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Artiholics caught up with the artist.

You’ve been in the international news during the pandemic. Can you tell us about it? 

When lockdown started my work was due to go to the Tate for an art festival. The pandemic prevented this. Whilst at home in isolation I decided to fight back, so I began putting on impromptu exhibitions in my back garden.

Because of my disability, my teenage kids would help me install and inflate the sculptures. My neighbours started hanging out of their windows to see this exhibition appear over the garden wall, and even the local ‘bin men’ shouted over the fence that they loved the work. One of my neighbour’s young daughters, Florence, would draw me in my garden with the sculptures, which she would then post through the letterbox. This had such a huge impact on me. A little bit of magic in the bleakest time.

I then started to get interviews requests from newspapers in Germany and then TV companies arrived at my door. In lockdown, this attention had a regenerative effect on me and lifted me to create new art, in new ways. I never stopped working, as you can’t put breaks on the creative process. The attention I received seemed to boost this exponentially.

The 10ft tall, colour changing and illuminated ‘Jason and the Argonauts’ inflatable is a stunning example of your work – what’s its story? 

In 1963 the Ray Harryhausen film was released ‘Jason and the Argonauts’ and when I came along in 1969, my parents named me after this illustrious and dynamic hero. I was always intrigued by my name and where it came from. When I found out more about the story of the ‘other’ Jason and his voyage, where he set out to find the finest heroes in ancient Greece to set sail with him and reclaim the magical Golden Fleece, it fitted in well with what I was attempting to do with my art practice.

I had stopped making art just about myself and started to focus on making art about others in the disabled community, and making a conscious decision to make art with and about them.

I was attracted to the idea of replicating a great heroic voyage of discovery where I was collecting stories, which I would then reflect on and make art about.

I am very much a reluctant disability activist, although I choose to use humour and psychedelic colours to get my points across. The works I created are influenced by my working-class childhood, in Yorkshire, in the 1970s.

The surface of this sculpture is covered with the iconography of my own life and the stories which have been shared with me. It is also richly adorned by the names of all who have taken part in my work and my travels around the UK, working with deprived disabled communities.

I am not a spokesperson for these communities, I am just an artist who chooses to make these statements, to make art about those I feel some connection with.

I love the fact that this sculpture is linked so closely with my biography and with those I choose to work with also.

When people ask what my work is about I simply answer that it lies somewhere between the British children’s comic book ‘The Beano’ and the social commentary film ‘I, Daniel Blake’. Don’t be fooled by the bright colours, as the work is a trojan horse (or even a trojan sheep) in that the viewer is pulled in and then I can discuss the complex hidden stories.

And there’s an even bigger inflatable on the way?

Yes, there is a huge inflatable sculpture on the way, which will be unveiled at my solo show at 20-21 Visual Arts Centre in October. The sculpture is so big that it will allow the viewer to walk in and around it.

It shows a prone figure who is brightly coloured and highly decorated with tattoos, each with a significant meaning. I have designed it so that you will continue to find different things, regardless of how many times you view the work.

The figure represents a disabled person who is being changed on the floor, as they cannot access proper toilet facilities.

I wanted to create an accessible piece of work that told this story whilst being careful not to preach. Being angry does not work for me when making art, and I think the best approach is to get people on side by making them smile or even laugh first. It is meant to be absurd and provocative.

You use AR a lot in your work and have an iOS app, ‘Jason Residential’. Can you describe this work for us?

Most of my sculptures link to an augmented reality app, so I can animate and move the work and unlock further content, which adds to the sculptural work and is a piece of art in its own right.

Technology has democratised my art and allowed people to download my sculptures into their own living rooms or gardens. I get photos from people who have downloaded my virtual sculptures and it fills my heart with joy, especially when I was so isolated in lockdown. The technology set me free.

The ‘Residential’ app allows you not only to download my work but virtually walk around my head and see the creative process. Think of the film ‘Being John Malkovich’ but in digital form, as the app fully immerses the viewer.

Through the AR I can extend my practice by integrating my love of 1970s animation and popular culture, using the most up to date and cutting edge technology.

In lockdown, I loved the idea of the 70s movie ‘The Phantom Tollbooth’ as I wanted to escape the four walls I was trapped in because of the pandemic. I wanted to create magical portals, just like the tollbooth, through which you could see movies and animated characters who acted as strange and magical gatekeepers to this wonderful new work.

This unique approach was adopted by SHAPE Arts and developed by Hot Knife Digital Media to create the app Unfolding Shrines, giving a creative space to other disabled artists around the world. It effectively became a virtual artist AirBnB. 

What’s coming up?

I have a new sculpture being unveiled as part of the prestigious Folkestone Triennial in July and in August I am releasing my first virtual reality video game, which is going to be housed at Shire Hall Courthouse Museum in Dorset.

In September I will be taking part in a SKY Arts tv programme, but I can’t say too much about that yet, and I am unveiling two new inflatable sculptures. In October my work is going to be shown at 20-21 Visual Arts Centre in Scunthorpe. This will be so exciting as I get to unveil my largest ever sculpture.

Is there anything else you’d like to share? 

‘The Argonauts on Tour’ is showing across the UK in 2022 and is available to tour to venues internationally. If you are interested in showing the work, then please contact me at Jason@jwmartist.co.uk.

You can also see more of my work at my website www.jwmartist.co.uk and on my Instagram account wilshermills.

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Now imagine taking a stroll in a park – let’s say the Morningside Park in Upper Manhattan – and seeing a large sculpture of a reclining figure. Instead of Buddha, however, reclining on the grass is Liberty herself.

Part of NYC Parks’ Art in the Parks program, “Reclining Liberty” is a piece by Harlem-based artist Zaq Landsberg. It is a plaster resin sculpture of the quintessential American figurative symbol, resting with her eyes closed. The materials she was made of are sturdy enough to support anyone who would climb, sit atop, or lean up against her. If you ever wanted to see and interact with Liberty, now is your chance; especially since the copper paint and an oxidizing acid really make it look like the actual Statue.

Morningside Park’s Reclining Liberty

The symbolisms behind the artwork are many: Landsberg intentionally combines the traditional Buddhist iconography with that of New York and the United States at large, questioning the ideals that the Statue of Liberty represents. The artist also considers the meaning and significance of monuments, America’s relationship with its own history, and the way certain aspects of it have been celebrated to the exclusion, and even detriment, of a large part of its own people. “Reclining Liberty” could also be perceived as a symbol of a country succumbing to a grueling pandemic, in which even the tallest of statues can be worn down.

Is Liberty simply tired from all the challenges of the contemporary moment? Aren’t we all?

About Zaq Landsberg

Zaq Landsberg specializes in large scale, site-specific sculpture that is often installed outdoors. Much of his work, by his own admission, involves “things that look like other things” – for instance, his “Peshmerga Fighting Vehicle” from 2017 is a replica of a real-life truck used by the military forces in Kurdistan, while the 2014 installation “SkyWatch” is an eerie, spider-like NYPD watch tower. He is also the creator of the “Republic of Zaqistan”, a two-acre piece of land in the American West.

Landsberg’s interest in the concept of monuments extends beyond “Reclining Liberty,” through artworks dealing with visual representations of historical figures such as Robert E. Lee and Christopher Columbus. This is also the second time the artist used the Statue of Liberty in his art: it follows the 2012 project titled “Face of Liberty”, in which half of her head was emerging from the Governors Island.

You can visit Zaq Landsberg’s “Reclining Liberty” in Morningside Park, near the West 120th Street and Morningside Avenue entrance to the park, until April 2022.

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New York City is a vibrant and dense city, full of life, colors, and forms. A city known for its love of art in all expressions and ways. Artists and creators find in New York City an open space to showcase their talent, that openness and invitation to create are what makes New York City a reference in the world and a destination for many artists and visitors who want to experience and see the world through the eyes of those who have a story to tell.

A beautiful and special place is Central Park, right in the middle of Manhattan, a space that has allowed New Yorkers and guests to experience nature in the middle of this concrete jungle. Central Park is there to offer all its visitor a space to breath, to walk and to decompress from the intensity that this city can embody. Central Park is also an open space and an open canvas for many artists to present their work to the world.

The Horses is a remarkable art installation located in the Doris C. Fredman Plaza in Central park, curated by Public Art Fund and the curator Daniel S. Palmer. The Horses is an impressive artwork of three aluminum horses, created by the well-known and respected French artist Jean-Marie Appriou. The massive sculptures raging from 16 feet tall to 16 feet long are outstanding installations that evoke those whimsical and poetic figures that can be found in magical stories.

