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Using only her hands, toothpicks (not even a magnifying glass!) and patience, artist Anja Markiewicz folds impossibly small origami that can easily rest on the tip of your finger.
Born in Leipzig, Germany, and currently based in Potsdam, Anja uses special, extra-thin paper to fold what she calls nano-origami. If you interested in owning one of her miniature creations check out her online store!
Film-Tipp: Der uerst gelungene Dokumentarfilm Manche hatten Krokodile des Hamburger Regisseurs Christian Hornung ist zur Zeit in der ARD Mediathek zu sehen. St. Pauli verndert sich und das schneller als manch einem lieb ist. Heute ist St. Pauli nicht mehr das, was es vor 10 Jahren war. Morgen ist St. Pauli nicht mehr das, was es heute ist. Dieser Wandel ist fr alle beteiligten sprbar. In den letzten Jahren sind verschiedene Dokumentarfilme erschienen, die sich mit dem Wandel des Stadtteils beschftigt und einen kritischen Blick auf einen schnellen Wandel geworfen haben. Nun wirft eine Dokumentation aus einer anderen, sehr persnlichen Perspektive einen Blick auf den Kiez und seine Bewohner und das sehr gelungen. Filmauszug: Manche hatten Krokodile / tamtam Film Der Filmemacher Christian Hornung ist eingetaucht in den Stadtteil und beleuchtet den Kiez mit dem Dokumentarfilm Manche hatten Krokodile aus der Perspektive von St. Paulianern, die vor Jahrzehnten auf St. Pauli gestrandet sind, auf der Flucht vor kleinburgerlicher Enge, auf der Suche nach Arbeit und einem anderen, unkonventionelleren Leben. Der Kiez ist ihre Heimat geworden. Die Stammkneipen sind ihr sicherer Hafen, der viel mehr ist, als eine nur eine Kneipe. Der uerst gelungene Dokumentarfilm Manche hatten Krokodile, der in Koproduktion mit dem NDR entstanden ist, erzhlt von Krokodilen, Sparclubs und vor allem von Menschen. ...
Der Beitrag Manche hatten Krokodile Eine Liebeserklrung an den Kiez und seine Bewohner (ARD Mediathek) erschien zuerst auf URBANSHIT.
Its a happy day that sees a new release from Brian Blade & The Fellowship Band. Body and Shadow has all the intense surges, cinematic imagery and moody contemplation as its predecessors, but on their newest, the ensemble winds up tight those qualities, resulting in a more confidently expressed vision and succinct method at 
If you've ever visited the Museum of Modern Art and probably even if you haven't you'll have a sense that the place doesn't exactly run itself. As much or even more so than other museums, MoMA keeps the behind-the-scenes operations behind the scenes, presenting visitors with coherent art experiences that seem to have materialized whole. But that very purity of presentation itself stokes our curiosity: No, really, how do they do it? Now, MoMA has offered us a chance to see for ourselves through a new series of short documentaries called At the Museum, a look at and a listen to the nuts and bolts of one of America's mostly highly regarded art institutions.
The series, which will run to eight episodes total, has released four thus far. In "Shipping & Receiving," some of the museum's staff prepare 200 works of art in its collection to ship to Paris for a special exhibition at the Louis Vuitton Foundation while others get new shows installed at MoMA itself.
In "The Making of Max Ernst," a couple of curators design a show of work by that surrealist painter-sculptor-poet. In "Pressing Matters," the opening of both the Ernst exhibition, "Beyond Painting," and "Louise Bourgeois: An Unfolding Portrait" fast approach, but several important decisions remain to be made as well as works to be installed. In "Art Speaks," MoMA staff and visitors take a step back and contemplate the purpose of modern art itself.
Preparations are underway for what will be the largest guitar shaped hotel at Florida's Seminole Hard Rock Hotel and Casino. The plans were unveiled to great fanfare, with fireworks and guitar smashing to celebrate what the hoteliers have fought for since 2007. The new 638-room hotel will be a spectacle of Hollywood, Florida, as the building curves up to form the body of a guitar.
Designed to appear as two back-to-back guitars, the structure will measure 450 feet high when complete and will also boast a 41,000-square-foot spa complex for guests to enjoy. The bold design is the vision of James F. Allen, CEO of Seminole Gaming and Chairman of Hard Rock International. I said, We are talking about a building that is actually shaped like a guitar,' Allen shared at a preview event. This is another time in my life when people thought I was certifiably crazy.
But now, his vision is becoming a reality. We think the architectural design in itself creates an amazing attraction, he said. There is truly, with zero exaggeration, nothing like it in the world.
Due to open in 2019at a cost of $1.5 billionthe expansion will double the rooms at the hotel and gaming space at the casino. In addition to enjoying their stay in the guitar-shaped building, guests will also be able to spend time in a new 10-acre pool complex that is part of the project. It will include private cabanas, butler service, multiple waterfalls, and water sports. As the spectacle unfolds, Allen hopes to be able to attract large-scale productions to the Seminole Hard Rock, making it an international entertainment destination.
Did you know that Hyperallergic has a store? Its true, and weve been expanding, with new items every week. Here are some of our favorite items in the shop, all of which would be perfect for the art lovers on your holiday gift list.
Famous Artwork Enamel Pins: These enamel pins let you wear your love of art on your sleeve (or your collar, or wherever youd like). Accessorize with art historys most famous pair of hands or most iconic mother.
Signed copies of You Might be an Artist If by Lauren Purje: Longtime Hyperallergic contributor Lauren Purjes comics chronicle the unglamorous truth of an artists life, from fighting self-doubt to searching for inspiration. Shes collected many of her favorite comics over the years, including many published first on Hyperallergic, in her first book from Top Shelf Productions (which has already gone into its second printing).
0-60 mph in 1.9 sec (and thats just the base models
0-100 mph in 4.2 sec
1/4 mile in 8.8 sec
Those numbers sound impressive but actually seeing the acceleration is far more resonant.
Gef!: The Strange Tale of an Extra-special Talking Mongoose (courtesy Strange Attractor)" class="wp-image-411239 size-large" height="685" src="https://hyperallergic.com/wp-content/uploads/2017/11/gefmongoose7-1080x685.jpg" width="1080">Harry Price commissioned artist George Scott to draw a sketch of Gef, based on the Irvings descriptions of him. But on being shown the sketch, Gef strongly objected, saying: That aint me! Looks more like a llama!, from Gef!: The Strange Tale of an Extra-special Talking Mongoose (courtesy Strange Attractor)
I am the ghost in the form of a weasel and I shall haunt you, proclaimed Gef, a spectral creature that became part of the Irving familys daily life in 1931. James Irving, age 58, Margaret, age 54, and their daughter Voirrey, age 13, collectively experienced the manifestation of Gef at their farmhouse on the Isle of Man. As James would later describe, what started as a tap, tap, tap at night within their walls developed into an ongoing conversation with this astute, and often snide, man-weasel who had decided to make their isolated home his own abode.Cover of Gef!: The Strange Tale of an Extra-Special Talking Mongoose (courtesy Strange Attractor)
Oscar Murillos installation of black canvases in the courtyard of the Silwan Club in the East Jerusalem neighborhood of Ras al-Amud (all photographs by Nigel Wilson)
EAST JERUSALEM At the end of a narrow alleyway in the East Jerusalem neighborhood of Ras al-Amud, a maze of hanging black canvases have obscured the Silwan Clubs concrete courtyard. They are the size of bed sheets draped over clotheslines, hung in layers around the community centers small outdoor space. Their fraying ends hang down under the metal roof, below eye level, and form lines dividing the clubs tiny garden a contemporary art installation with no visitors, in the unlikeliest of places.
The Palestinian neighborhood of Ras al-Amud is not an area associated with art. Rather, it is cited by liberal Israeli advocacy groups as a place where the judaisation of East Jerusalem can be seen firsthand where, in the past 20 years, two Jewish settlements (Maale ha-Zeitim and Maale David) have taken root at the center of the Arab neighborhood, and now sit walled off and heavily guarded. Here at the Silwan Club, the cramped outdoor space is made to feel smaller by the presence of Maale ha-Zeitims large apartment blocks, which loom overhead the two areas separated only by a sharp wall of security fencing, grey bars that curve and end in sharp, delicate steel points.
