Posts tagged art
“ Art fairs are now another way of breaking down the neighborhood brick and mortar restrictions that you can have when you’re only a local dealer. … I think that allows people to stretch their programs more than they could in a strictly local situation. The model is shifting from a 4000 square foot warehouse space to something that is more flexible. The days of square footage, I think, are gone.”
The…photograph while captured on film, is a digital manipulation of sorts. “Landscape Missing a Byte” was made by “hacking” the scan of the film. Using a Hex Editor, one byte of code from the file generated during the scanning process was removed from the binary file.
Jessica Eaton, talking about the piece above. (Via do.thatthing.org, which rightly points out that these are completely insane. I don’t understand at all how they’re made.)
Sara Corbett on Shea Hembrey in the NY Times Sunday Magazine.
What at first seems most striking about “Seek” is that it’s both odd and big. The artwork could fill several marble-floored pavilion halls in Venice or at the Whitney. What’s most surprising, however, is the book’s final revelation — a brief note offered on the last page — that there aren’t, as it turns out, 100 artists. Nor are there two curators. The biennial catalog is itself a sort of meta-piece of art, and the artists represented are really only one artist — a guy who has chosen to bifurcate and fracture and channel himself in a hundred different ways. Every work in the book, in other words, was conceived of and handmade by a single person — a 37-year-old named Shea Hembrey — over a two-year period, in a mad and, he would tell you, somewhat desperate attempt to answer his own questions about what makes art meaningful.
My favorite bit of this is when Schwartzman yells “Hey, look! Is that Ed Ruscha??” (Throw a rock in LA and…)
via hydeordie:
Over the last several weeks, the artist leaked the news that his show would not just include every single work he had ever made, but that he would dangle it all from the top of the Guggenheim’s rotunda, leaving the rest of the museum empty.
Matt Johnson, Star in a Jar, 2011. At Blum & Poe.
“Gabriel Dawe was born in Mexico City where he grew up surrounded by the intensity and color of Mexican culture. After working as a graphic designer, he moved to Montreal, Canada in 2000 following a desire to explore foreign land. In search for creative freedom he started experimenting and creating artwork, which eventually led him to explore textiles and embroidery—activities traditionally associated with women and which were forbidden for a boy growing up in Mexico.”
They’re beautiful.
Peter Funch’s composite New York street scenes, via V1 GALLERY artist, via kottke.
Kevin Kelly on the clock in the mountain. “There is more than just technology in the mountain. The ticks of time are a very human invention. Astronomical calendars are among the first pieces of culture, and often the mark of civilizations. The cave holds culture. The Clock in the mountain not only plays the music of an ever-changing slow melody, but it will collect cultural expressions of time, ticks to mark the passage of decades and centuries.”
Vito Acconci’s Following Piece. ”The underlying idea was to select a person from the passers-by who were by chance walking by and to follow the person until he or she disappeared into a private place where Acconci could not enter. The act of following could last a few minutes, if the person then got into a car, or four or five hours, if the person went to a cinema or restaurant. Acconci carried out this performance everyday for a month.” (via @sfmoma)
