excited about!

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Amanda Curreri, Under the Socialist Sun with Interference, Monoprint with screenprint, 15 x 11 inches, 2013; Llewelynn Fletcher, Standing Sound Costume: Lion, 2010, basswood, mahogany, low frequency sound, bass-shaker speakers, 3.5'W X 3.5'L X 7'H. // Source: c3initiative.org.

Amanda Curreri, Under the Socialist Sun with Interference, Monoprint with screenprint, 15 x 11 inches, 2013; Llewelynn Fletcher, Standing Sound Costume: Lion, 2010, basswood, mahogany, low frequency sound, bass-shaker speakers, 3.5’W X 3.5’L X 7’H. // Source: c3initiative.org.

Cool artists getting a cool residency in Portland, OR

ERNEST Introductions (Amanda Curreri & Llewellyn Fletcher)
c3 initiative, Portland, OR
Dec 7, 2013 – Feb 15, 2014
Opening: Sat, Dec 7, 6-9pm
Launching ERNEST’s collaborative two-year public project and partnership with Portland’s c3 initiative.

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Installation view of The Shadows Took Shape. // Source: StudioMuseum.org // Photo: Adam Reich

Installation view of The Shadows Took Shape. // Source: StudioMuseum.org // Photo: Adam Reich

Afrofuturist aesthetics @ the Studio Museum
Including a collaborative project by Nyeema Morgan
Plus a great portrait of the artists in the New Yorker Magazine

The Shadows Took Shape
November 14–March 9, 2014
Studio Museum
NYC

Artists of The Shadows Took Shape in the New Yorker Magazine. Photograph by Christaan Felber.

Artists of The Shadows Took Shape in the New Yorker Magazine. Photograph by Christaan Felber.

I don’t think female artists of color have enough visibility; this is a lovely move in a good direction.

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Leonid Tishkov, Private Moon. // Source: ArtsCatalyst.org.

Leonid Tishkov, Private Moon. // Source: ArtsCatalyst.org.

A wonderfully speculative, lunar-themed exhibition in London

The preview images look so cool.

January 10-February 2, 2014
The Art Catalyst’s Republic of the Moon
Bargehouse, Oxo Tower Wharf, South Bank, London

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Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), 2009, mirror, two-way plexiglass mirror, aluminum, steel, casters, Dimensions variable, mirrored box is 4x4x7 ft. // Source: SeldonYuan.com

Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), 2009, mirror, two-way plexiglass mirror, aluminum, steel, casters, Dimensions variable, mirrored box is 4x4x7 ft. // Source: SeldonYuan.com

Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), by Seldon Yuan

I came across this NYC artist when I received a rejection letter and he was listed as one of the winners. But when I viewed his site, and this project in particular, the selection committee’s wisdom became apparent to me. The sting of rejection is a mitigated by intrigue of this work. I wish this project was my own. It’s brilliant.

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Personal Goal Setting Advice for Artists

Love this Personal Goal Setting advice from  Creative Capital’s Internet for Artists Handbook. I came across this a while ago but keep recommending it to folks. Really useful!

(I just noticed it’s written by Blithe Riley, an artist involved in interesting, radical visual art programming at Interference Archive in Gowanus in Brooklyn. Coming up this week: neat programming around Asian American struggle.)

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Your turn: These Calls for Entry

Signal Fire’s spring exhibition in the New Mexico wilderness
Spring applications due December 31

Interface Gallery’s call for participatory projects
Oakland, CA
Stipends available. Applications due January 1, 2014.

 

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Community

get excited: as real as it gets @ Apex

The Mariana’s Montalvo Historical Fabrications and Souvenirs Shop was one of my favorite shows this year so far. Check it out, New Yorkers.

As Real As It Gets
November 16 – December 22, 2012
Apex Art, 291 Church Street, New York, NY 10013 USA
Opening Reception: Thursday, November 15: 6-8 pm 

Organized by Rob Walker
Featuring work by: Kelli Anderson, Conrad Bakker, Beach Packaging Design, Matt Brown, Steven M. Johnson, Last Exit To Nowhere, MakerBot Industries, The Marianas (Michael Arcega and Stephanie Syjuco), Angie Moramarco, Oliver Munday, Omni Consumer Products, Staple Design, U.S. Government Accountability Office, Ryan Watkins-Hughes, Marc Weidenbaum/Disquiet Junto, Shawn Wolfe, and Dana Wyse

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Research, Sights

On the Fungibility of Language: Forensic Linguistics, plus Performance Art

As an artist who works with text, I’m always fascinated with the fungibility of language.