Over the summer, Colombian artist Oscar Murillo, known for his monumental installations of black flags at the Venice Bienniale in 2015 (and more recently incorporated into this years Sharjah Biennial), came to Ras al-Amud to take this ongoing body of work, The Institute of Reconciliation, in a new direction. Invited to participate in the inaugural exhibition at the Palestinian Museum by curator Reem Fadda, Murillos work at the Silwan Club makes up a part of the public program associated with Jerusalem Lives....
As Christmas nears, picking the perfect presents may have you feeling stumped. If you have a plant lover in your life, however, you can nip your holiday shopping in the bud with these garden gift ideas.
Featuring creative, plant-themed products, this selection of gifts is sure to please any nature enthusiast. Quirky pots, one-of-a-kind vases, and unique terrariums are perfect for imaginative gardeners, while fun accessories, beautiful decor, and helpful home goods offer a hassle-free approach to horticulture.
Green thumb or not, one thing is clear: this year, that special someone will be dreaming of a green Christmas!
Spines of books from the collection of Martin Salisbury (photo by Simon Pask)
In the 19th century, dust jackets on books were just protective paper wrappers, thrown away after a book was purchased. The prized cover was the leather underneath, and although some of these bindings had elegant designs, the dust jacket rarely referenced the interior contents. The Illustrated Dust Jacket, 1920-1970 by Martin Salisbury, out now from Thames & Hudson, chronicles how this once disposable object became a major creative force in publishing.
In view of its origins as a plain protection to be discarded on purchase, and the relatively recent acceptance of the detachable jacket as an integral part of the book and its identity, it is ironic that for todays book collectors the jacket is key the presence of an original jacket on a sought-after first edition now greatly adds to its value, Salisbury writes in the book. The Illustrated Dust Jacket concentrates on the 20th-century heyday of the dust jacket, when artists were experimenting with printing and illustration techniques, and publishers were recognizing its advertising potential. Although the first known illustrated dust jacket dates to the 1830s, this was the era in which it was actively designed....
Some Fun History:
Cigarette Advertising, on this Holiday:
Thanksgiving, Race, and Gender:
Just for Fun:
Spencer Finch, Great Salt Lake and Vicinity (2017), commissioned by the Utah Museum of Fine Arts (all photos courtesy UMFA)
In describing the surrounding landscape of Spiral Jetty in a 1972 essay, Robert Smithson gives us ample descriptions of color, from the deposits of black basalt to shallow pinkish water to his sublime view of a flaming chromosphere. Its particularly fitting, then, that for a new site-specific commission for the newly reopened Utah Museum of Fine Arts (UMFA), color enthusiast Spencer Finch chose to study the infinite hues that envelope visitors at Rozel Point on the Great Salt Lakes northeastern shore, where Smithsons earthwork curls across the land like a giant, stony fiddlehead fern.Spencer Finch, Great Salt Lake and Vicinity (2017), commissioned by the Utah Museum of Fine Arts
Over three days, Finch circumnavigated the Great Salt Lake by foot, boat, and car to log precise co...
The Codex Quetzalecatzin (courtesy collections of the Geography and Map Division, Library of Congress)
The Library of Congress (LOC) announced this week that it had acquired and digitized an incredibly rare 16th-century Mesoamerican manuscript. Known as the Codex Quetzalecatzin, it dates from between 1570 and 1595, and was created during a moment of Spanish royal investigation into the resources of their colonies. This era of maps were mostly painted by indigenous artists, and the detailed cartography of the manuscript includes local symbols for geographic features like rivers, roads, and paths.
The Codex, also called the Mapa de Ecatepec-Huitziltepec, has been in private collections for over 100 years. It is now available to the public online for the first time. In a post for LOCs Worlds Revealed blog, John Hessler, curator of the LOCs Jay I. Kislak Collection for the archaeology of the early Americas, describes the Codex, which shows the de Leon family presiding over a large region of territory that extends from slightly north of Mexico City, to just south of Puebla:
As is typical for an Aztec, or Nahuatl, codex of this early date, it relates the extent of land ownership and properties of a family line known as de Leon, most of the members of which are depicted on the manuscript. With Nahuatl stylized graphics and hieroglyphs, it illustrates the familys genealogy and their descent from Lord-11 Quetzalecatzin, who in 1480, was the major political leader of the region. It is from him the Codex derives one of its many names.
Artists Scott Slagerman and Jim Fishman create objects of beauty from molten glass and fallen trees. Working together, the two have sculpted abstract forms that combine warm woods with cheerful translucent tones. In each of the pieces, the remnants of the tree act as an unconventional vase for the glass, and it fits perfectly within the U-shaped crevice. It's as if the two disparate materials occur naturally.
Slagerman and Fishman call the collection Wood & Glass, but dont let the simplicity of the title fool you; the pieces require an extensive knowledge of both woodworking and glass blowing. To produce one sculpture, the design is first drawn on the wood and then the center is extracted from it. Afterwards, molten glass is blown into the empty space and hugs its curves.
Slagerman specializes in glass fabrication and is responsible for the dazzling colors of Wood & Glass. He writes that the very nature of glass is what captivated him years ago. How it [glass] is transformed from a fragile, yet unyielding solid state to molten fluidity and back again, he writes, and how this mutable substance, through a process that is both delicate and dangerous, can create objects both essential and esoteric.
It should go without saying that one should drink responsibly, for reasons pertaining to life and limb as well as reputation. The ubiquity of still and video cameras means potentially embarrassing moments can end up on millions of screens in an instant, copied, downloaded, and saved for posterity. Not so during the infancy of photography, when it was a painstaking process with minutes-long exposure times and arcane chemical development methods. Photographing people generally meant keeping them as still as possible for several minutes, a requirement that rendered candid shots next to impossible.
We know the results of these early photographic portraiture from many a famous Daguerreotype, named for its French inventor, Louis-Jacques-Mand Daguerre. At the same time, during the 1830s and 40s, another process gained popularity in England, called the Calotypeor Talbotype, for its inventor William Henry Fox Talbot. Upon hearing of the advent of the Daguerreotype in 1839, writes Linz Welch at the United Photographic Artists Gallery site, Talbot felt moved to action to fully refine the process that he had begun work on. He was able to shorten his exposure times greatly and started using a similar form of camera for exposure on to his prepared paper negatives.
This last feature made the Calotype more versatile and mechanically reproducible. And the shortened exposure times seemed to enable some greater flexibility in the kinds of photographs one could take. In the 1843 photo above, we have what appears to be an entirely unplanned grouping of revelers, caught in a moment of cheer at the pub. Created by Scottish painter-photographers Robert Adamson and David Octavius Hillwho grins, half-standing, on the rightthe image looks like almost no other portrait from the time. Rather than sitting rigidly, the figures slouch casually; rather than looking grim and mournful, they smile and smirk, apparently sharing a joke. The photograph is believed to be the first image of alcoholic consumption, and it does its subject justice.
Though Talbot patented his Calotype process in England in 1941, the restrictions did not apply in Scotland. In fact, the Metropolitan Museum of Art writes, Talbot encouraged its use there. He maintained a correspondence with interested scientists, including Adamsons older brother John, a professor of chemistry. But the Calotype was more of an artists medium. W...
Wendel White, Sandle (2017) from the Manifest series, one of the images projected in the Reconstructed History project (photo by and courtesy of the artist)
PRINCETON, NJ The sandal, encrusted with a fine layer of grit, looks like its made of stone. A tin of Beechams Pills from St. Helens, Lancashire, England, Sold by the Proprietor with the paper wrapping intact, is so old, the price 25 cents is not stamped on, but integrated into the label design.
These and other artifacts were unearthed in the Princeton, NJ house where Paul Robeson was born. Shot against a stark black backdrop by photographer Wendel White, they are being projected against the faade of the house, across the street from the Arts Council of Princeton, from dusk to 9 pm, through November 30, as part of the exhibition Reconstructed History.
White is the fall 2017 artist in residence at the Arts Council, and the photographs have been made in the style of his Manifest project, a portfolio of images of objects from African-American material culture: diaries, slave collars, human hair, a drum, and quotidian representations of ordinary life. These items seek out the ghosts and resonant memories expressed in various aspects of the material world, says White, who is a professor of art at Richard Stockton College. White is known for his landscapes of African-American cultural history, including a series of portraits of black towns in southern New Jersey....