Appriou was inspired by the horses-drawn carriages that are one of the many attractions found in Central Park and by August Saint-Gaudens’s gilded monument of William Tacumseh Sherman on horseback, located in the area. The Horses are magnificent sculptures, carved in clay and foam models, cast in aluminum and full of textures emulating muscles, metal plates and in some places like fabric. One horse is seated, the two others are standing but their location it’s made to create a feel of a scene or scenario.

Public Art Fund curator said about the artist in the public art fund press release, “Jean-Marie Appriou’s unconventional approach to sculpture is almost alchemical, His craftsmanship is informed by a deep knowledge of the historical lineage of sculptors that have preceded him. At the same time, Appriou’s equine sculptures are otherworldly, evoking the silent majesty of horses with nuanced sculptural details that flicker between narrative and poetry.” 

The Horses are sculptures of a mix of human and horse form, giving the viewers the experience of being in front of mystical creatures, encouraging the visitors to see beyond what their eyes see and into what their imagination see. The Horses installation is also an active experience, where people can walk under the standing horse, or around the others to see all of their details and touch their textures, an activity that creates a distinctive experience.

The installation is a beautiful artwork that invites all visitors to use their imagination and to find the magic in the creation and is a suitable art piece that asks everyone to experience the charmed that Central Park offers. Art could be a special way to see the world, with curious eyes and with an open and creative mind, and that is the perfect attitude to go to Central Park and see and discover all its beauty, secrets, and artistic elements.

The world is living in a new reality, where social distancing, face mask and proper hygiene are part of the vocabulary, a new reality in which parks and open spaces are now the perfect and safest places to visit and to spend time. For New Yorkers and tourist now days Central Park has become not only an essential point in an itinerary but also a must visit to fulfill the artistic need, to calm the anxious mind and to enter for a moment in a new and simple reality full of nature and art. The Horses and this type of art exhibits give people the chance to practice art in a safe and fun way.

Public art is a great way to enjoy and satisfy that artistic necessity in any day, but most important during this time when people are not only facing isolation and health concern but also economical concerns. Now creativity is a key not only to create art or to find it but also a way to enjoy time, families, and friends. New York is a place that offers many forms of public and accessible art to its residents and guests. The Horses installation is an example of that artistic vain that is part of the essence of this city.

The Horses will be on display at Doris C. Freedman Plaza, 5^th Avenue at 60^th Street, until August 2020.

Jean-Marie Appriou, The Horses, 2019, Cast aluminum, courtesy of the artist and CLEARING, New York/Brussels; Galerie Eva Presenhuber, Zürich/New York
Presented by Public Art Fund, Doris C. Freedman Plaza, Central Park, Sep 11, 2019 – Aug 30, 2020

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My name is Gianfranco Meggiato, I was born in Venice in 1963 and am a sculptor of abstract works in bronze, aluminum, stainless steel and marble.

Please describe your journey to starting your life as an artist. How did you start your career and what brought you to start showing your works?

Since I was a child I felt a particular inclination for art, drawing, modeling, I studied for five years at the Istituto Statale of Venice, where I came into contact with different materials: wood, stone, clay, plaster, bronze.
Already at sixteen I participated in a collective exhibition in Piazza San Marco, at the Bevilacqua La Masa Foundation, organized by the municipality of Venice, where I presented my first work created at school: a perforated stone panel on both walls; it already contained the initial seed of my future plastic research.

What is the process behind the creation of your works?

Unlike many other sculptors, I never start from a drawing or from a project, but instinctively, directly, by modeling the wax directly by heating it in special stoves and then modeling it with the help of a heat gun and lavacrete.
It is a very long and complex job and a work is sometimes done over and over again until the satisfactory result is achieved.

What inspires your artworks?

Telling you what inspires my works is not easy, in the sense that my sculptures arrive a little on their own. It is not that when I start working in the morning I already know what I will do, but as I proceed, the idea born takes shape and develops.
As Joan Mirò said: “Images take shape while I work. In other words, instead of deciding to paint something, I start working and while I paint the image imposes itself or offers itself to my brush.”
Here in this definition of Mirò on making art I find myself very much there and in my opinion the artist is nothing more than an energy receptor which then manages to transform matter whatever their medium, plastic in my case.

Your sculptures are elegant and very powerful. Is there a specific meaning or message behind your Art?

On the general meaning of my artistic research I can say that I model my sculptures often inspired by the biomorphic fabric and the labyrinth that symbolize the tortuous and tormented path of man aimed at finding himself and his own precious inner sphere. In this context, space enters into all my works and emptiness becomes as important as fullness. 

Lately I have been increasingly attracted to the foundational concepts of quantum physics
One of the best known experiments in the field of quantum physics is that of the double slit (a variant of Young’s experiment) where the results change as the conditions of observation and execution change.
In essence, subatomic particles are fired through two slits and their behavior changes, changing their nature from beam to wave, depending on whether or not there is the presence of an observer assisting with the experiment.
A question then arises: what is the true nature of man if he is able to modify, with the mere presence of an observer, the behavior and nature of subatomic particles?
Here I think that contemporary art must be in line with its time, also having the courage to touch uncomfortable scientific themes.
Some of my latest works: Uomo Quantico, Respiro Quantico etc. refer precisely to a way of making art linked to these scientific theories where space and time would not exist but everything would happen at the same time and in the same space.
In creating the sculpture, I then proceed to perform separately, without an overall view, each single element that will constitute together with the others the final sculpture that will appear when all the elements are composed in the same space and at the same time.

In general mine is a plastic research that tries to touch current issues and inner research.

You exhibited all over the world, tell us about your experiences. Any favorite places? 

I must say that in my opinion, before being in museums, art must be among people and that is why in recent years I have given much space to monumental installations placed in squares or in particularly symbolic public places.
One of the installations that touched me most was: “La Spirale della Vita” made in Piazza Bologni in Palermo on the occasion of Manifesta 12, between June and September 2018.

The installation dedicated to the 878 innocent mafia victims, made in the shape of a spiral of twelve meters in diameter, made up of jute bags, culminated in the center with a vertical sculpture 4 meters high entitled: “Il Mio Pensiero Libero” because in the end only a free thought can free us from the spiral of death.

This installation was particularly felt and experienced by the Palermitans who came to see if the name of their relative or friend was among those imprinted in the jute bags; the Spiral of Life had then become a mausoleum to their dead.

When art interprets the common feeling of a people, remembering the fallen and at the same time giving a message of hope, I think it can be said that it has achieved one of its highest goals.

Tell us about your icomos-UNESCO award. What is it awarded for? When did you receive it? How did you feel? Was there any impact upon your career after receiving this award?

The Icomos-Unesco prize was awarded to me in Florence in October 2017 “for having masterfully combined the ancient and the contemporary in sculptural installations of great evocative power and aesthetic value.”
In June of that year at the International Sculpture Park of the Marca museum in Catanzaro I had created a circular installation of 20 meters in diameter consisting of 4 thousand jute bags with 8 monumental sculptures inside entitled: Il Giardino delle Muse Silenti.

These military jute bags were symbolically placed in defense of our values, of our culture, also given the repeated terrorist attacks that had occurred in that period: “Not soldiers behind the fortifications but sculptures: the Silent Muses, after having inspired the poetry the Muse defends it, the last bulwark against barbarism and death.” (Luca Beatrice)
This which had been my first large installation had immediately made me aware that this was my way.
I was thrilled by an art made of “social” installations to face the drama of the contemporary era and the Icomos-Unesco award received had made me understand that I was in the right direction.
At the end of the installation, the Marca museum has acquired and placed on permanent display in the international sculpture park, a work of mine 4 meters high: Il Mio Pensiero Libero.

How is the Covid-19 influencing your Art? What is the impact of the virus on you? How are you using the quarantine time?

In 2019 on the occasion of Matera European Capital of Culture I had created the largest contemporary art installation of the event.
An installation of 25 x 20 meters was made with more than 5 thousand bags colored with the 7 colors of peace, in the shape of the hand of Fatima, a symbol common to Jews, Muslims and Orthodox Christians.

The founding theme of the installation was: Everything is One, imprinted on the bags in the 30 most spoken languages in the world.

Well the year of Covid-19 made us understand how prophetic that phrase was.
We are all cells of the same organism and a body must remain united if it wants to defeat the virus.
In June of this year, the art magazine ArteIn dedicated the cover to my installation.

“Today“– writes Luciano Caprile for ArteIn –“we can open the drawers of the soul and take advantage of this difficult period as an opportunity for growth and enrichment. In this respect, the great hand of Gianfranco Meggiato, open to all humanity, makes us understand how truly everything is one (…) and how each person’s physical and spiritual salvation depends on safeguarding this conviction.”
Personally, I used the time of quarantine to model new works in view of the next exhibitions.

