Allied Member, ASID
August 28, 2012
I had the pleasure of catching an incredible exhibit in New York at The Museum of Modern Art. A photography exhibit that will have you thinking about politics and life and very introspective i found.
I hope you enjoy this post! Love, Jamie
Following is the write up:
This exhibition is the U.S. premiere of Taryn Simon’s (b. 1975, New York) photographic project A Living Man Declared Dead and Other Chapters I–XVIII. The work was produced over a four-year period (2008–11), during
which the artist travelled around the world researching and documenting bloodlines and their
related stories. In each of the 18 “chapters” that make up the work, external forces of territory, power, circumstance, or religion collide with the internal forcesof psychological and physical inheritance.
The subjects Simon documents include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate.
Simon’s project is divided into 18 chapters, nine of which will be presented at MoMA. Each chapter is comprised of three segments: one of a large portrait series depicting bloodline members (portrait panel); a second featuring text (annotation panel); and a third containing photographic evidence (footnote panel).
A Living Man Declared Dead and Other Chapters I–XVIII exploits photography’s capacity to at once probe complex narratives in contemporary politics and organize this material according to classification processes characteristic of the archive, a system that connects identity, lineage, history, and memory.
August 21, 2012
My newest art crush is Paul Scher! I have always been in love with maps. My Grandfather had a superb collection of maps, since the time he was a child in Austria, vienna to be exact. He had kept a record of how the borders were constantly changing depending on who won the war!
These maps are such an amazing interpretation! i hope you enjoy this post! Much love, Jamie!
In the early 1990s, renowned graphic designer Paula Scher began painting small, opinionated maps—colorful depictions of continents and regions, covered from top to bottom by a scrawl of words. Within a few years, the maps grew larger and more elaborate.
“I began painting these things sort of in a silly way,” Scher, a partner at the Pentagram design firm, said in a recent conversation. “And I think at one point I realized they would be amazing big. And I wondered if I could even do it. If I could actually paint these things on such a grand scale, what would happen?”
All of this detail is the result of work that Scher describes as “incredibly laborious and obsessive”—yet the paintings as a whole don’t feel like the product of tortured obsession; rather, they exude a sort of whimsical, brassy ingenuity. And, unlike their predecessors, the maps in the
exhibition eschew opinion in favor of a barrage of facts—or at least the appearance of fact. “They’re all wrong,” Scher says. “I mean, nothing’s in the right spot. I put in what I feel like. It’s my comment on information in general. We receive a lot of information all the time and mostly it’s lies or slight mistruths.”
Even so, the paintings throb with implication. As Scher explains, “The way the maps work is that they’re total abstractions, and yet they have all this meaning attached to them.” The map of Florida in 2000 jumps out with obvious political import; the state is labeled by county, and the surrounding
black Gulf ripples with the corresponding presidential election results. Yet, Scher’s paintings are at their best when meaning remains tantalizingly elusive. Look at her grand, multicolored patchwork of the United States, reminiscent of the U.S. maps that span the inside cover of many elementary school textbooks.
Up close the painting overwhelms the eye with detail, but step back and it’s the same handsome, lumbering, forthright America we all grew up with—laid open to inspection, hiding nothing, and yet fundamentally inscrutable. This ambiguity lies at the heart of Scher’s cluttered, precise, beautiful maps—
and, unlike real maps, you seem to grow more lost the longer you look at them.
August 20, 2012
I have recently seen the work of Sarah Lucas and fell in love with her art! Her life is really interesting, and again another fabulous story. I love her sense of expression and freedom and just her who gives a damn attitude.
Sarah Lucas was the wildest of the Young British artists, partying hard and making art that was provocative and at times genuinely shocking. Then as Emin and Hirst went stratospheric, she slipped off to Suffolk, where she’s been ever since …
It is surprising to find someone whose most well-known work is so urban – kebabs, fried eggs, dirty public toilets, grimy, paint-splattered walls, burned-out cars; so saturated with the sense of the London she grew up in – tucked away down a long country lane, behind a Baptist church in Suffolk.
Sarah Lucas may not be the most talked about of the Young British Artists but she has always been one of the most important. At the beginning of the 90s, while women were trading shoulder pads for Wonderbras and cocktails for pints of lager, Sarah Lucas swapped feminist theory for Page Three.
Lucas challenged the street slang used to describe women by turning it into physical forms. She replaced anger and embarrassment with humour, portraying breasts as melons or fried eggs, catching public attention with hard-hitting sculpture and spreads from
The Sun. In making physical representations of sexual slang and celebrating stories about rampant dwarves she moved the discussion further along then any amount of protest art.
Sarah Lucas is the “drinking man’s” Rachel Whiteread. You can clearly make out the core materials and traditions of her art – concrete, cardboard, resin, steel and found objects; the cool, minimal associations of which are tinged with humour and sexual innuendo.
Her use of animal carcasses, fish, fruit and veg rotting on top of these surfaces recalls still lifes, while she pays homage to Duchamp with toilets and bicycles.
Within her sculptural compositions there are extremes between her use of materials (a chicken and bra stretched and tied to each end of a steel-sprung bed in Bondage Up Yours, 2000) but nothing is clumsy or unresolved. She knows exactly how much information to give,
which angles suggest dominance or subservience, and how far apart or close objects should be to create or emphasize tensions out of otherwise inanimate items. And it’s interesting to observe her decisions about scale.