Alices Restaurant. Its now a Thanksgiving classic, and something of a tradition around here. Recorded in 1967, the 18+ minute counterculture song recounts Arlo Guthries real encounter with the law, starting on Thanksgiving Day 1965. As the long song unfolds, we hear all about how a hippie-bating police officer, by the name of William "Obie" Obanhein, arrested Arlo for littering. (Cultural footnote: Obie previously posed for several Norman Rockwell paintings, including the well-known painting, "The Runaway," that graced a 1958 cover of The Saturday Evening Post.) In fairly short order, Arlo pleads guilty to a misdemeanor charge, pays a $25 fine, and cleans up the thrash. But the story isn't over. Not by a long shot. Later, when Arlo (son of Woody Guthrie) gets called up for the draft, the petty crime ironically becomes a basis for disqualifying him from military service in the Vietnam War. Guthrie recounts this with some bitterness as the song builds into a satirical protest against the war: "I'm sittin' here on the Group W bench 'cause you want to know if I'm moral enough to join the Army, burn women, kids, houses and villages after bein' a litterbug." And then we're back to the cheery chorus again: "You can get anything you want, at Alice's Restaurant."
We have featured Guthries classic during past years. But, for this Thanksgiving, we give you the illustrated version. Happy Thanksgiving to everyone who plans to celebrate the holiday today.
When the Zurich Chamber Orchestra aka the Zrcher Kammerorchester wanted to promote its new season in 2012 it commissioned studio Virtual Republic to think about listening to a symphony as a ride, or more exactly an emotional rollercoaster. And it returned with this brief interpretation of the first violin score for the fourth movement of Ferdinand Ries Second Symphony.
It might not be as easy to follow as the Music Animation Machine we posted about last week, but the building crescendo of the violins line makes for a lovely ascent, but once over the peak, the furious drop is all vertiginous runs until its sudden stop.
Or as Virtual Republic described their own work:
The notes and bars were exactly synchronized with the progression in the animation so that the typical movements of a rollercoaster ride match the dramatic composition of the music.
The production companys Vimeo page shows a lot of domestic product commercial CGI work, from dishwashers to paint, so the chance to jump on something a bit more artistic must have been a relief.
Watch a Making-of video below...
By the end of December, net neutrality may be a thing of the past. We'll pay the price. You'll pay the price. Comcast, Verizon and AT&T will make out like bandits.
If you need a quick reminder of what net neutrality is, what benefits it brings and what you stand to lose, watch Vi Hart's 11-minute explainer above. It lays things out quite well. Then, once you have a handle on things, write or call Congress now and make a last stand for the open web.
If you'd like to support Open Culture and our mission, please consider making a donation to our site. It's hard to rely 100% on ads, and your contributions will help us provide the best free cultural and educational materials.
Net Neutrality Explained and Defended in a Doodle-Filled Video by Vi Hart: The Time to Save the Open Web is Now is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks,...
That Windows error sound really brought back some memories.
Statue of J. Marion Sims in Central Park (photo Benjamin Sutton/Hyperallergic)
More than 50 people testified earlier today in front of the Mayoral Advisory Commission on City Art, Monument and Markers, which held a public hearing in Manhattan, the third of five planned hearings, one in each borough. (Hearings in the Bronx and Staten Island are scheduled for Monday and Tuesday of next week.) Formed in September, in the aftermath of the Unite the Right rally in Charlottesville, the advisory commission has until the end of this year to advise the mayor on what to do (if anything) about a handful of contentious statues and monuments in New York City.
As everyone filed into the auditorium in Lower Manhattan this morning, people handed out copies of this months issue of Harpers Magazine, which features an in-depth article by J.C. Hallman arguing for the removal of a Central Park statue of J. Marion Sims, a 19th-century gynecologist who experimented extensively on enslaved black women without using anesthesia. Though some consider Sims to be the father of modern gynecology, Hallman argues that he didnt actually discover anything worthwhile through his inhumane experiments....
On the 23rd of November 1963, just one day after the assassination of John F. Kennedy, the BBC broadcast the very first episode of Doctor Who the television sci-fi series, which by now has entertained more than one generation of TV viewers. The first actor to play the famous Time Lord was William Hartnell, though initially he was reluctant to accept the part in what he believed to be more of a childrens programme. He could not have imagined at the time that the show would bring him both fame and money and he would be always remembered as the first ever Doctor. Unfortunately around 1966 his health deteriorated to the point where he was no longer able to stay in the production. The future of the series was for a moment uncertain; until an original idea was prompted by one of the producers that the Doctor, being already an alien, could undergo a process, which is presently known as regeneration. Thus, at the end of The Tenth Planet, Hartnells character melts away to be soon replaced by a new Doctor incarnated into the body of Patrick Troughton.
Up to the present, there have been eleven incarnations of the famous character. Yet we all know that each time the Doctor is the same person. This makes question the true essence of the Doctors being. In the book Doctor Who and Philosophy: Bigger on the Inside few authors attempt solving this puzzle. What makes the Doctor the Doctor rather than someone else?, asks Gregg Littmann. It is a serious question of identity and makes one wonder about that particular element that constitutes true-self. A tricky question indeed. One thing is certai...
One week ago, Haifas Broken Fingaz Crew got a call from Universal, saying U2 wanted them to create an animated video of the lyrics for their new song American Soul, with an intro by Kendrick Lamar.
7 days later, they made this stop-motion film, filmed in Haifa, London and Rajasthan
Its a pretty solid effort for a weeks work! Check out some of the stills below and visit the Broken Fingaz website for more behind the scenes shots....
Looking back on his life, the elderly Albert Einstein located his most significant existential turning point in a single moment of wonderment when he was a small boy. But what is wonderment, exactly, and what gives it the power to possess us so completely as to recalibrate our very being?
That is what Ren Descartes (March 31, 1596February 11, 1650) examines in several passages from The Passions of the Soul (public library) his final published work, which gave us the influential French philosopher and mathematicians ideas about the cure for indecision, the relationship between fear and hope, and how we acquire nobility of soul....
Still from A Garbage Story (courtesy rota6)
Anything thats old that could tell a story is something I want to save, says Nick DiMola in A Garbage Story, a short documentary on his work in clearing the possessions and trash left behind in the homes of the deceased and the departed. Directed by Olivier Bernier and produced by Patrick Solomon, the film is part of a new New York Stories series of short profiles from the Brooklyn-based Rota6.
The documentary was recently screened at DOC NYC and the Coney Island Film Festival, and is planned for an online release in 2018. A Garbage Story is a compact narrative at just eight minutes, taking viewers into one of the homes where DiMola is discarding a mans belongings that have become debris. After family members pass through, these estates are usually left for the landfill. But DiMola sees his career as more than solely cleanup, as he plucks precious and ordinary objects from the waste. Back at the headquarters of the DiMola Bros demolition and rubbish removal company in Ridgewood, Queens, he has a veritable museum constructed from these discoveries.
Some are rare silver coins, Wedgwood porcelain yet most are mundane. DiMola marvels at the artwork on a 1945 mothball can that was found in a closet, and a cluster of sugar cubes suspended from pink ribbons, a homemade corsage from the 1950s for a girls sweet 16 birthday. Slides discovered on a shelf recall the travel adventures of a man whose face is revealed in a dusty photograph. In DiMolas shop, there are signs, trophies, photographs, and other mementos crowded on shelves and covering the walls and ceiling. Much like the Treasures in the Trash Museum in East Harlem, where sanitation worker Nels...
Yoko Ono, I LOVE YOU EARTH (2017), billboard on Cleveland Avenue/Hwy. 41 (all photos by Kirsten Pettifor)
FORT MYERS, Fl. Fluxus artist Philip Corner recently coined the word fluZusic to describe the weird whimsy of the sound projects that came out of the art movement. He came up with the term when speaking with Jade Dellinger, who has put together an interactive exhibit at Bob Rauschenberg Gallery part of Florida Southwestern State College focused mostly on Fluxus experimental music and sound. The playfully fitting term pops up in the exhibitions title, FluZUsic/FLUXUS MUSIC, and the overall display is dense, fascinating, and often overwhelming. In this sweeping presentation, Dellinger misses very little.
In addition to artwork, instruments, and compositions, there are photographs and letters; theres the metal pot that Captain Toby of the South Brunswick police force shot with a submachine gun, before precisely shooting at pages of sheet music to create a bullet composition as requested by Dick Higgins for his series, The Thousand Symphonies. Theres a delicately slumped bag from John Lennon and Yoko Onos bagism performances sewn from their wedding night bedding (bagism involved draping an actual bag over the body; inside a piece of cloth one couldnt be judged on the basis of ones skin color, gender, clothing, or age). The show is a collectors playground, and if you ask, no piece is without its own story it took Dellinger years to source them all....