What are your plans for the future?

For the summer of 2021 I am planning a large exhibition with about twenty monumental works in the Valley of the Temples in Agrigento, one of the most visited archaeological sites in the world where great international sculptors, from Igor Mitoraj to Jan Fabre and many others, can be viewed.

The theme will be “Know Yourself” the famous inscription on the pediment of the temple of Apollo in Delphi.

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Korean art has become the new vogue, as it continues to intrigue and impress the art world. Traditionally, Korean art was about harmonizing with nature and refraining from expressing in extremities. But with the current Eastern-Western fusion wave, a new narrative is beginning to form. Whether it’s the 2012, ‘Gangnam Style’ or the recent Oscar winning movie ‘Parasite’ by Bong Ho, Korean art is everywhere. From incorporating their native art references with the ever-changing western one to starting their own movement, Korean artists are consistently challenging the conventional boundaries. Here are some outstanding Korean visual artists that have recently caught our eye.

Generally very prolific and highly-appreciated in the US, some of the selected Korean Artists are independent, such as Hera Kim, Minjin Kang,  and Hyun Jung Ji;  all the others are represented by a gallery:

Hyun Ae Kang, Kim Seungwoo, Kim Jeong Yeon, Krista Kim, Cha Yun Sook & Hayeon are represented by BOCCARA Art Gallery; and Yang Jong Yong is represented by Vivian Choi Gallery.

FUSION AND REPETITION 

Hyun Ae Kang

Born in Seoul, Kang is a famous second generation ‘Dansaekhwa’ or ‘monochrome painting’ artist. Her work follows a Buddhist and Taoist ideology where she creates abstract paintings and prays before initiating each painting process. She uses the canvas as a surface which is to be multi-layered with meticulously applied, thick paint strokes. The viscosity of the texture and the methodology is reminiscent of her sculptural practices. Her color choices and strokes, create a vibrant, energetic sensation, much like Divisionism, and the laborious process of paint application is meant to remind one of the painful Buddhist meditation that is practiced repeatedly in order to attain Nirvana. Having received recognition in 1993, Kang’s works are housed in several prominent museums. Her work can also be seen at an upcoming retrospective at Muzeo Museum and Cultural Center in Anaheim, California, in 2021.

Kim Seungwoo

Seungwoo painstakingly assembles hundreds of thousands of coins and buttons to create hyper- realistic human body figures and sculptures. His life-sized figurines and flowing geometric patterns are made to communicate the question in his mind – ‘Art is Money, or Money is Art?’ These remarkable, detailed sculptures are so hypnotic that they make one temporarily forget that they are made out of a token of monetary value. As the coins themselves are assembled with a lot of hard work, the sculpture itself becomes reminiscent of the phrase- ‘hard earned money’, and its form comments upon the human desire to acquire it.

Seunwhui Koo

Koo’s works are a reflection and commentary of her life in New York city. Her work entails a combination of the human body and pig’s head displayed in various setups. Having received her Bachelor’s degree in Sculpture from Kyungpook National University, South Korea, Koo went on to experiment with the fusion between the Eastern and Western cultures. The idea of Good fortune (Eastern) and greed (Western) are two very different connotations of the pigs to her, and are the central motif in her work. She often uses either black and white, or vibrant colors, in a vast array of mediums to execute her ideas. The whimsical quality and the numerous pigs in her work, invites the viewer to indulge and investigate them further.

A NATURAL CONNECT

Kim Jeong Yeon

Yeon’s sculptures and installations are an amalgamation of the Korean concept of nature based energies, expressionism, calligraphy and conceptual art. She often uses naturally found materials such as marble and wood, and executes her work in minimalistic patterns and colors. Her installations are often dreamlike, representing an inner sanctuary and sense of security. Their enormous scale envelopes the viewer and provides a sense of comfort and connection with the natural elements attached to them. Her sculptures have a serene rhythm and flow that instantly helps one immerse themselves into harmony with Mother Earth.

Cha Yun Sook & Hayeon

This mother- daughter duo create textile and paper-based artworks that pay a homage to their Korean culture and celebrate human connection with the natural world. Yun Sook grows the herbs that are used to dye the Hanji material that are incorporated into their work and also uses these inks as healing remedies. The duo conduct performance acts, where they often cut and shape their fabrics into natural motifs, like flowers, in order to depict a mesmerizing natural landscape, or use it to spontaneously clothe themselves or the viewer with their dyed fabrics to make an exclusive dress that symbolizes nature’s relationship with oneself. Their installations are designed to mimic their intent, so their work often flows from the walls, over the ground, re-creating a peaceful environment.

A NEW MOVEMENT 

Krista Kim 

Kim’s work is a response to the LED lights that are exposed to us through the various devices that we constantly use. Her intrigue in the dialogue between digital technology and human perception was so strong that she has founded a revolutionary art movement called ‘Techism’. Her works are often based on digital algorithms, which result in bright and deeply saturated hues. Based in Toronto, she has exhibited her work all over the globe and has now collaborated with the fashion brand Lanvin. Her work offers a fresh perspective and makes us question the way we see our mundane electronics.

There are several other artists that have also intrigued us – Hera Kim uses drip like patterns to create abstract imageS that help her express and process her pain. She treats the painting process as a form of repetitive prayer, that allows her to ‘fossilize’ her emotions. We loved Yang Jong Yong surreal work which depicts ordinary objects with unusual alterations, that defy physical limitations and are placed in an alternative space. Artist Minjin Kang experiments with hyperreal colors and minimalistic styles to create a fantasy world that is viewed through an architectural lens. On an illustrative note, we liked Hyun Jung Ji‘s vibrant works that depict faceless human figurines and tangled lines which represent her childhood journey.

Contemporary Korean art offers new narratives and challenges our perception and definition of art. This cross-cultural representation, which was previously unexplored, is now beginning to make its mark. And, with several galleries moving towards a re-opening, you can finally have a view and not miss out on this new Korean wave.

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The human body has always been a fascination for many artists. It has been a source of inspiration, study, and analysis. If we could understand the body, we could probably comprehend the mystery that it embodies and develops the creativity that comes from that knowledge.

Mark Manders, an accomplished contemporary artist from the Netherlands, has always been interested in the human figure, especially the head which has been a significant element represented in his work throughout his career. Manders created an impressive art installation, a thirteen feet tall remarkable piece called Tilted Head, commissioned by the Public Art Fund and exhibit at the Doris C. Freedman Plaza in New York City. This large-scale sculpture that looks like an incomplete half-head made by clay but is actually of cast bronze, is one of the latest artworks that the city is displaying for locals and visitors, as part of their commitment to bring art into public places.

The massive sculpture appears to be a work still in progress or abandoned in a studio, a clear distinction of the labor that entails an installation of that magnitude. Tilted Head has its eyes closed, an expression of tranquility and the upper third of the face is cut. Other elements conforming the piece are wooden planks on the top, two chairs and a suitcase smaller than the installation can be seen in the back. All these components in different sizes have a purpose as stated in the Public Art Fund site “this shift in scale, unexplained objects, and trompe l’oeil bronze effect alter our perception and spark the imagination.”

As most of Manders’ work Tilted Head is his way to write with objects, a transition from his initial interest to be a writer in his younger years to a fascination with objects that evolved in the use of as a language of creativity and art. The result is a career filled with incredible sculptures and art pieces that speak to the public rather through the senses than through the written word. An invitation to the viewer to use their ingenuity and interpretations to formulate their own conclusions about his art.

Central Park as the backdrop of Tilted Head creates a clear contrast between the calm and simplicity of the sculpture against the color, the chaos and vibrancy of the park, making the scenery a compelling New York City spot and photo postal that visitors can experience.

Tilted Head is available for viewing until September 1st, 2019 at the Doris C. Freedman Plaza at the 60th street and Fifth Avenue, Central Park, New York City.

Written by Monica Herrera

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New York City is known for its impressive skylines, rich culture and vibrant communities. Considered a melting pot of different cultures and traditions. A diversity represented in its population and also in its art. Many artistic expressions are constantly created to showcase those unique backgrounds and languages that make it a city like no other.

This multiculturalism feeds artist with inspiration, opportunities, and a platform to amplify their message through their work. If you make it here, you can make it anywhere says the famous Frank Sinatra lyric in reference to New York. A phrase that has become a popular invitation for those who come from the outside. It doesn’t matter what language you speak or where you are from, New York City has a cultural history built with the contribution of all those that have come from different places and it will keep growing from the ones that keep arriving.