In the early 1990s, Lucas began using furniture as a substitute for the human body. Through her career, Lucas has continued to appropriate everyday materials (including, for example, freshly made fried eggs) to make works that use humour, visual puns
and sexual metaphors of sex, death, Englishness and gender.
In works such as Bitch (table, t-shirt, melons, and vacuum-packed smoked fish, 1995), she merges tabloid culture with the economy of the ready-made. In earlier work, she had displayed enlarged pages from the sports pages of the newspaper.
Sarah Lucas is also known for her self portraits, such as Human Toilet Revisited, 1998, a colour photograph in which she sits on a toilet smoking a cigarette. In her solo exhibition The Fag Show at Sadie Coles in 2000, she used cigarettes as a material, as in Self-portrait with Cigarettes (2000).
I so have a giant art crush on her! I hope you enjoyed this post!
August 14, 2012
Moshe Safdie was born in 1938 and graduated from McGill University in 1961 with a degree in architecture. After apprenticing with Louis I. Kahn in Philadelphia, he returned to Montreal, taking charge of the master plan for the 1967 World Exhibition, where he also realized an adaptation of his thesis as Habitat ’67, the central feature of the World’s Fair.
I have always be in love with architecture and had I not gone into fashion first, would have gone into architecture. Of course I say that, knowing full well I had a hard time sitting through lectures while I was in school. I came upon Moshe Safdie’s work when I was looking into visiting Singapore and understanding all the buzz about it! The newest playground there is Marina Bay Sands designed by Moshe Safdie. It is a multifaceted resort. it is three 55-story towers and on top a Sky Park.
In 1970, Safdie established a Jerusalem branch office, commencing an intense involvement with the rebuilding of Jerusalem. He was responsible for major segments of the restoration of the Old City and the reconstruction of the new center, linking the Old and New Cities. Over the years, his involvement expanded and included the new city of Modi’in, the new Yad Vashem Holocaust Museum, and the Rabin Memorial Center. During this period, Safdie also became involved in the developing world, working in Senegal, Iran, Singapore, and in the northern Canadian arctic.
In 1978, following teaching at Yale, McGill, and Ben Gurion Universities, Safdie relocated his residence and principal office to Boston, as he became Director of the Urban Design Program and the Ian Woodner Professor of Architecture and Urban Design at the Harvard Graduate School of Design. In the following decade, he was responsible for the design of six of Canada’s principal public institutions, including the Quebec Museum of Civilization, the National Gallery of Canada, and Vancouver Library Square.
The most recent commissions are Marina Bay Sands, an integrated resort in Singapore, the National Campus for the Archaeology of Israel in Jerusalem, the renovation and expansion to the Central Library in Philadelphia, the West Edge project, a mixed-use facility in Kansas City, Missouri, the Renaissance Square project in Rochester, New York, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas.
August 1, 2012
I caught an exhibit of NAN GOLDIN”S work at the MATTHEW MARKS GALLERY in New york. I had never seen her work before and really fell in love with it. So interesting for me to think how artists can express themselves through so many different mediums!
If you have the chance to cathch this show, go. her personal history resonates throughout her work.
Nan Goldin is known for documenting her surrogate family of friends as they engage in intimate, uninhibited, or illicit activities. These unusually lit images are frank confrontations with personal experience, frequently presented in poses that mimic the styles of the fashion world.
Goldin visited that world through photographs she took for a New York Times Magazine cover story – “James is a Girl,” by Jennifer Egan – that appeared on February 4, 1996
Nan Goldin has spent more than twenty-five years creating edgy portraits. In 1996 these startlingly direct color images were the subject of a mid-career retrospective organized by the Whitney Museum of American Art, New York, which traveled to Winterthur, Germany;
Vienna; and Amsterdam, among other international venues. She has earned the Mother Jones Photography Award, a grant from The National Endowment for the Arts, and the Maine Photographic Workshop Book Award for Documentary Book of the Year.
Ms. Goldin, 58, moved to Paris in 2000 and has become a darling of the French to rival Jerry Lewis and Mickey Rourke. The Pompidou Center mounted a retrospective in 2001, and in 2006 she was named a commander of the
Order of Arts and Letters by the French government. But she said that being granted a private audience with the Louvre — “We ran around in there barefoot; there was absolutely nobody around” — brought a feeling of French acceptance unlike any she’d had before.
And the Louvre also quickly taught her, she said, that many of her artistic obsessions are ones that have been to central Western art history, and to myth and religious iconography — sex, violence, rapture, despair and the slippery
nature of gender. She gravitated toward representations of the mythological tales popularized by Ovid, like the second-century Roman marble “The Sleeping Hermaphrodite “whose male genitals come as a surprise to viewers
approaching the curvaceous female form from the back. first became known involved transvestites and
More than half of the photographs by Ms. Goldin that she paired with Louvre imagery have never been exhibited before, and many were unearthed from her New York archives in a painstaking search by one of her assistants.
But other pictures were resurrected by Ms. Goldin herself. An obsessive series of photographs she took of a former lover named Siobhan were included after Ms. Goldin re-established contact and the woman, now married and a mother,
agreed to allow many never-before-seen images to be shown, “which is great,” Ms. Goldin said, “because it had been pretty painful for a lot of years not to show them.” Those photographs and many of the others she chose ended up creating a
collective portrait more joyous than the kinds Ms. Goldin is known for. “It really became a work about love,” she said, one propelled by the love she felt inside the museum.