Mitte Dezember verffentlicht die Berlin Kidz Graffiti Crew ihren neuen Film. Vier Jahre nach dem Film Berlin Kidz 100% reines Adrenalin erscheint mit Fuck the System der zweite Film der legendren Berliner Graffiticrew, die fr ihre spektakulren Aktionen bekannt sind. Prsentiert wird der Film von Paradox. Nachdem es bereits vor einiger Zeit einen ersten offiziellen Trailer gab, haben die Berlin Kidz gerade noch ein weiteres Teaser Video verffentlicht, das mehr als vielversprechend ist. BERLIN KIDZ Fuck The System Filmpremiere 17.12.2017 19 Uhr BABYLON KINO 22.12.2017 20 Uhr BABYLON KINO Bilder und Video: Berlin Kidz Fuck The System wird am 17.12.2017 um 19 Uhr im Berliner BABYLON KINO uraufgefhrt. Die DVD kann bereits ab jetzt bei Urban Spree vorbestellt werden und wird dann zwei Tage vor der Premiere verschickt. Die Scheibe ist limitiert auf 1.000 Kopien und kommt als Sammlereditition mit 70-mintiger Action-DVD, einem 28-Seitigem Fotobuch, einem Poster sowie Sticker. Wir haben bereits eine Exemplar bestellt und freuen uns schon auf den Film. BERLIN KIDZ Fuck the System DVD Sammlereditition mit einer Auflage von nur 1000 Stck, mit 70-mintiger Action-DVD, einem 28-Seitigem Fotobuch, einem Poster sowie Sticker. Vorbestellungen exklusive ber Urban Spree, die DVD wird ab dem 15. Dezember versand, zwei Tage vor der Premiere am 17. Dezember in Berlin. Preorder now Um immer auf dem Laufenden zu sein, ...
Der Beitrag Neuer Berlin Kidz Film Fuck the System Filmpremiere und DVD Release erschien zuerst auf URBANSHIT.
Home standing on his head reading a yogic sex book in front of William Blakes grave in Bunhill Fields, London (April 2016).
Editors note: This is the 17th and final in a series of interviews with artists , conducted without direction, outside any one persons control. The artists were asked seven questions about their art and their ideas about art. The questions were blunt, but open-ended enough to be answered in any way the artist chose. The final question was a request for the artist to select the next artist to be interviewed. Here it ends as an unexpected return to the interviews first question: What is art? is the answer, the question to which our artist sought an answer, the reason he is an artist at all.
Its a pleasure to introduce Karen Eliot and Chus Martinez. Theyre not two artists, but aliases for several, and that several were recruited into collaborative efforts of authorial obfuscation by Stuart Home, whom I interview here. Home is one of todays most inventive institutional critique artists, always finding new ways to game the game that makes art what we assume it to be.
The Artists Pick Artists series was designed to take readers along with me and Hyperallergic on an undirected journey through the art world by artists, on their own terms, collectively and individually, without an end in sight. Home, as an artist and anti-artist, expands the art world directly by opposing its economy of meaning; it must adjust its own self-composition to accommodate what Home creates.
Rob Colvin: Why did you become an artist?
Stewart Home: As a way of experimentally testing whether my understanding of the institution of art was correct. I thought people became artists through a series of bureaucratic manoeuvres, so I wanted to test this thesis by transforming myself into an artist in this way. So in 1982 I began advertising myself as an artist in flyers and classified advertisments. I also produce...
Medieval Fantasy City Generator (screenshot by the author for Hyperallergic)
With the Medieval Fantasy City Generator, you can generate endless maps of walled cities, complete with castles and winding waterways. The free online generator, developed by Oleg Dolya, allows for layouts like citadel and plaza, with options for city size, whether small, medium, or large.
The Medieval Fantasy City Generator, recently shared by Boing Boing, has been available in Itch.io for a few months. It continues to be updated with new features, such as rivers, house shapes, shanty towns, outskirts, wall-less layouts, and coastal cities. Users can hover their mouse over different sections of the cities to see labels pop up for farms, gates, wards, and slums. The newest addition Toy Town is a 3D visualizer that involves a street-level view of the cities.
Embroidery artist Veselka Bulkan (previously) continues to produce carefully embroidered works of root-bound plants found in gardens. The pieces all interact with hoops in various ways, from potted plants and potatoes that dangle from the edge to dandelions that stretch between two hoops. Bulkan has also been taking commissions for a series of ultrasound embroideries, and many of her original pieces are available in her shop.
Das Zentrum fr politische Schnheit hat eine Miniatur-Version des Holocaust Mahnmals auf dem Nachbargrundstck des Wohnhauses vom AfD-Politiker Bernd Hcke aufstellen lassen. Dafr hat sich das Kunstkollektiv bereits vor 10 Monaten neben dem Politiker eingemietet. Um den Bau und den Betrieb der Replik des Mahnmals in Thringen zu finanzieren luft aktuell ein Crowdfunding fr die Kunstaktion. Bilder und Videos: Zentrum fr politische Schnheit Auf der Webesite deine-stele.de sind bereits binnen weniger Stunden mehr als 70.000 Euro durch knapp 2.500 Supportern zusammen gekommen. Das Geld reicht fr die Miete des Grundstcks und den Betrieb des Mahnmals fr die nchsten fnf Jahre. Ein Live Stream sendet zudem ein dauerhaftes Bild von vor Ort. Um mehr ber die Arbeit vom Zentrum fr politische Schnheit zu erfahren und immer auf dem Laufenden zu sein, besucht das Knstlerkollektiv bei Facebook.
Der Beitrag Zentrum fr politische Schnheit baut Holocaust Mahnmal neben Bernd Hckes Haus erschien zuerst auf URBANSHIT.
Ever wish you'd had time to take that interesting class at university, but could never fit it into your schedule? Or, perhaps you're simply a curious individual who loves learning. The rise of MOOCSmassive open online coursesis a great place to get university-level learning from the comfort of home. And best of all, it's free.
MOOCS became especially popular about 5 years ago, following the trend of open access of information that's seen institutions like the Library of Congress or Metropolitan Museum of Art place more and more of their resources online. During that time, more than 800 universitiesincluding Harvard and Stanfordhave placed over 8,000 free classes online, giving you access to a world-class education in a huge range of subject matters. And as most are self-paced, you can take your time and work the classes into your busy schedule.
To help you wade through the choices, the online database Class Central lets you sort by subject and university and compiles lists of new and trending courses. Fresh content is always being added, with universities continually releasing new classes. In fact, in the past three months alone, 200 universities around the world have released 560 free courses online. Let's take a look at some favorites for creatives and art lovers from this new crop of free classes.
For the last three years, photographer Christoffer Relander has been revisiting his childhood environments to capture them into this collection, an ongoing series entitled Jarred & Displaced. Most environments are from where he grew up, in the countryside in the south of Finland, where his roots still lie. As a container for the environments, Relander uses jar bottles.
All works are intentional double exposures shot in-camera, meaning this project was not created or layered in external software like Photoshop. The resulting images are not put into physical jars (as is misunderstood sometimes); its two exposed shots that blend in-camera into a single image. Below you can find highlights from the series and you can find many more at the links below.
Comparison of Canaan dogs and dog depictions in the rock art of Shuwaymis, which show dogs with a spot and a chest coloration (all photos courtesy Guagnin et al)
A new study of prehistoric rock art reveals how hunters in the Arabian Peninsula pursued prey with dogs over 8,000 years ago and even controlled their packs with leashes. The engravings represent the earliest evidence for dogs on the Arabian Peninsula and might even stand as the earliest depictions of canines yet, as Science first reported. Found at two sites a few years ago at a wadi at Shuwaymis and at the desert oasis of Jubbah the stylized canines predate previous evidence for dogs in the region by over 2,000 years. As for the carved leashes, those simple lines are the earliest known evidence of leads in prehistory.Composite photograph of a panel at Shuwaymis with damaged in the center with hunters and dogs
The analysis, led by Maria Guagnin, an archaeologist at the Max Planck Institute for the Science of Human History in Jena, was published this month in the Journal of Anthropological Archaeology. Researchers counted around 400 dogs in total across both sites, and ev...