As a way to celebrate the city’s immigration diversity as well as a celebration of the artist, Kasmine Gallery’s rooftop is presenting a new exhibit consisting of three remarkable sculptures by Robert Indiana (1928-2018).  Indiana was an American artist creator of one of the most renowned works of art of the 20th century on the theme of love. On view from the High Line with access on 28th  street, for the first time, the three sculptures are exhibited in one place. Each sculpture is a reproduction of Indiana’s famous LOVE series. Expressed in three of New York’s most significant dialects: English LOVE, Spanish AMOR, and Hebrew AHAVA.

Indiana’s LOVE composition consists of the word LOVE in bold serif lettering of VE stacked underneath the L and off-kilter O. The original image, green and blue with a lively red script, was used for the Museum of Modern Art Christmas card in 1965. Followed by exhibits of iconic paintings, drawings and small sculptures in the 1960s. Later created as a public sculpture for the first time in 1971. Subsequently, with a series of love theme creations displayed in many museums and parks all over the world.

The three versions of the installation in this exhibition have a similar arrangement of the word in each language. AHAVA created in cor-ten steel, LOVE in color blue, red and white, and AMOR has a vibrant red and yellow.

Indiana was considered a leader in the pop art movement. A movement that originated in the United Kingdom and the United State during the 1950s. Popular imagery and mass culture art were included as a contrast to traditional fine art. Focusing on realism with the use and incorporation of advertising, comic books and day to day objects like Campbell’s soup cans, pop art challenged the ideas of abstract expressionism.

For Indiana the work done with the LOVE series was a return to his beginnings as a sculptor, painter and poet, as stated in his website, for Indiana, “ The Love Sculpture is the culmination of years of work base on the original premise  that the word is  an appropriated and usable element of art.”

The exhibition is accessible to view from the High Line on the 27th street until September 2019.

Written by Monica Herrera

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Summer is in full swing in New York City, a time of the year when outdoor activities take center stage, especially in a city known for its vibrant life. Walks around the neighborhood, movies at the park and picnics are a fun way to enjoy the sun, the long days and the heat of the season.

A favorite interest among locals and visitors is to take advantage of art shows, presented in many forms and places all around the city. More recently sightseers have a new interactive public artwork to see, The Nautilus. Located in the famous waterfront at the Seaport District the exhibit lights up the nights of an already popular district.

The Nautilus is a collaboration between Lincoln, Atlantic Re:think, and SOFTlab. A partnership that brought to life an impressive art installation that invites those who visit it to appreciate the design and its magnitude but also to be active participants. An invitation to touch the art reads in most of the elements that shape the piece. Michael Szivos, founder of New York City-based design studio SOFTlab explained, “Museums are great, but our work that’s in the public realm is not in a white box, so it’s not framed, in a way.”

Consisting of 95 interactive poles, The Nautilus recognizes the visitor’s presence and touch. Each pole displays light and plays a melody when grasp, creating an experience of an oversize musical device. Linked by computer and sensors, with a touch, poles will play a full audio display. Guests can walk between the installation, immersed inside, and have a unique experience.

Approachable art and the need to stimulate society were partly the inspiration of its creators. Easy technology to understand and use was the main focus when creating the piece. “With this public art installation, we were able to use Lincoln’s rich design heritage and technology, and bring a really fun and immersive experience to the seaport,” said Jeremy Elias, executive creative director of Atlantic Re:think in a press release.

The Nautilus named after Lincoln new crossover the 2019 Lincoln Nautilus, is free to the public and showcase at Pier 17 until September 10, 2019. Later, it will move to its final destination at the Lincoln Headquarters in Detroit.

Written by Monica Herrera

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Desert X is a site-specific, contemporary art exhibition that is held in the Coachella Valley in Southern California. It came into existence with a different idea, a unique idea, of bringing together art and Southern California’s road trip tradition and turning the Coachella Valley into an open-air art gallery. Contrary to the modern day exhibition of artworks where you can find different types of artworks all under one roof, the Desert X exhibition is normally outdoors and takes place once every two years.

Although the Coachella Valley is a source of inspiration for artists seeking to create large-scale works that exist outside the typical gallery space, artists also have to consider the intense sun, extreme changes in temperature and violent winds experienced in the desert. It requires patience, cars, maps, GPS and the knowledge that you won’t see every piece of artwork in just one day.

The first edition of art biennial Desert X took place in 2017 from February 25-April 3oth and had works spread across the Coachella Valley. While putting together the exhibition, director Neville Wakefield and the curatorial team Amanda Hunt and Matthew Schum sought artists who were willing to engage with and respond to the specific history of the Coachella Valley and not just its beauty. The edition attracted more than 200,000 people including collectors, artists and museum groups. It showed works from artists such as Doug Aitken, Jennifer Bolande, Claudia Comte, Jeffrey Gibson and Glenn Kaino among many other recognized contemporary artists.

The highly anticipated 2^nd edition of Desert X touched down on February 9^th, 2019 and will run through to April 21^st 2019  with works from 18 artists selected by artistic director and co-curators. The show also includes a work of art “Shybot” by Norma Jeane which got lost during the first edition of Desert X and was found by a local maintenance worker. This edition is expected to be even bigger and better and for the second time it will again activate California’s desert landscape through site-specific installations by renowned international contemporary artists.

The artists participating in this year’s art festival include: Jenny Holzer, Mary Kelly, Ivan Argote and Sterling Ruby among many others. Jenny Holzer, known for her text-centric installations will present “Before I Became Afraid,” a piece addressing gin violence, with poetry projected on the mountain landscape. Mary Kelly will be showing “Peace is the only shelter” Ivan Argote will be presenting “A point of view” and Sterling Ruby will be showing “Specter.”

Visiting the Desert X is absolutely free and self-guided with maps of the artworks available at various locations and online. It is going to be so amazing to have double fun; go on a drive or walk and to have more than just a glimpse of different artworks and for the selfie-lovers, why not capture a moment or two?

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Once we answer these questions, we definitely relate with the statue better and begin to appreciate it.

In most countries, statues that are put up are actually of people who had a certain impact upon society or the even the world as a whole and therefore by creating them, their legacy is passed on to different generations. For instance, the statue of Mahatma Gandhi in India was meant to spread the message of peace and bridge the gap between the rich and the poor.

Most of the statues we see around us have actually been in existence for a long time. However, the tables turned in New York City after a NYC Panel recently decided to take down a statue of J. Marion Sims, a 19^th Century gynecologist that had been put up from across the street from the New York Academy of Medicine and had been there since 1934. The statue will be moved to a cemetery in Brooklyn where the father of gynecology was buried.

The statue had been created with the aim of “praising” the brilliant achievement of Mr. Sims who had perfected the technique for repairing fistulas.

Mr. Marion Sims had a good intention of getting the treatment for vesicovaginal fistulas, which are basically holes between vagina and the bladder or rectum. However he experimented on enslaved women such as Lucy, Anarcha and Betsey among other women and he did so without using anesthesia.

This exposed the women to a lot of pain.

After perfecting the technique on black women, Sims would go on to use the same treatment on white women but this time he would use anesthesia.

Several questions come to mind, why did he not use anesthesia? Which people applauded his work? Why was his statue put up? Was it right to have his statue put up even after he subjected black women to so much pain? What message was depicted by the statue?

The taking down of the statue was supported by several people who felt that finally the right thing was being done because in as much as Mr. Sims was able to find treatment for fistulas, he subjected women to so much pain.  The statue will be moved to a cemetery in Brooklyn where the father of gynecology is buried.

Art work is highly appreciated and embraced especially that of statues because it portrays the talent and effort needed to put in to come up with the final piece. What artwork do they create? What impact do their works have on society? Is there anyone who ends up feeling offended by certain works produced by our most talented brains? If you are an artist then you should try answering some of these questions.

The post Artwork Gone Wrong? appeared first on Artiholics.

Almost a year ago, Artiholics covered the debut of Prayers from Los Angeles (“Prayers“) by interviewing one of the key artists who inspired this multi-disciplinary collaboration—Margaret Garcia. See this clip of last year’s documentation of Prayers. On December 17, 2016, artists and musicians are bringing Prayers back to Casa 0101 Theater.

The venue itself has held a 16-year, thriving relationship with the surrounding community of Boyle Heights in Southern California. Since its founding in 2000 by playwright Josefina Lopez (depicted in the first featured image above), Casa 0101 has held a theater-centric role that gradually expanded and also became known for musical performances and visual art shows.  Theater productions still continue to play a major role in Casa 0101 today while a learning center engages children and adults in classes related to writing, acting/improv, singing, and dancing.  LA Weekly calls Casa 0101 the “Best Theater Serving Its Community” in 2016.

