Category: Art World News

Remembering 9/11

posted by – 09/11/13 @ 12:24pm


An important part of temporary art installations is that they are temporary.  One of the more iconic tributes to the victims of the 9/11 attacks was the temporary art installation “Tribute in Light.”  The two towers of light in lower Manhattan lit up the sky for about one month starting in March 2002.  But we never forget, so in 2003 to commemorate the anniversary, the lights were again present.  And the year after that too.  In 2008, there were talks that it would be the final display, especially since the beams of light were interfering with birds’ migrational patterns.  Nevertheless, they have been seen on every 9/11 anniversary since then and will be again visible tonight.  The arts never forget too.

 

By the way, in order to ameliorate the bird situation, the lights are turned off for 20 minute periods to allow the birds to escape.

Last summer, I went to Paris and stumbled across an interesting painting in the Centre Pompidou.  A cloudy image of what appeared to be the smoking towers that I saw on TV when I got home from school more than ten years ago.  Gerhard Richter had originally painted it with brilliant flames, but later removed it.  I think it creates an interesting effect where the towers are fading from existence but not our memories.

"September", Oil on Canvas, 2005

Community Supported Art Nashville

posted by – 08/06/13 @ 2:43pm

We Are Nashville. We love to shop, eat, and explore all things local. So, why not expand your local pride to art? Community-Supported Art Nashville offers just that. This art subscription service asks shareholders to invest directly in the arts community with a “buy local” mentality. The program not only offers a reasonably priced way to support Nashville and regional artists, but shareholders also receive limited edition contemporary artist projects in return. The catch? After you purchase a CSArt art share, you don’t know exactly what is going to come in your box until you pick it up! If that worries you, after 3 months, you may exchange it for another CSArtwork.

CSArt Nashville is an opportunity for collectors to access exclusive editions of their work at an affordable price. With different options of subscription pricing, Nashvillians can expand their artistic horizons without even leaving the 615.

Ranging from emerging to mid-career, participating artists have exhibited in museums and galleries nationally and internationally. A full list of artists and more information can be found on the Community-Supported Art Nashville’s website.

How Guerilla Art and Grassroots initiatives have moved to change the icon of Accessibility

posted by – 07/24/13 @ 11:08am

In 2009, Brian Glenney and Sarah Hendren kicked off an art prokect to generate discussion on the ubiquitous international symbol of access. Now their revised design is rolling out in New York City.

Initially, Glenney and Hendren’s aim was to generate conversation. Though the ISA symbol had generally been a huge boon to disabled individuals over the years, it’s easy to see how the symbol itself was less than ideal. Compared to the bathroom sign stick figures we’re used to, the one on the ISA looks frail and immobile—more an outgrowth of the chair it’s sitting in than its own distinct entity. So as they put things in motion in the early months of 2010, Glenney and Hendren’s main concern was drawing attention to some of these visual attributes that they found problematic.

Here’s how the changes affect the way we view the icon:

Head Position

1) Head is forward to indicate the forward motion of the person through space. Here the person is the “driver” or decision maker about her mobility.

Arm Angle

2) Arm is pointing backward to suggest the dynamic mobility of a chair user, regardless of whether or not she uses her arms. Depicting the body in motion represents the symbolically active status of navigating the world.

Wheel Cutouts

3) By including white angled knockouts the symbol presents the wheel as being in motion. These knockouts also work for creating stencils used in spray paint application of the icon. Having just one version of the logo keeps things more consistent and allows viewers to more clearly understand intended message.

Limb Rendition

4) The human depiction in this icon is consistent with other body representations found in the ISO 7001 – DOT Pictograms. Using a different portrayal of the human body would clash with these established and widely used icons and could lead to confusion.

Leg Position

5) The leg has been moved forward to allow for more space between it and the wheel which allows for better readability and cleaner application of icon as a stencil.

(Learn more on the Accesible Icon Project’s website)

And read the rest of the article on the innovation behind the icon’s design here.

 

Patricia Bellan-Gillen

posted by – 07/12/13 @ 1:14pm

Disorderly Notions
Patricia Bellan-Gillen
Tinney Contemporary, July 6-August 17

After years of studying cultural, dream, mythological and religious symbols, I am beginning to believe that the most important signs are the images that appear and keep pressing on one’s mind with no explanation—unexpected but oddly recognizable visions that flash across the brain when words and phrases like “doubt,” “reality TV,” “turn to salt” or “separation of church and state” are heard…or the nascent compositions that appear while revisiting the pages of vintage Mad Magazine or hearing the memorable Da-Da-DaDa-DaDa theme song from the Rocky and Bullwinkel Show.   Honoring these puzzling visages maps the direction that I have begun to follow. This new body of work combines ideas and imagery generated through study and research with ideas and imagery that are felt, intuitive and enigmatic.

The work also celebrates a return to the fundamental act of drawing.

I welcome provocation and puzzles. I would like my work to confront the viewer simultaneously with beauty and awkwardness and to mediate grace with humor. I want to achieve a weird elegance.

Above all, I place great trust in the viewer.
{artist statement provided by the artist}

The new show is up! Patricia Bellan-Gillen, a teacher at Carnegie Mellon, is showing her work here through August. Come take a look and get lost in her large and impressive works

Pam Longobardi, Hudgens finalist!

posted by – 06/19/13 @ 12:05pm


Pam Longobardi, an artist represented here at Tinney, is a finalist for the Hudgens Prize based on her work for the Drifters Project. Longobardi started the project in 2006 where installations of plastic and other waste left deserted on beaches to wash up ashore as food and other hazards for the wildlife and environment are used to create a dialogue between the viewer and the artwork which raises awareness about the importance of being environmentally conscious, not just privately but publicly and in everything we do, everywhere. To learn more about her and the work that got recognition because of this prize, visit her site and read this article which profiles her work. Longobardi is also participating in a group project exhibition at the Venice Bienelle, which is ongoing until the end of November.