The 1991 Tokyo Museum Exhibition That Was Only Accessible by Telephone, Fax & Modem: Features Works by Laurie Anderson, John Cage, William S. Burroughs, J.G. Ballard & Merce Cunningham "IndyWatch Feed Arts"
The deeper we get into the 21st century, the more energy and resources museums put into digitizing their offerings and making them available, free and worldwide, as virtual experiences on the internet. But what form would a virtual museum have taken before the internet as we know it today? Japanese telecommunications giant NTT (best known today in the form of the cellphone service provider NTT DoCoMo) developed one answer to that question in 1991: The Museum Inside the Telephone Network, an elaborate art exhibit accessible nowhere in the physical world but everywhere in Japan by telephone, fax, and even in a highly limited, pre-World-Wide-Web fashion computer modem.
"The works and messages from almost 100 artists, writers, and cultural figures were available through five channels," says Monoskop, where you can download The Museum Inside the Telephone Network's catalog (also available in high resolution). "The works in 'Voice & sound channel' such as talks and readings on the theme of communication could be listened to by telephone. The 'Interactive channel' offered participants to create musical tunes by pushing buttons on a telephone. Works of art, novels, comics and essays could be received at home through 'Fax channel.' The 'Live channel' offered artists live performances and telephone dialogues between invited intellectuals to be heard by telephone. Additionally, computer graphics works could be accessed by modem and downloaded to ones personal computer screen for viewing."
Self-described designer, data geek, fractal nut Nicholas Rougeux has merged open-source music with data visualization to create colorful imagery based on some of the most famous classical music scores in history. From Mozart and Beethoven to Chopin and Vivaldi, it's fascinating to see how these well-known pieces translate into artistic data visualizations.
For Off the Staff, Rougeux relied on MuseScore (free music notation software which allows community members to share sheet music) and OpenScore (a project that aims to digitize and liberate all public domain sheet music). Interestingly, Rougeux himself can't read sheet music, but he's able to parse it, pulling out single notes from the scores. Each individual instrument is represented by a different color, resulting in the brightly hued imagery, which is available as posters.
Every time I extract data, I never know what it's going to look like, Rougeux tells My Modern Met. I had some inklings for some pieces like Flight of the Bumblebee with its rises and falls but even that one surprised me. To create his visualizations, Rougeux altered the traditional representation of scale, typically noted by the different clefs on sheet music.
I did away with that and showed all notes in their natural position on the scaledistance from centerno matter how high (farther) or low (closer) they were. Essentially, while sheet music shows notes from different scales on the same staff, my project shows different staffs on the same scalehence the name, Off the Staff.
In terms of color scale, he typically tries several different shades and hues to see what works best, as he never knows the final result until the visualization is complete.
The self-taught web developer and artist hopes that Off the Staff will...
A post shared by Luis Manuel Otero Alcantara (@luismanuel.oteroalcantara) on Nov 11, 2017 at 9:36pm PST
The Cuban artist Luis Manuel Otero Alcntara was briefly detained again by state authorities on Tuesday, along with his partner, art historian and curator Yanelys Nuez Leyva, Diario de Cuba reports.
The two were detained after filing a complaint over the search of Alcntaras home and studio when he was arrested earlier this month. At that time, Alcntara was accused of being in illicit possession of construction materials. He was released on bail following three days of detainment, an online petition spearheaded by artist Tania Bruguera that garnered nearly 500 signatures, and a three-day hunger strike. An official date has yet to be set for the illicit possession trial.
Alcantar is the organizer, with Leyva, of the #00bienal de La Habana, an alternative Havana Biennial they announced after the official exhibition was postponed (due to damage from Hurricane Irene, according to the official announcement). When released after his previous arrest this month, Alcantar stated that the alternat...
Installation view of Derek Fordjours Parade (all photos by Michael Palma Mir, courtesy of the artist and Sugar Hill Childrens Museum of Art and Storytelling)
I had a dream a few weeks ago. In it I had returned to the house I grew up in my fathers house and I was again occupying the room I had as a boy. There was music playing, music I didnt want to hear, so I tried to close the door to my room, but the upper left corner of the door was warped in such a way it wouldnt, couldnt close. I felt something like frustration, but also recognition that I didnt belong in that house, in that room anymore. The small, quotidian details of that dream (and perhaps its this way with all dreams) made it emotionally charged for me and that charge made the memory endure. Derek Fordjours impish and touching installation, Parade, now at the Sugar Hill Childrens Museum of Art & Storytelling, is so chock-a-block with the minute details of Fordjours making that walking through the work I do feel like Im inhabiting his dreamscape one I wanted to linger in.Installation view of the entrance to...
See, this is just weird, and one UFO Experiencer I haven't yet
heard... Steven Boucher. He tells of a couple of abduction or
visitor experiences he's had (at age 4 and age 14). He talks about
the spirit (not religion). He talks about the 'greys'. His story is
conveyed in a perfectly flat lucid Canadian monotone and it's made
me want to research his story quite a lot more.
"I ain't going down there, dad," Bill Hicks talking about Jesus 1992-3 :)
...and here's a follow-on bit about Boucher's hypnosis sessions with legendary UFO-investigator Bud Hopkins, which kinda fills me with a kind of dread... I'm not convinced by Bud's stuff, let's say.
FURTHER STUDY: if you were chilled by Boucher, get ready to be machine-gunned by the delivery of (official) UFO-blogger Grant Cameron - a completely different style of delivery, trust me.
Njideka Akunyili Crosby, Mother and Child (2016), Acrylic, transfers, colored pencils, collage and commemorative fabric on paper, 8 ft. x 10.33 ft. (Image courtesy of the Artist and Victoria Miro, London)
Blending photo transfers, drawing, patterned fabrics, and traditional painting techniques, the works of Njideka Akunyili Crosby reflect her layered personal history. Born in Nigeria, the artist now resides in Los Angeles, and has spent roughly half her life in the US since moving to Philadelphia at age 16. In her large-scale, visually dense pantings, African textiles, family photos, images from popular media, and architectural elements provide the framework for evocative scenes of contemporary black life.
In Los Angeles, she recently had solo exhibitions at the Hammer Museum and Art + Practice, and her work can currently be seen at the Baltimore Museum of Art, Skidmores Tang Museum, and Prospect New Orleans. As part of USC Roski School of Arts Fall Talks Series, Akunyili Crosby will be giving a lecture next Tuesday evening, free and open to the public. Guests will have the opportunity to hear about her notions of hybridity, both in terms of identity and artistic practice, her relationship with painting and collage, as well as her recently awarded MacArthur Fellowship...
Miniaturization has a long history in Japan, dating back thousands of years. Classic examples include bonsai trees, and more recently technology, such as mobile phones. Almost anything seems suitable for miniaturization, and weve featured many novel forms lately, from cat-sized furniture, to cookies that look like tiny plates of food. Continuing this trend, Japanese artist Kiyomi (aka @chiisanashiawase2015) brings some interior design chic to the world of dollhouses, with a range of handmade miniature antique furniture and accessories.
A mother of two, Kiyomi often wakes as early as 4am to make time for her hobby. Made from various materials including paper, wire, and perspex, her incredibly detailed, tiny creations include everything you would find in an 18th century world. Theres antique, industrial style cabinets and chairs; haberdashery items, such as spools of thread, sewing scissors, and a vintage sewing machine; as well as little shoes and hats, laid out in a tiny clothes store. Theres even a miniature bakery complete with teeny-tiny pastries.
Keep up to date with Kiyomis life in miniature via Instagram.
Tomorrow in East London, our friends from Calio are opening an exciting group show at Stolen Space Gallery with iHeart, Joe Iurato, The London Police, Madsteez, Martin Whatson, MauMau, Millo, MyneandYours, Nafir, WordToMother.
Based on The Social Paradox theme, the exhibition is a show focusing and highlighting peoples over reliance on technology and social media.
Calio is a personal calendar that makes it easier for you to create and share events with friends, and keep everything in one place.
We have a few exclusive images for you to take a look at prior to tomorrows opening. If you want more information on the artworks, the preview list for The Social Paradox can be requested by emailing firstname.lastname@example.org
A limited edition print by iHeart will also be exclusively available in person only at the opening.
The show opens tomorrow at StolenSpace Gallery, 17 Osborn St, to gain access you need to RSVP using the following link: app.calio.co.uk/invite/328620
Take a look at more images after the break and keep checking back with us for the full coverage of The Social Paradox.
Artist and designer Thomas Dambo (previously) specializes in building family-friendly installations from upcycled materials. One of Dambos many interactive projects is Happy City Birds, a ongoing series that lies at the intersection of street art and community development. The Danish artist builds bird houses across urban centers, installing the new homes against buildings, grouped on tall poles, or spaced throughout existing trees.