Proceeds from the event’s art and ticket sales will support local charities.  This year, attendees can look forward to artwork by Joe Bravo, Brian Grillo, Jimmy Centenio, Heriberto Luna, Bonnie Lambert, and Margaret Garcia.  Other local artists and performers will also join the celebrations. Notably, Prayers will also seek submissions of “miniature art pieces” from the community to be shown in a special exhibition space within the gallery. The organizers of Prayers want a web of different voices. They emphasize the need to share and support one another. This is the time to defend thy neighbor, to be as positive as possible, and to work together in understanding the values in and outside of your community. Fortunately, we have people who know how this can be done using art materials, sound, and performance. Fortunately for us, Prayers from Los Angeles is not going away– it’s only growing stronger.

Casa 0101 is located at 2101 E. 1st Street, Los Angeles, CA 90033.  To participate in the community art exhibit, contact nataasja@prayersfromla.org.  Organizers of this festival may choose to coordinate an art pick up time for interested participants.  Anyone can also bring artwork to Casa 0101 during open hours.  The organizers prefer three days of notice to insure adequate installation time, but anyone may certainly bring art pieces directly to the festival on 12/17/2016. The community art show will be catalogued as part of a new book documenting Prayers from Los Angeles.

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Attention Floridians: Be on the lookout for suspicious individuals with a giant Gnome-Shaped protrusion in their waistband. Sometime between 9pm Thursday night and 5am Friday morning the Cornell Art Museum in Delray Beach, Florida was robbed. To be more specific, it had been Gnomenapped.

With the use of a ladder and some tools the 35″ tall 45 lb. blue pigmented resin sculpture ‘Power Gnome: Electric Blueberry’ (Seen above, third Gnome from the left) was unbolted from this custom steel pedestal and whisked off into the warm summer night. Electric Blueberry is one of thirteen Power Gnomes exhibited in this show by New York-based sculptor Sam Tufnell. This is a one-of-a-kind piece as it is the only Power Gnome ever cast in that beautiful arctic blue color.

The Gnomes are part of the Museum’s current exhibit “Lit” curated by Melanie Johanson featuring 85 pieces of art by 16 artists who incorporate light into their artwork.

“Please bring the Gnome home. He is missed dearly by his family.” – Sam Tufnell

The Museum has put up a $500 reward for the safe return of ‘Electric Blueberry.’

Various incarnations of the Tufnell’s “Power Gnomes” line-up have been a staples at Castle Fitzjohns Gallery in New York’s Lower East Side, standing sentinel in the window off and on since the gallery opened in 2013.

The Gold Gnome nicknamed “The One Percent Gnome” is part of their current show “Misappropriation” up until June 15th.

“Ghost Gnome” a clear version of the Power Gnome is currently on display at Vertu Fine Art in Boca Raton, Florida.

The remaining three Gnomes have been removed from the outside pedestal for the time being, but the other nine Power Gnomes featured in “Lit” are currently on display indoors at the Cornell Art Museum, all pieces are available to purchase.

Exhibit dates are April 28-August 28, 2016. Open Tuesday-Sunday, 10 am-4:30 pm; Sunday hours are 12-4:30 pm from May through September; admission is a suggested $5 donation.

If you have any details that may lead to the whereabouts of ‘Power Gnome: Electric Blueberry’, please contact the Cornell Art Museum at 561-243-7922, ext 305 or email Stephanie at swatson@oldschool.org

Follow the Cornell Art Museum on Twitter: @CornellMuseum and Instagram: @CornellArtMuseum.

SAM TUFNELL (b. 1978)
Sam Tufnell is a contemporary artist born in Los Angeles, California. He received his Bachelors of Fine Arts in 2002 from the School of Visual Arts in New York. Tufnell creates sculptural pieces using casts and molds and sometimes using items found at the supermarket that are easily identifiable. His works have been exhibited in Miami, Palm Beach, New York City, and other cities around the U.S. In 2013 he received the Solo Award Winner Art Expo NYC award. He donated works to be sold in a silent auction for the 2014 and 2015 Art Walk NY, coalition for the homeless charity. He currently lives and works in Upstate New York, and has a studio in Chelsea which he is converting into a showroom. www.SamTufnell.com

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San Francisco, CA – Thursday, September 4, 2014

In June, New York-based artist Vanessa Albury gave an exclusive interview to Artiholics on the eve before her journey through the Arctic Circle.  Along with 26 other residents, Albury took part of the Summer 2014 Arctic Circle Residency.  Aaron O’Connor, who leads this program, directed a diligent crew that housed, fed, and safe-guarded the residents as they all worked on individual and collaborative research in the Arctic environment. This program brings artists, writers, musicians, educators, and scientists together to study one of the coldest, harshest regions of the world (-10 degrees Celsius). In total, the residents visited 18 landings.

Our report on this residency continues, first, by reviewing Albury’s unique documentation of the journey (a few images come from the program itself).  In the above photo, Albury captured a star-shaped sun with strong beams of light  high above the horizon after midnight. For 17 days in the Arctic, no nighttime sky appeared, nor stars, or sunsets.  Everyone worked in sunshine and then hours later slept in its bright energy.

View of the Antigua, Photo courtesy of the Arctic Circle Residency Program

In the photo above, we see the temporary home for the residents–the Antigua, a 152-foot Barkentine sailing ship equipped with 3 masts.  Furnished with cabin space, a kitchen, deck, and a communal salon, the Antigua presented the safest arena for the travelers to bond and discuss projects.  Albury credits O’Connor and the guides Theres Arulf, Sara Orstadius, and Sarah Gerats (she is also a performance artist), as the masterminds behind the Antigua’s daily activities. With what seemed like innate finesse, the team juggled the needs of each resident on any and every task or equipment necessary for the multifarious projects. For Albury, they located landings close to glaciers and helped arrange portable power sources for her bulky projector.  Other projects required similarly specific considerations. The team communicated with everyone tirelessly and effectively for each daily expedition.  Above all, O’Connor, the guides, and the crew kept the residents safe.

Safety became a major concept keenly felt and then explored by some residents like Albury.  During the travels, many participants felt awakened to the high degree of precaution constantly surrounding them. During hikes through icy terrain, the three guides doubled as polar bear guards and would scout the path of the expedition. They formed safety zones encompassing 300 to 400 meters at the widest point, in which the residents could work on projects.  While traveling, the residents walked in a line or tight group, sometimes with only one guard.  Albury fondly describes the polar bear guides  as “amazing, rifle-totting, adventurous women.”   If any polar bears appeared, entire hikes could be redirected or even aborted.  Thanks to a presentation on polar bears by one of the guides, Sara Oristadius, the participants came to understand that “polar bears are fearless, curious and ferocious.”

On deck and anywhere close to the edge of water, residents had to be aware of the immediate doom resulting from a simple slip. Man-overboard in the Arctic does not resemble Man-overboard in warmer seas.  According to the captain of the Antigua, in the waters around Svalbard, Norway (where the journey began) you would not die due to hypothermia, exactly.  Before that, your layers of heavy clothing would pull you down into endless depths. There’s just no way to keep afloat without a lifesaver.  On top of that, if the ship is sailing, it would be very difficult for any crew member to keep an eye on a small head bobbing in water. Closer north, any fall into the water could result in death from hypothermia.  On land, danger comes from above. The explorers kept a minimum distance of 200 meters from any glacier to avoid sudden calving, the deadly splintering of heavy or sharp crashing ice from the tops of glaciers.

Photo of Vanessa Albury working with her pinhole camera during one of the landings in the Arctic Circle. Courtesy of the artist.

However hazardous the expedition felt, the members of the Summer 2014 Residency all returned safely. They may have joked about Scurvy, hoarding the limited supplies of chocolate, and other jests emanating from paranoia, but the group never stopped looking out for one another.  Albury found herself in deep conversation with the writer and co-resident, Susan Rogers on this sensitive topic.  Rogers talked about the precautions taken for safety, i.e. the strict boundaries to protect against polar bears and the rules aboard the ship. Albury could relate, thinking of the ships’s rails.  She also contemplated the “edges of life and living,” while recalling tales of whalers and early explorers, many who did not return from these Arctic expeditions.

Albury thinks of how those crucial moments come from the simplest places. It could have been just one small item left behind that might have made all the difference for those explorers who perished.   An entire journey could be ruined, or an entire life might splinter and end from simply forgetting to think about the entire scope of needs for an expedition.  While sharing these thoughts with Rogers, Albury noted that this interest may resurface in her future work, stating also that, “the best gift a residency can give an artist is fodder for new thoughts and new ideas.”