The Good Graffiti

posted by – 06/18/13 @ 1:44pm

Art education is performing the ultimate 360 degree turnaround: leaving schools with lack of funds, finding its way into the streets of Philadelphia through the Mural Arts Program, and then inspiring schools to incorporate such a profound program into their curriculum. Why are schools so inspired by murals? Mural Art Program’s free art education programs annually serve nearly 2,000 at-risk youth at neighborhood sites throughout the city, utilizing an intensive curriculum that involves mural-making as a dynamic means to engage youth and to teach transferable life and job skills such as taking personal responsibility, teamwork, and creative problem-solving. Furthermore, the 20,000 total underserved and at-risk youth that have already participated in the Mural Program have an astounding 100% high school graduation rate.

The self-proclaimed “good graffiti” project began in 1984, connecting students, teachers, and artists in elaborate projects spanning thousands of murals throughout the city. A multitude of materials, techniques, and inspirations are showcased around Philadelphia. To sign up for a paid tour, which helps fund the program, and learn more click here.

Engaging with Net Art

posted by – 06/14/13 @ 12:35pm

More and more frequently these days art has been transfered to the online world. Digital art is nothing new, but this isn’t about solely graphic design and using photoshop to create works of art. This is about using code and optimizing social media platforms such as Facebook, Twitter, and even Vine and Instagram to create a more temporal world of art that can, in some cases, only be viewed digitally. In this recent post in ArtNews, read more and discover an entirely new and progressive world of art anchored to the web.

Newsworthy

posted by – 03/26/13 @ 1:38pm

Art Happenings

 

MIAMI: From Picasso to Koons, 
the Artist as Jeweler

March 15–July 21, 2013

Bass Museum of Art

The exceptional and little-known works of wearable sculpture will reward viewers with new insights into the creative wellsprings of such artistic giants as Georges Braque, Max Ernst, Lucio Fontana, Louise Nevelson, Anthony Caro, Yoko Ono, and Anish Kapoor.

www.bassmuseum.org

 

NEW YORK: Nick Cave HEARD•NY

March 25–March 31, 2013

Vanderbilt Hall Twice daily performances at 11am and 2pm

For HEARD•NY, artist Nick Cave will transform Grand Central Terminal’s Vanderbilt Hall with a herd of thirty colorful life-size horses and partnering with The Ailey School, whose students will perform the twice-daily crossings.

www.creativetime.org

 

CHICAGO: Picasso and Chicago

February 20–May 12, 2013

The Art Institute of Chicago

The first major Picasso exhibition organized by the Art Institute in almost 30 years presents over 250 of Picasso’s paintings, sculpture, prints, and drawings.

http://www.artic.edu/exhibitions/picasso-effect

 

WASHINGTON, DC: Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet

February 9-May12, 2013

The Phillips Collection

Angels, Demons, and Savages highlights visual affinities between the artists’ work, tracing the impact of Dubuffet’s art brut (art by the mentally ill and other so-called outsiders), the experimental spirit of Pollock’s technique, and Ossorio’s figurative language.

http://www.phillipscollection.org/exhibitions/2013-02-09-exhibition-pollock-ossorio-dubuffet.aspx

 

PORTLAND, ME: Voices of Design: 25 Years of Architalx

February 2-May 19, 2013

Portland Museum of Art

What is Architecture? Authenticity, Culture, Expressive Form, Light, Material & Craftsmanship, Extraordinary in the Ordinary, Optimism, Process, Responsibility, Site, Space, and Structure.

http://www.portlandmuseum.org/exhibitions-collections/current.shtml

 

 

 

Newsworthy

posted by – 02/07/13 @ 2:58pm

Art Happenings

NEW YORK: Daniel Buren’s Electricity Paper Vinyl…” and “Electricity Fabric paint Paper Vinyl…”

“What happens when works are when institutional critique is taken out of the institution and located in a commercial gallery?” http://goo.gl/aVo2T

January 10–February 16, 2013 Petzel Gallery/Bortolami Gallery

Bruen's "Electricity Paper Vinyl..." Petzel Gallery, New York, 2013

 

 

 

 

 

 

 

 

BROOKLYN: El Anatsui Gravity and Grace

Anatsui’s first solo exhibition in a New York museum. http://goo.gl/EGtpm

February 8- August 4, 2013 Brooklyn Museum

Do You Speak “International Art English”?

posted by – 01/31/13 @ 12:30pm

Ever read an article or review and fifteen minutes later still have no idea what is being said? You know it is English, but the vernacular seems as though it could be an another language. You are not alone; you have encountered what is now known as International Art English.

Last fall David Levine, an artist based in Brooklyn and Berlin, and Alix Rule, a critic and PhD candidate at Columbia University, wrote an essay for Triple Canopy discussing IAE. It is an extremely informative comedic read. Levine and Rule delve deep to explore why it is necessary for the art world to use such discourse and also explores why it is so ridiculous.

So grab a cup of coffee, or wine, and spend a few minutes reading this article. Be prepared to be enlightened (or frightened, it really just depends on how you look at it.) Enjoy!