Since 2006, Dambo and his crew have constructed more than 3,500 birdhouses with recycled wood and paint. Although a large percentage of his works are concentrated in Arken (you can see a Google map of the bird house locations here), many more of them can be found dotting Copenhagen, Aarhus, Odense, Horsens, Beirut, and Berlin. You can see more of Dambos bird houses, including this human-size build, and a collection of camoflauged homes...
In the early 18th century, the novel was seen as a frivolous and trivial form at best, a morally corrupting one at worst. Given that the primary readers of novels were women, the belief smacks of patriarchal condescension and a kind of thought control. Fiction is a place where readers can imaginatively live out fantasies and tragedies through the eyes of an imagined other. Respectable middle-class women were expected instead to read conduct manuals and devotionals.
English novelist Samuel Richardson sought to bring respectability to his art in the form of Pamela in 1740, a novel which began as a conduct manual and whose subtitle rather bluntly states the moral of the story: Virtue Rewarded.
This moralizing expressed itself in another literary form as well. Childrens books, such as there were, also tended toward the moralistic and didactic, in attempts to steer their readers away from the dangers of what was then called enthusiasm.
Prior to the mid-eighteenth century, notes the UCLA Childrens Book Collectiona digital repository of over 1800 childrens books dating from 1728 to 1999books were rarely created specifically for children, and childrens reading was generally confined to literature intended for their education and moral edification rather than for their amusement. Religious works, grammar books, and courtesy books (which offered instruction on proper behavior) were virtually the only early books directed at children. But a change was in the making in the middle of the century.
Established in 2016, Lonely Hunter is the creative outlet for freelance photographer Richard Johnston. Primarily focusing on landscape and wildlife photography, the Australian photographer has been making a name for himself with his well composed, artistic images. Whether getting in close for an intimate animal portrait or zooming out to show man in the context of nature, his storytelling ability has garnered him attention from several well-known photography competitions.
In 2016, Johnston won Canon Australia's Light Awards in the Full Frame category for his moody image of a brewing ocean storm. Winning the grand prize got him a trip for two to East Africa, where he was able to expand his repertoire and shoot incredible imagery of elephants, lions, and more in the wild. And now, his photo of an oryx dashing across sand dunes was singled out as a week 7 editor's favorite in the 2017 National Geographic Nature Photographer of the Year competition.
We had a chance to chat with the up and coming nature photographer about how he got his start, his inspirational trip to Africa, and what we can expect from him in the future. Read on for our exclusive interview.
What got you started in photography?
For as lon...
The late David Cassidy on a 1972 cover of Rolling Stone magazine.
I understand the rock star deal having been one and still going out strapping my guitar on and performing. Now, I probably do 30 or 40 dates a year, and I get to relive how I felt at 19 when I played in...
Our friend Stinkfish recently spent some time in the Caribbean where he brought to life some of his signature stencil-based imagery.
Painting on the beautiful Saint Kitts and Nevis Island, the famed Colombian muralist worked with local school students to create these collaborative artworks.
Take a look at more images after the break and keep checking back with us for the latest art updates from the streets of South America....
Artist Jose Luis Lopez Galvn describes his strange, surreal paintings of human-animal hybrids as taking place within a different dimension but not in a dream. He blends together every kind of element, whether animal, human, or object, to create a collage...
Smog Veil Records ongoing project of discovering and exhuming Northeast Ohios lost proto-punk history is chugging along rather nicely. As a native Clevelander myself, I must confess to having skin in this gamethis is the legacy of the scene that mattered most...
Kader Attia, Halam Tawaaf, 2008, Installation view, 2987 beer cans.
Prospect New Orleans, the biennial founded in 2006 in response to Hurricane Katrina, opened this weekend in New Orleans as a newly minted Triennial. Massive in scale, the new schedule would presumably give the organization more time to organize, fundraise, and create a stronger exhibition. But some events have a harder time than others making changes, and if this iteration of the Triennial is any indication, Prospect 4 is one. Opening day, art was still being installed. Worse, there has been little improvement in exhibition design and visitor experience, so finding the locations of art in this show remains an exercise in frustration. Sites are poorly marked when theyre marked at all and the printed site map doesnt help. It clearly indicates all the locations of art, but not which artists are at these locations.
All this would be forgivable if what was at the sites made the trip worth the effort. Theres not been much buzz about the artwork, though, because a lot of it disappoints. Some of the blame for that lies with artistic director Trevor Schoonmaker, who took few risks. The theme of the Biennial, Prospect.4: The Lotus in Spite of The Swamp, might easily be summed up as an exploration of oppositions, which is almost too broad to be meaningful. The show draws inspiration from a blossom in the mud. Beauty grows from ugliness. Redemption exists in the ruin. You get the picture.
We see the theme play out through boldly colored installations and transformative figurative sculptures exploring how colonialism has impacted the city (Rina Banerjee, Penelope Siopis), delicate site-specific sound works juxtaposed against noisy landscapes (Hong-An Truong, Radcliffe Bailey), and provocative text based art (Runo Lagomarsino, Jillian Mayer). These constitute some of the strongest points in the show. There are less successful works, too, but Ill leave the bulk of those for the more fleshed-out review. A taste of w...
Not a day goes by that I dont use Google Maps for something or other, whether its basic navigation, researching an address, or finding a dry cleaner. Though some of us might resent the dominance such mapping technology has over our daily interactions, theres no denying its endless utility. But maps can be so much more than useful tools for getting aroundthey are works of art, thought experiments, imaginative flights of fancy, and data visualization tools, to name but a few of their overlapping functions. For the imperialists of previous ages, maps displayed a mastery of the world, whether cataloguing travel times from London to everywhere else on the globe, oras in the example we have hereresizing countries according to how much tea their people drank.
But this is not a map we should look to for accuracy. Like many such cartographic data charts, it promotes a particular agenda. George Orwell once wrote that tea was one of the mainstays of civilization, notes Jack Goodman at Atlas Obscura. Tea, asserted Orwell, has the power to make one feel braver, wiser, and more optimistic. The man spoke for a nation. (And he spoke to a nation in a 1946 Evening Standard essay, A Nice Cup of Tea.) From the map above, titled The Tea is Drunk and published by Fortune Magazine in 1934, we learn, writes Goodman, that Britain consumed 485,000 pounds of tea per year. Thats one hundred billion cups of tea, or around six cups a day for each person. We might note however, that the population of China was then nine times bigger than that of the U.K., and they drank roughly twice as much tea as the Brits did. Why isnt China at the center of the map? The author made a tenuous point about the cultural differences between the two: the Chinese drank tea as a necessity, the British by choice.
Cornell University librarys description of the map is more forthright: While China actually consumed twice as much tea as Britain, its position at the edge of the map assured that the focus will be on the British Isles. That focus is commercial in nature, meant to encourage and inform British tea merchants for whom tea was more than a beverage; it was one of the nation's pre-eminent commo...
Postcard of the Worlds Only Corn Palace in Mitchell, South Dakota (1928) (all images courtesy the Newberry Library)
In the 1950s, visitors to the IQ Zoo, an animal training facility and tourist attraction in Hot Springs, Arkansas, could buy a 10-cent postcard from a chicken, as a souvenir of their trip. Fittingly, the so-called Clucking Clerk was immortalized with its own postcard, which depicts the obedient bird in a cage-like booth, complete with a microphone.
This performing animal demonstrates a brand new method of animal training, the cards description reads. The animal has been trained by animal psychologist Keller Breland, at Hot Springs, Arkansas. Brelands animals learn by the reward system. No punishment is used.
Postcard of The Clucking Clerk, a chicken trained to give you postcards, in Hot Springs, Arkansas (1930/1939)
The Clucking Clerk postcard is a prime example of the strange stories and often forgotten histories that many old postcards carry. Last year, Chicagos Newberry library acquired the Curt Teich Postcard Archives Collection, acknowledged as the nations largest public trove of postcards and related material. To highlight some of the curiosities these images record, its digital team recently launched Postcard Road Trip, an interactive online tour of America told through about 60 vintage postcards.
Click from city to city to stumble upon one-of-a-kind attractions, from the still-standing Corn Palace in South Dakota a building covered with corn, grains, and gr...