  Another series of photos come from capturing the different scenes splashing round and round the porthole (11” diameter) in Albury’s cabin.  All residents stayed in similar rooms during this two-week expedition.  Sometimes, a view of the icy landscape and edges of shoreline are caught in this round window.  More often, bubbly blue, clear, and green waters completely invade Albury’s round window.  Leads one to wonder if the ocean is not actually one large glass of soda.

I am reminded of stargazing, and how surely hypnotic those porthole scenes might have appeared to someone resting from long hikes through snow.  Deeply, I enjoy those moments when art objects resemble or rather, cause a sense of star-gazing in me, a relaxed state where one dreams quietly, not even noticing that you are—as they say, in the moment.

This series of pictures feels intimate, as the images come from the artist’s private quarters, which is a part of the journey that shouldn’t be forgotten.  The porthole views remind us that we cannot leave the vessel out of this story.  It played a very real and present part of the exploration and residency.  Not everything took place outside.  Albury noted that this was certainly true for the residency’s writers.  While many joined in on the daily hikes, the writers often stayed in for hours to practice their craft.

Albury’s craft also involves developing her film, when possible.  In past residencies and travels, she has been known to scope out the right closet or bathroom to turn into a temporary dark room, which is what she also did aboard the Antigua. Though she brought several heavy pieces of equipment, Albury did not pack an enlarger.  The type of developing she worked on involved chemicals and exposed film.  A dark room on a ship works well, only when the ship is not moving, or when her neighbor does not need his shower.

Photo courtesy of Vanessa Albury.

One of the more relaxed characters in Vanessa’s photos includes a portly “Red-Bearded Seal”. The name might be related to the patch of rusty bronze color of the fur or skin on his face, but I’ve seen humans with more red and beard than this fellow. Place those terms, “red-bearded seal” into an Image Google Search, and you will come across a few male homo sapiens.  Lying on his left side, Albury captured the seal softly blinking his coal lump eyes as he allowed the group to come as close as one meter. The residents and their guards did spot polar bears during two expeditions—a single bear the first time, and then a mother and 2 cubs the second time. Four bears in total made a record for any ship traveling during those 2 weeks. No one was allowed to get as close to a polar bear as Albury got to the blinking seal. Almost immediately, when the first bear dived into water, the group had to quickly return to the ship.  Polar bears swim fast, act stealthily, and are skilled at hunting.  During the second sighting, the traveling group only redirected the path of their hike.

Near the end of the residency, Albury documented one of the final hikes around the curved path in this picture.  Note the dark grey stone and the blue ice covering the curved rim.   Layers and layers of ice create the most fascinating shades of translucent blue, frosty on some edges, other times jagged, or fragmented.  In another shot of the terrain, Albury captures blocky rocks that have the grey color of elephants.

After hikes like this (some lasted up to three hours), the travelers came home to a warm Antigua set with healthy, filling meals.  Albury recalls a “lovely chef” who catered to all the food allergies from the group.  The artist remembers abundant servings of pudding (with almost every meal!), dishes with fish, pork, chicken, pastas, and European fashioned salads (cucumber, tomatoes, corn, and onions, notably salads made without leafy-greens, which Albury missed).

Most of the images reviewed above come from the artist’s documentation of the journey, but this does not describe her artwork very well. We should not think of Albury as a photographer.   During our 2^nd interview, we talked about how often people refer to her as a photographer. It’s an easy mistake.  After all, the artist did return from her past two residencies with hundreds of rolls of film. However, the goals between this artist using photo-based processes and a photojournalist, for example, vary widely.

Net Diptych (Bodøgaard XVI & XVII).  Vanessa Albury created this Cyanotype  print using nets and rope. 2014

Albury’s work centers on how light behaves, the mood of it, and our response to these images.  They often carry abstract forms that she experiments with, often incorporating other sound or performance-like elements from projectors.   The different ranges of cameras available to us, the kind that have been replaced by a lot of digital technology still interest Albury.  Holga cameras (her favorite), pinhole photos, or projectors are all devices that allow her a range of ways to experiment with light.  The different film speeds and shutter capabilities from these cameras give the artist many options, almost like the varying colors on a painting palate. When looking at her work, I do feel as though I am looking at paintings.

Documentation of Waves (The Impossibility of Distinction for Mr. Palomar. Projectors, recorded sound. Vanessa Albury, 2024

To better illustrate Albury’s use of photography, we can refer to the show she participated in right after the Arctic circle Residency.  In an exhibit named The Dream Time curated by Rachel Mason at Trans Pecos in Queens, Albury showed a projection piece to a sitting audience. She projected 48” x 48” black and white 35 mm slides depicting a dozen different images.  The pictures move in an irregular pattern. Some repeat more than other, so that viewers cannot spot a pattern. Simultaneously, the audience heard clicking projector noises that ticked against the sound of Albury’s heartbeats while she settled into a rest mode. By making those components work together, Albury aligned “The delicate human body to the corporeal nature of waves.”  The artist also found herself incorporating the meditation in Italio Calvino’s essay “Reading a Wave.” In this piece, one of Calvino’s most known characters named Mr. Palomar contemplates the colors, constant movement, and motley body that waves take on—how they never cease to change. Can Mr. Palomar possibly observe just one wave without the legions of others? Like snowflakes, have any two waves ever existed with complete a likeness?  The piece is documented in the image above, and it is titled Waves (The Impossibility of Distinction for Mr. Palomar).

To echo an earlier conversation from our first interview, Albury says that  “Photos are objects.  We tend to think of them as these windows into the world, but they are not.  They are objects,” and the artist treats them as such.  Instead of seeing photos as just images, Albury considers the entire scope of factors that come from taking a photograph – the processing, the act of capturing light phenomena, or the site specificity of projections.  She focuses on these elements can be recombined with other elements, like sound, and result in these exploratory ways of drawing in viewers.   In pieces like the Waves (…Mr. Palomar) the key concepts come from mixing sound with images.  Another future project will bring fire to the development process.  Albury found inspiration from the duality of heat (there is some with, ie the midnight sun) and the obvious cold elements of the Arctic.  Spotting that phenomena unique to the polar environment inspired this unusual photo process. She plans to burn an image while developing it.  We’ll have to wait to see the end results of that creation/destruction process. Call the items resulting from this Fire-Photo-Bath, Albury’s artifacts. We may not be there for the ritual, but can see the end results and observe how they contrast and work together.

Net (Bodøgaard XXIII), Vanessa Albury, Cyanotype Print, 2014

The Arctic environment kept Albury from completing some of her work. For one project, the artist intended to project images of decaying buildings upon glaciers. She wanted to connect failing or neglected man-made buildings with these majestic formations of nature that are also sadly breaking down. Her idea work intuitively found a connection between the environments, for they both seem “vulnerable and on the edge of collapse” wrote the artist in an email exchange. The decay of both formations originate from man’s actions.  Those projections would cover the glaciers and easily be removed without a trace left in the surrounding environment. In order to project, Albury sought glacial caves where her projections could fully appear in the shadows.  However, she could not safely get close enough to the caves due to the dangerous summer calving.  Still, Albury called these “beautiful failures.”   At the time, her co-resident, Jess Perlitz, who is a sculptor and performance artist, offered to create a large projection screen out of snow.  After Perilitz fashioned the screen, Albury  said it looked like a tiny white theater.  In the end, the power source still did not allow Albury to use the projector properly.  That day, Perlitz also constructed a fort made of cinder block-sized snow bricks, and later the residents “had a house, a theater, some industry in the form of a snow brick mining site and a graveyard, all in a day’s work and through Perlitz’ practice,” wrote Albury in an email.

Photo courtesy of Vanessa Albury

In one instance, Albury found a way to project onto cave walls.   The large part of this projection project still remains to be continued.  Without the least bit of dissatisfaction, Albury said she intends to return to the Arctic terrain, during one of the seasons outside of the Summer Solstice.  This was a fantastic first run for future work.  Partly, the wanderlust now ingrained in this artist must have been talking.  In our interview, we spoke about the places where art making comes from.  For many, it involves stationary hours in the studio.  For this photo-based artist, travel to distant lands will influence many of Albury’s concepts.  So she’ll need to travel and understand how to do it.   As someone who has never gone camping, I asked Albury how easy or hard would it be to make a trip to the Arctic Circle.  For her, the path would take lots of work, but thanks to this residency, it seems clear to Albury how she could make that trip happen.