Jack Hitt parses the gap between spoken word and constructed meaning in his article about forensic linguistics (“Words on Trial,” New Yorker Magazine, July 23, 2012):

Most people assume that meaning is embedded in the words they speak. But, according to forensic linguists, meaning is far more vaporous, teased into existence through vocalized puffs of air, hand gestures, body tilts, dancing eyebrows, and nuanced nostril flares. The transmission of meaning still involves primate mechanics worked out during the Pliocene era. And context is crucial; when we try to record a conversation, we are capturing only part of the gestalt of that moment….

According to (retired F.B.I. forensic linguist James) Leonard, words serve as catalysts, setting off sparks of potential meaning that the listener organizes into more specific meaning by observing facial expressions, body language, and other redundant cues. We then employ another powerful tool: prior experience and the storehouse of narratives that each of us carries—what linguists call “schema.” To every exchange we bring unconscious scripts; as any given sentence unspools, we readjust the schema to make better sense of what we are hearing….

Meaning, Leonard noted, is constantly bend by expectation, and can be grossly distorted.

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Likewise, I was excited to hear about this performance along the same theme…

August 9, 10 & 11 @ 8:30 pm.
Emily Mast: B!RDBRA!N
REDCAT, Los Angeles

Originally conceived of for Pacific Standard Time, B!RDBRA!N is a series of vignettes that form a live collage based on the juxtaposition of an accumulation of highly stylized details that all relate to channels of communication in which language is problematic, challenging and/or inappropriate. I have been working with a stuntman, a stutterer, a sign-language interpreter, an actor, an auctioneer, a comedian and a child to investigate and interrogate language as a prop onto which we project meaning, language that hides or deflects meaning and all-out rebellion against words.

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Sights

get excited: Josephine Meckseper, Josiah McElheny, Rob Carter

This week I’m looking forward to:

Josephine Meckseper The Complete History of Postcontemporary Art, 2005. Courtesy the Artist, New York, and VG Bild-Kunst.

Josephine Meckseper The Complete History of Postcontemporary Art, 2005. Courtesy the Artist, New York, and VG Bild-Kunst. Source: Sculpture-Center.org.

Monday, April 9, 7PM
Subjective Histories of Sculpture: Josephine Meckseper
SculptureCenter
44-19 Purves St, Long Island City, Queens

Citing specific works, bodies of work, texts, or even personal anecdotes taken from inside and outside cultural production, and inside and outside art, these subjective, incomplete, partial, or otherwise eclectic histories question assumptions and propose alternative methods for understanding sculpture’s evolving strategies.

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Josiah McElheny, Island Universe (installation view), 2009. Courtesy the artist, Donald Young Gallery, Chicago, and Andrea Rosen Gallery, New York. Photo: Museo Nacional Centro de Arte Reina Sofia, Madrid © Josiah McElheny. Source: publicartfund.org.

Josiah McElheny, Island Universe (installation view), 2009. Courtesy the artist, Donald Young Gallery, Chicago, and Andrea Rosen Gallery, New York. Photo: Museo Nacional Centro de Arte Reina Sofia, Madrid © Josiah McElheny. Source: publicartfund.org.

Wednesday, April 11, 6:30pm
Public Art Fund Talks at The New School: Josiah McElheny
The New School, John Tishman Auditorium
66 West 12th Street, between 5th & 6th Avenues, NYC

McElheny is whip-smart and I expect nothing less than to be blown away.

Public Art Fund is pleased to present a talk by Josiah McElheny, an American artist whose multifaceted artistic practice has incorporated decorative and functional traditions of glass, as well as research, writing, and curating to explore materiality and its relationship to the ways in which we see and experience objects. Often using narratives inspired by the histories of art, design, and glass as points of departure, McElheny has created massive sculptures of shining chrome and transparent glass that layer myriad references as diverse as twentieth-century fashion, modernist design, sixteenth-century Italian painting, and even the Big Bang theory.

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Rob Carter. Faith in a Seed, 2012. Image courtesy the artist. Source: ArtinGeneral.org.

Rob Carter. Faith in a Seed, 2012. Image courtesy the artist. Source: ArtinGeneral.org.

Opening: Friday, April 13, 6-8pm
Exhibition: April 13–June 23, 2012
Rob Carter: Faith in a Seed
Art in General
79 Walker Street (just off Canal and Broadway), NYC

I helped to build out this show, and I’m very excited to see how the installation and videos have come, quite literally, to life.

Faith in A Seed intertwines the languages of science and history into a living sculptural form. Rob Carter’s installation centers on the houses and gardens of three men of the 19th century. Miniature replicas of Charles Darwin’s Down House, Henry David Thoreau’s cabin at Walden, and Sir John Bennet Lawes’ Rothamsted Manor are the centerpieces of a large-scale triangular garden.

Viewers are invited to witness Carter’s controlled but fragile ecosystem in three distinct ways: time-based video projections, peepholes cut into the sides of the garden, as well as from an elevated viewing platform.

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