Der spanische Knstler und Adbuster Vermibus hat vor kurzem sein neuestes Projekt IN ABSENTIA verffentlicht. Ausgestattet mit Pinsel und Lsungsmittel verndert der in Berlin lebende Knstler Werbeplakate in der Stadt und lst die Schnheitsideale der Modewelt im wahrsten Sinne des Wortes auf. Video & Title Picture by courtesy of the artist Deliberating various imposed standards, Vermibus has built a recognizable oeuvre, which culminates with his project entitled In Absentia. Works from the project unveil another introspective layer of Vermibus work, where macrocosms of consumerism intertwine with microcosms of the artists subjective journey into the depths of the self. The project began with the creation of 21 solvent-based posters, each of them bearing an individual inspiration and significance, hidden in the title. As a crown of the series, Vermibus produced an atmospheric video, an autonomous work of art, a clear step forward from the documentary short films he was creating to date. Das Ergebnis ist ein wunderbarer Videoclip ber die Arbeit von Vermibus, mit groartigen Aufnahmen, die grtenteils in New York aufgenommen wurde. In Absentia besteht insgesamt aus 21 Posten-Arbeiten des Knstlers. Untermalt ist der Film mit der passenden Musik des Berliner Pianisten Nils Frahm, der den Song Says beigesteuert hat. Die neue Arbeit In Absentia knpft an die vorherigen Projekte des spanischen Knstlers an. Mit seiner ...
Unbekannte haben vor ziemlich genau einem Jahr in Bremen ber Nacht ein riesiges Kreuz aus zwei Dildos an die Fassade der Kulturkirche St. Stephani gehngt. Die Kirche war zu dem Zeitpunkt aufgrund einer Sanierung hinter einer Plane eingerstet. Fr die Installation haben die unbekannten Street Guerilleros zuvor zwei berdimensionale Motive von Vibratoren aus einer Plane am Firmengelnde des Bremer Sex-Toy-Herstellers Fun Factory rausgeschnitten und sie anschlieend an der Kirche aufgehngt. Die Aktion fand am 11. November 2016, pnktlich zu St. Martin und zum Karnevalsbeginn statt. Die Kirche sieht die Aktion offenbar mit Humor, hat das Kreuz allerdings am Nachmittag des Folgetages wieder entfernen lassen. Die Dildo-Installation hatte vor einem Jahr fr eine Menge Wirbel und Spekulationen in der Presse gesorgt. Heute ist ein Video der Aktion mit dem Titel DildoKirche Bremen aufgetaucht, das zeigt, wie das Kreuz an die Kirche gekommen ist.
Der Beitrag Riesiges Dildo-Kreuz ber Nacht an Bremer St. Stephani Kirche aufgehngt erschien zuerst auf URBANSHIT.
If wine is on your Thanksgiving menu tomorrow, then keep this scientific finding in mind: According to a 2008 study published in the Journal of Wine Economics, the quality of wine doesn't generally correlate with its price. At least not for most people. Written by researchers from Yale, UC Davis and the Stockholm School of Economics, the abstract for the study states:
Individuals who are unaware of the price do not derive more enjoyment from more expensive wine. In a sample of more than 6,000 blind tastings, we find that the correlation between price and overall rating is small and negative, suggesting that individuals on average enjoy more expensive wines slightly less. For individuals with wine training, however, we find indications of a non-negative relationship between price and enjoyment. Our results are robust to the inclusion of individual fixed effects, and are not driven by outliers: when omitting the top and bottom deciles of the price distribution, our qualitative results are strengthened, and the statistical significance is improved further. These findings suggest that non-expert wine consumers should not anticipate greater enjoyment of the intrinsic qualities of a wine simply because it is expensive or is appreciated by experts.
You can read online the complete study, "Do More Expensive Wines Taste Better? Evidence from a Large Sample of Blind Tastings." But if you're looking for something that puts the science into more quotidien English and makes the larger case for keeping your hard-earned cash, watch the video from Vox above.
Photographs by Rennie Ellis and p1xels: Capturing the message protest, graffiti and art draws on the comprehensive body of work of documentary photographer Rennie Ellis, who documented life of the 1970s and 80s. Juxtaposing his imagery with p1xels contemporary street photography, the exhibition encourages debate about imagery and messaging in the public domain and how we respond to those images.
The exhibition showcases the importance of documentary photographers in capturing ephemeral aspects of our urban landscape. Through their lenses, they frame the political, social and cultural discourse in our public spaces and preserve it for future generations.
Ellis photography captures the word-based graffiti of the 1970s and 80s, which was an effective method for communicating social messages on a large scale before the advent of social media. Ellis selected works highlight that some of the concerns that were raised in the later part of the 20th century still resonate today, such as the environment an...
Hermit Erased from The Disappearance of Joseph Plummer ( Amani Willett, courtesy Overlapse)
Amani Willett had visited the woods of central New Hampshire since he was a child, as over the years his father looked for a place to build a cabin retreat. But it wasnt until 2010 that the Brooklyn-based photographer began to investigate the areas history.
The cabin my dad built is on a lake called Hermit Lake and its just off a road called Hermit Woods Road, Willett told Hyperallergic. I was curious if they referenced someone who used to live in the area. After doing a little research, I learned about Joseph Plummer who, in the late 1700s, had left his family for a life of solitude in the woods.Cover of The Disappearance of Joseph Plummer (courtesy Overlapse)
The Disappearance of Joseph Plummer, out now from Overlapse, considers this decision to exist in isolation. Willetts photographs blur the past and present, with contemporary glimpses of a tree stump sliced with repetitive cuts from chopping wood, or an enigmatic moment when the watery floor of the forest glows with sunset colors. Personal objects owned by Plummer, archival images from the Meredith Historical Society, and Willetts photographs retracing...
Dorothea Rockburne, Northern Sky (left) and Southern Sky (right) (both 1993), installed at 550 Madison Ave. (photo by Jim Salzano, courtesy the artist)
When buildings switch ownership, questions often arise over the fate of any site-specific artworks, which are typically not of top priority in real estate deals. Such is the case of a pair of monumental murals by Dorothea Rockburne in the lobby of Philip Johnsons postmodern skyscraper at 550 Madison Avenue, originally known as the AT&T Building. Completed in 1993 for what was then Sonys headquarters, Northern Sky and Southern Sky have been in limbo for four years now, as the building was sold to the Chetrit Group in 2013, then to Saudi conglomerate, the Olayan Group, last year for $1.4 billion.
Spanning 30 by 30 feet, the secco fresco works are dazzling, utilizing chaos theory to visualize energy fields in the northern and southern hemispheres. As Hyperallergic previously reported, Rockburne had been in talks with the Chetrits and was hopeful that her murals would remain in situ, but any resolutions dissolved with the 2016 sale of the property.
Now, a controversial redesign of Johnsons building under the ownership of the Olayan Group has renewed public concern over the murals. The conglomerate has commissioned architecture firm Snhetta to reimagine the iconic tower, now simply named 550 Madison, and future plans involve replacing the lower portion of the buildings Stony Creek granite facade with a wavy glass curtainwall. The backlash from the architecture community was swift and sharp, with critics arguing that Snhettas redesign would ruin th...
On the 22nd of November 1904, artist, art historian and anthropologist J. M. Covarrubias Duclaud (d. 1957) was born in Mexico City. Being offered a special government grant from his country at the age of 19, Covarrubias was able to move to New York in 1924 where his talent was quickly discovered by his compatriot poet Tablada and the New York Times critic and photographer Carl Van Vechten, who introduced him to the N.Y. smart set, opening up avenues to a very successful artistic career in the media. The latter notably said that, From the beginning I was amazed at [Covarrubias ability] to size up a person on a blank sheet of paper at once; there is a certain clairvoyance in this. Many of his illustrations were celebrity, public figure or political satire caricatures for important magazines such as Vanity Fair, whose premier staff cartoonist he became within a short time, as well as the New Yorker, Fortune, Vogue and Screenland, his enlarged works often gracing their covers.
An even more interesting Covarrubias contribution has been pointed out by collector Cliff Aliperti within the Vanity Fair issues from 1932-6: The Impossible Interviews series were single page features with a large Covarrubias caricature of two or more incompatible f...
Sixth Avenue South (August 1946) ( Todd Webb Archive)
Todd Webb didnt come to photography directly. The Detroit-born Webb first worked as a stockbroker, then the Stock Market Crash of 1929 left his finances in ruin. He prospected for gold in California and Panama, with little success, and spent some time as a fire ranger for the United States Forest Service. Returning to Michigan, he worked for Chrysler. Then World War II broke out, and he was deployed to the South Pacific with the United States Navy.Cover of I See A City: Todd Webbs New York (courtesy Thames & Hudson)
As a Navy photographer, he honed a hobby hed taken up in the 1930s as a member of the Chrysler Camera Club. Yet it was only after the war that he moved to New York City and tried to make it as a professional photographer. With a keen fascination for the bustling humanity of Manhattan, he took his large-format camera out to the streets, capturing its people and places in all weather and seasons.