End Notes:

Out of 27 residents, 7 came from foreign countries.  The rest are U.S. citizens, like Albury.  The Summer 2014 group had an unusually high number of females to males, however, Albury says that past groups more often carried an even number of males to females.  Everyone spoke English, including the crew and guards.  Canada Goose gladly sponsored Vanessa’s travels by providing her special attire for -10 degree Celsius weather.  The Arctic Circle Residency program ships 2 groups (about 30 people in each group) to the Arctic Circle every year.

Written By: Audrey Tran

The post Vanessa Albury’s Journey through the Arctic Circle Residency – Part II appeared first on Artiholics.

New York – Thursday, July 31st , 2014

Artist Sui Park is a rising star in the New York City art scene with work that is both innovative and traditional. Park practices the ancient techniques of basketry using mono filament and cable zip ties as elemental units. She produces organic flexible forms that seduce the eye and fit the body.

It is perhaps these aesthetical and functional simoltaniously concurring aspects that are boosting the popularity of Sui Park’s work in America. This summer alone, her work has been exhibited in Chelsea, Brooklyn, Philadelphia, and Como, Italy. 2014 has been a whirlwind for her, with eight shows, two major creations, and an A’ Design Award.  We caught up with her for an interview last week:

Artiholics: Has all this activity affected your creative process, or do you find a way to keep experimenting regardless?

Sui Park: The first half of 2014 has been great for me. I expect the second half to be greater. I participated in a variety of exhibitions that differ in concepts, themes and gallery spaces. They were great opportunities for me to view my work in various perspectives. While my work theme and process mostly stays the same, site specific installations do affect my work. Sometimes I am inspired by the space that I will be exhibiting. I highly value interactions between my work and the site environment.

I said “experimenting” since I’ve seen many art studies you developed during your work on your thesis at the Rhode Island School of Design, which are clearly in the same vein as your current work. Do you keep making those models before jumping into the big projects?

The term “model” and “experiment” may not be used as often in art as in architecture. But, since most of my artwork involves creating object or space with lines, I guess I do “model” or “experiment” more than some artists. Building models of my sketches may be one of the most important steps of my artwork. It tells me whether or not my thoughts can be precisely created and visualized. It also helps me figure out possible structural issues of my artwork.

I’d dare to say that your work resembles an evolution of a diversity of echinoderms adapting to human activity, but what’s the author’s take on its own art?

My work involves creating organic forms. I think it makes our lives more dynamic. Some features of my artwork emphasize remarkable forms of nature. For example, I attempt to show that organic forms that seem static are really dynamic and alive, without using kinetic components. On the other hand, I try to show that dynamic forms can be achieved under a system of modules, just as our nature is comprised of cells. In such processes, I try to add some characteristics or identities to the forms. I hope my emphasis can create inspirations and make our lives more exciting.

Your media and the technique you use are also singular. What are the properties and advantages you find in exploring basketry through cable zip ties?

Mono filament and cable zip ties are wonderful materials to work with. They are the building blocks of my artworks, like modules in architecture. They are very easy to fabricate that I can exactly manipulate in order to precisely structure my initial thoughts. But, what really fascinates and excites me is that I am constructing 3-dimensional objects and spaces with these 2-dimensional materials. The materials also perfectly fit my artwork theme. They are very flexible and translucent such that they are very effective in creating dynamic forms. Moreover, the materials effectively create irony in a sense that mass produced artificial materials of repeating patterns are used to make organic shapes.

I’ve noticed that you want to integrate your organic shapes in larger architectural structures. Could you explain the nature of this implementation? And how do you find materials strong enough to hold one or several human bodies with such dimensions?

I think it’s very attractive to anthropomorphize structures. You bring life, characters or personality into what may be merely an object, space or instrument. I think it’s very feasible to construct my artwork in an interior setting. However, it would be a challenge to apply my artwork to an exterior of a large building, say 50 storage. There should be a technology for such construction. To build and have one in the middle of a city or on a waterfront will be very attractive and aesthetic.

I’d really like to see them in place, defying traditional rectangular spaces. Is it the next step for all of us? When will we see some examples?

It is very appealing. I think such integrating projects should be carried out by carefully reviewing the original characteristics of a given space. An integration or augmentation should be taking place only if a positive result is expected. But, I think there is a great chance and even a dramatic change if an abandoned or void space can be revitalized. I expect to engage in various projects and hope to set a variety of examples of such cases.

What’s your next project? Or better, what’s the next project you would like to be commissioned for?

I always look for opportunities to super-size my artworks. A size that people enter. I think it will be influential on discussing organic forms as an art piece as well as architectural structures.

Written and photographed by Alejandro Pardo

The post Artist Sui Park Weaves Innovation & Tradition With Future Tech appeared first on Artiholics.

Boise, Idaho – Monday, May 19, 2014

Carrier Pigeon is not an art magazine. Such a description is a gross understatement for this quarterly publication. Instead it is a statement that gives the finger to the traditional concept of fine art which is more about commodity than artistic innovation.

The editors’ guiding philosophy is an “artist-run magazine of illustrated fiction and fine art” to replace the stagnant contemporary art scene. Carrier Pigeon puts creative control in the hands of the “contributing writers, illustrators, fine artists, and designers in order to promote respectful interdisciplinary collaboration” and a “loyalty to each artist’s vision, without regard to current trends”.

This approach creates a community that privileges the presentation, creation, and engagement with art. This allows a forum where the sincere and the personal can once again be the genesis of art as opposed to assembling popular trends for status, profit, and consumption.

The reliance on a taxonomy of styles and genres that removes creative impulse is absent. Instead, an alternative is now available where there is permeability between borders and an interconnectedness between creative expressions. This magazine takes risks by offering a juxtaposition of arts both written and visual in which each individual part is successful on its own but when viewed together creates a dialog of art.

Each issue features six artists and six pieces of collaborative fiction and art. The artists are given a space to present and contextualize their work. This allowed me to explore the intent and how the work is realized in that space. The art becomes an entity engaging in discourse. This dialog  is achieved by the various aesthetic approaches found in each issue.

The second issue of volume three gives a space to Allen M. Hart’s collages. His works create a new narrative from the scraps that compose them and mirrors the radical protests found in the work of Schwitters and Dadaists collages. The same issue presents Fumiha Tanaka’s work which is haunted by the theme of the epiphyte (a plant that grows non-parasitically upon other plants or objects). Her etchings on zinc play with the ground zero where the human meets nature. The fiction and art collaborations offer the same exciting discoveries. It is a wonderful merging of the written and the visual. The artist and writer work together and each inspires the other. This mixing of genres has allusions to Blake’s work and was central to many Modernist creations. When each issue is viewed as a whole, I saw intersections that create a paradox where the tranquil and chaotic inhabit the same space. I witnessed a birthing of an art that is discovering its possibilities and limitations.

Carrier Pigeon also strives to bring the reader into their project as well and encourages engagement in the creative process. Most issues have interactive elements much like the science museums of my youth where even the most artistically challenged can be part of the community.

Take volume 2 issue 3 whose cover becomes a replica of one of Adam Lister’s magnetic art projects. In lesser hands such a feature could be viewed as a superfluous gimmick. Carrier Pigeon though creates a place of discovery and innovation that blurs the boundaries between artist, audience, and art.

This space of social experiment, interaction, and inspiration highlights an art that is concerned with creating a living work not a disposable artifact. Carrier Pigeon’s collaborative and community minded philosophy moves beyond just the magazine.

They work with Robert Blackburn Printmaking Workshop which offers a space to assemble each issue. The founders are also working on a non-profit residency program that will soon give artists the tools and space in which to create.

Carrier Pigeon is one of those rare publications that actually create an artistic community. The solipsism that plagues fine art is absent and instead of yelling “Look at ME!!!!” the editors instead say “Look at THEM!”

This is not a magazine for those who want the bland and the deceased. This publication is for those who want something that moves and evolves. Carrier Pigeon is a rare project of passion that succeeds and gives a forum to art that deserves to be acknowledged. A  year subscription can be purchased for $100 or single issues for$25.

Visit their website CarrierPigeonMag.com and make sure you like them on Facebook.

Written by Chris Caruso

The post Carrier Pigeon Takes the Definition of an Art Magazine to the Next Level appeared first on Artiholics.

I was having a conversation with a fellow artist at a gallery opening the other night in Williamsburg, and he was telling me that he wants his work to not only be beautiful, but also to have a practical function.  That conversation resonated with me when I stumbled upon this ingenious and elegantly designed and scientifically crafted work of art titled “The Drinkable Book” by Water Is Life.

Editorial design by Brian Gartside, chemically treated paper design by chemist, Dr. Theresa Dankovich.

Not only is it typographically beautiful, the color and layout stunning, the words within are a tool for learning, and the pages themselves…well…one book can keep a person in the third world alive for four years for a few pennies.  Watch and learn.

Now that’s what I call practical.

Written by Cojo “Art Juggernaut”

The post Functional Literary Art That Could Save Millions of Lives…Literally appeared first on Artiholics.

New York – Wednesday, April 23, 2014

On Monday March 17th, at the Segal Theatre, artist and director Theodora Skipitares presented her new work. Trained as a sculptor and theater designer, she is based in New York. Skipitares has been creating personal solo performances since the late 1970’s. Her work features realistic, life-size puppet figures, as well as miniature ones, becoming the performers in large scale works that include live music, film, video, and documentary texts. She was recently featured at The Whitney Museum’s Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama, Manhattan.

Martha Wilson and Theodora Skipitares.

Raised in a strict Greek household in suburban California outside of Oakland, Skipitares spent her teenage years fashioning costume extensions of her own body. Dresses made of found objects and of natural origin, dresses comprised of 3,000 walnut shells, or 90 pounds of glass, twigs, and fresh fish.

Martha Wilson.

She would paint her face with acrylic and baby oil, sneaking out of the house with her sister, driving into town to perform two minute abstract pieces on sidewalks and in parks, with the engine running, she would run back to the car, driving home before their parents found out they had even left the house.

Her screenings for the day included Trilogy: Iphigenia, Odyssey, Helen, Queen of Sparta, The Traveling Players Present the Women of Troy. An excerpt from her new work, The Chairs, was performed.

In attendance was also living legend, Living Theatre’s founder Judith Malina to answer a few audience questions, followed by a conversation with performance artist Martha Wilson. Wilson made a great point on why performance is distinct from theater and it’s actors. Performance is born of activism and dada.

Judith Malina

The performer is there with you, taking into account that today it is freezing outside and windy, we aren’t pretending the fourth wall closes one off into England on a rainy day at the turn of the century. You and I are in the same room, if I eat paint, it is paint. You can’t fake this. With an actor it is corn starch and food coloring, and it is someone else’s directed passion, not your own condition.

In her new performance, the main character is told through the perspective of a spirit possessed Dinka mask. It transforms before the audience, hidden within the top of a table. In real life, the Dinka people themselves live in a country setting. They are monotheists, connecting to Nhialic, who speaks through spirits whom temporarily possess the believers to communicate through them.

Jane Catherine Shaw

The Dinka share an animus belief, that power comes from nature, and that which takes part in their world. In 1983, a religious & social conflict with the Dinka led to a war erupting against the Arab Muslim colonial government in Khartoum. The Dinka lead Sudan People’s Liberation Army revolted against the government in. A civil war ensued, lasting over twenty years, taking the lives of several thousands of Dinka, and non-Dinka southerners. Later, a civil war with the Nuer, killed many thousands more.

Skipitares is a multi-media artist, revolving around the use of handmade objects worn on the body. Taken by ideas of activism, she moved away from autobiography, to examine social and historical struggles.

She introduced intimate three dimensional representations of herself into these performances, embodying these as puppets. Skipitares is a Fulbright Fellow, and is currently an Associate Professor at Pratt Institute in Brooklyn, New York. Skipitares has received a UNIMA Citation for Excellence in Puppetry, a Guggenheim Fellowship, a Rockefeller Fellowship, and a McKnight Playwriting Fellowship.

Written and photographed by Betty T. Kao

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One of the only Manhattan art collectives, Con Artist Collective, has currently on exhibit a trio of artists who’s work pushes the humble triangle to it’s extremes.

Brandon Wisecarver, Patrick Grzelewski, and Jamie Martinez, the three artists in the show.

These artists borrow the visual form of the triangle and its wealth of symbolic meaning. Their collaboration is in and of itself a triangle; a union of three creative points of reference focusing on the same symbolic center.

When invited to an art opening revolving around the triangle, the first place my mind jumped to was that scene in Art School Confidential where Malkovich talks about his evolution into triangle paintings.

Having already seen Jamie’s Tiger made from triangles at the Clio Art Fair, I had an idea that seeing an entire show of his work wouldn’t disappoint.

Like the Tiger, when seen though a camera view finder, or through a phone, these images are more easily distinguishable as paintings of ancient sculptures heads.  They are hand painted on hundreds of tiny squares broken into triangles, somewhat of a triangle pixelation, tricking your eye using the same principals of a Chuck Close portrait.  One of these two sold early on.

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Jamie isn’t just a painter, he also works in 3D, with this orange liquid filled plexiglass triangle.

An x-ray with triangles stitched into it.

Jamie made this 3D printed missile.

Jamie and a bunch of the Artefuse contributors.

Artist Jamie Martinez.

Artist Joseph Grazi talking with Jamie about his work.  Joseph was gallery hopping with Yeah Yeah Yeah’s drummer Brian Chase.

Artist Patrick Grzelewski and his collages.

In the back of the room is a small wooden room installation by Brandon Wisecarver.  When you enter it and close the door you see a black light and laser light show of glowing triangles.

Andres Augusto Penaranda.

Brian Shevlin, founder of Con Artist Collective.

∆ will be on display from Tuesday, March 11th to Saturday, March 29th. It opened on March 12th at 8pm, had a gallery night March 19th at 8pm, and a closing party Wednesday,  March 26th at 7pm.

Con Artist Collective
119 Ludlow Street
New York, NY 10002
11:00 am – 11:00 pm

Written & photographed by Cojo “Art Juggernaut”

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Over the past five years, I’ve been lucky to find myself in an artist community that sends art pieces through the postal service.  We call this yearly exchange, Special Delivery, which originated from the artist, Robert Szantyr.

Around the beginning of each year, Robert gathers a list of snail mail and email addresses to distribute to participants of the exchange. Seventeen of us will take on the project this year.  We each will create an artwork that exists in multiples, distribute the items, then receive about 17 other works of art.

Within this circle, I’m the one who blogs on various mailed items that leave lasting impressions or good questions.  Mail art can feel very intimate and much like a gift. Other times, the slow pace of the mailed items highlights a sense of rush in our other day-to-day forms of communication.

This blog series will cover new art pieces flying through the mail, while also celebrating a few fine works from past years.  Below, I’ve strung together words on a small sculpture sent in 2013.

In Jonathan Beilin’s piece above, we see two simple cubes (one about half the size of the other) occupying a slightly larger cube container. This is a  box made of acrylic sheets. One cube sits along the bottom of the box, adhered to a corner (on the diagonal), while the other cube sits on the lid, also mounted to the corner (on the diagonal).

You can open the plexiglass box and rotate the lid so that the two cubes form different angles. That allows you to adjust the inner negative space 4 times. The volume of empty space will never change, but as you turn the lid, you will find 4 different ways of looking at the same space.   You might roll it around, or look under the cube, or from above the lid.

This piece does what minimal sculpture would do if shrunk to fit the size of a petite four.  Think of the piece as minimalism in Fun Size. That scale allows Jon’s box to take on a few twists that of course wouldn’t happen with larger minimal works, which might possibly utilize some of the same transparent materials, shapes, and colors. I’m drawn to minimal works set in white cubes, but cubes that fit in the palm of your hand also impress the mind, delicately.

Through this piece of mail art, I was pleasantly reminded of Robert Mangold’s series of paintings involving geometric forms depicted within shaped canvases. See the similar elements in Three Squares within a Triangle.

Interestingly, of these paintings Daniel Marzona asks where the eye is drawn to most—to the items upon the canvas or to the form of the canvas itself (Essay on Robert Mangold)  Call that a battle between sculpture and painting.

Upon this blog, we should be reminded that there’s no fair representation of that piece’s object-nature. That’s also relevant for Jon’s piece of mail art. I can describe the twists, turns, and agreeable lightness of this cube, but there’s still some separation between hearing about the piece and actually being with it.

Brought together, I also begin to read a puzzle-like quality in both works.  When presented with these shape-within-shape features, the mind seems to desire some flipping, rotations, or re-working of those visuals.  Jon’s piece is made for those twists. For Mangold’s paintings, any readjustments for the shapes must be imagined.

Outside of actual art being sent, it’s interesting to examine the containers and wrappings that come with each arrival.  Some artists create mail art entirely around those materials and the process of delivery. Jon’s project did not enter those concerns, but I was still surprised by his container. He placed his fragile multiples on board simple business envelopes without extra cushioning or tape.

I’ve lost plenty of mail sent in more secure casings.  Regardless, I’m most hopeful for new ways to write about this form of communication. Whether it spotlights our methods of delivery or acts as a standalone art piece (without a conceptual connection to the postal service), I’m ready to document all of it. Let the stream of Special Delivery art trickle in.

Written by Audrey Tran

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