I See a City: Todd Webbs New York, out today (November 21) from Thames & Hudson, chronicles this era of Webbs postwar photography. Edited by Betsy Evans Hunt, the executive director of the Todd Webb Archive, it concentrates on photographs from the 1940s a...
Terrence Musekiwa, Standing on a line, not being on either side at Catinca Tabacaru Gallery, New York (all photos courtesy Catinca Tabacaru Gallery and the artist)
At 26 years old, the Zimbabwean artist Terrence Musekiwa broke away from his familys business of carving soapstone for tourists. Ever since the age of five, Musekiwa had helped his father shape the indigenous black soap stones into animals. This practice was in keeping with a 1,000-year-old tradition belonging to his native Shona people. But as Musekiwa grew older, he began to find a disparity between the somewhat saccharine objects he was creating and life in his tumultuous society. So the young artist began carving human faces out of the stones and incorporating them with other found materials to create something other than crafty curios. Thanks to that decision, Musekiwa now has 12 humanoid figures taking up various poses in the exhibition Standing on a line, not being on either side at the Catinca Tabacaru Gallery in the Lower East Side....
The Salvator Mundi goes bling (gif by the author for Hyperallergic)
Last weeks Christies auction grabbed all the major headlines because of the mind-boggling amount paid for Salvator Mundi, a Renaissance artwork the auction house says with certainty is by the hand of Leonardo da Vinci. But the conversation hasnt stopped there. Pundits and scholars have continued to debate whether the Leonardo attribution is accurate.David Nolta, professor in History of Art and the chair of the Fine Arts 2D department at the Massachusetts College of Art and Design (photo courtesy David Nolta)
Most recently, Thomas Campbell, formerly the director of the Metropolitan Museum of Art, posted an image of a pre-conservation Salvator Mundi on his Instagram account with the phrase, 450 million dollars?! Hope the buyer understands conservation issues
Old Master dealer Robert B. Simon shot back on the same post, Dr. Campbell, this is an incredibly ill-informed and mean-spirited comment about one of the most respected painting conservators in the world, one who incidentally spent many years diligently working at your former institution. I personally observed the conservation process on the Salvator Mundi and can attest to the absolute honesty, modesty, and respect that Dianne Modestini brought to her work on the painting carried out at the highest ethical standards of the profession. Given the prevalence of so many foolish remarks in both serious and social media, I have refrained from responding, but feel compelled to do so now.
But Campbell wasnt amused and replied, my comment was a legitimate response to an extraordinary price. Christies doesnt need your abusive bullying to defend itself. And my comment certainly wasnt an attack on a highly competent conservator. If you dont enjoy my occasional Instagram posts then dont follow me....
Folks in the know hold the German conceptual artist Joseph Beuys in similar standing to Marcel Duchamp and Andy Warhol as a key figure in expanding the field of art to include, potentially, just about anything. But beyond the contemporary art cognoscenti, he is far from a household name. That may change with the new documentary Beuys, by director Andres Veiel, which will have a theatrical run at New Yorks Film Forum cinema beginning January 17, 2018.
The above trailer, premiering exclusively on Hyperallergic, gives a sense of the films expansive approach to the fedora-wearing artists philosophy and practice, including audio recordings and archival footage thats never been seen before. Veiels film seeks to offer historical context for Beuyss path-breaking work, from his conceptually crucial Multiples to iconic performances like I Like America and America Likes Me (1974), for which he lived in a gallery with a coyote for three days.
Only on condition of a radical widening of definitions will it be possible for art and activities related to art [to] provide evidence that art is now the only evolutionary-revolutionary power, Beuys once said. Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the deathline. The documentary Beuys will not only offer a psychological portrait of the man, but chronicle the many ways he sought to reverse the effects of our repressive social systems and how his breakthroughs continue to influence artists today....
Two Films by Joan Braderman, screening at Spectacle, Brooklyn (image via Spectacle)
If personal essays are hard to pull off, personal video essays are possibly even harder. They are also rarer to come by, which is what makes this screening of strikingly original video essays at Williamsburgs Spectacle theater extra special. Ranging from the 1980s to the 2000s, these queer and kitschy films are all directed by women: Barbara Hammer, Joan Braderman, and Kayuclia Brooke and Jane Cottis. Their work makes for an excellent combination, and if you have time (or want an escape), its worth seeing all three films, which are screening for the last time this Thanksgiving weekend.
To start things off, on Thursday, catch Brooke and Cottiss Dry Kisses Only (1990), which probes the hidden lesbian histories of the Golden Age of Hollywood, from All About Eve to butch icon Katherine Hepburn. On Friday, Braderman has a double feature: her hilarious feminist film, Joan Does Dynasty (1986), for which she green-screened herself into the canonic TV show Dynasty; and Joan Sees Stars (1993), in which Braderman imagines various intimate meetings with Liz Taylor. To round things off, you might want to see Hammers retrospective at the Leslie-Lohman Museum of Gay and Lesbian Art before seeing her 2000 classic History Lessons, which cobbles together archival footage of lesbian figures and history while imagining a world in which lesbians are as omnipresent as white heterosexual cis men.
When: Friday, November 24Sunday, November
Where: Spectacle (124 South 3rd Street, Williamsburg, Brooklyn)
Illustrator and animator Nicolas Monterrat (previously) has brought his wild imagination to historical photographs and artworks that he sets in motion and shares on Ello. The short animations blend images borrowed from old catalogues, newspapers, and textbooks with snippets of abstract footage to create collage-like images that range from humorous to downright terrifying. You can follow more from the Paris-based artist on Tumblr. (via Cross Connect)
Its no secret that some of our favorite movies are littered with Easter eggs and obscure details that add lore and nostalgia. Discovering a little known factoid or tidbit can not only endear current fans, but create new ones.
The subreddit Movie Details, which boasts over 365,000 members, is dedicated to the obscure details and easter eggs found in movies.
Below you will find our top 10 favorite obscure movie details you probably missed or never knew.
Philadelphia-based ceramicist Brian Giniewski creates rainbow-colored pots and vases that appear to be dunked in sugary-sweet icing. He first started making his dripping vessels on weekends while teaching art at university level. After six years, Giniewski turned his passion into a full-time career when he opened his businesstogether with his wife Kristain May 2016.
With a goal to make one of a kind ceramic pots that make people happy, Giniewskis distinctive glazing resembles generous coats of icing. The glossy glazes contrast with a gritty, matte underlayer of earthenware clay in a range of colors. From pastel shades, to marbled, and speckled patterns, each piece comes out of the kiln completely unique, due to the oozing nature of the glaze.
After almost one year operating out of a small studio in Port Richmond, Philadelphia, the pair needed a bigger space to facilitate a higher production rate. After a successful Kickstarter campaign, Giniewski was able to move into a converted factory building with better equipment and is now working harder than ever at producing his delightful, drippy designs.
As much as any band could, the Heartbreakers both aesthetically and individually personified the bridge between proto-punk and punk rock. They coalesced in 1975, when New York Dolls Johnny Thunders and Jerry Nolan joined forces with Richard Hell, whod just left Television. The quartet was completed a few months later with the addition...
We often think of finger painting as something that's just for children, but Iris Scott has continually shown us that its a viable way to produce stunning works of art. For years, the Brooklyn-based creative has broken the barrier between herself and the canvas by creating elaborate, colorful paintings using her hand in place of a brush.
Scott isn't afraid to get her hands dirty with art, but she wears a pair of gloves to move the paint around. (This also keeps her fingernails clean!) After suiting up, she treats the pigment like clay and layers thick applications of it on canvas. The result is a jubilant subject matter that's depicted in a rainbow palette. Together, they highlight the simpler side of life that's best seen in her ongoing series called Shakin' Dogs. In this collection, Scott paints canines that are drying off after a jaunt in the water. They radiate pure joy that's sure to make you smile.
While Scotts finger painting airs on the unconventional side, shes not shy about sharing her technique with others. Her book, Finger Painting Weekend Workshop, invites anyone to try this type of Impressionist art.
There are few things in life more inconstant and more elusive, both in the fist of language and in the open palm of experience, than happiness. Philosophers have tried to locate and loosen the greatest barriers to it. Artists have come into this world born to serve happiness. Scientists have set out to discover its elemental components. And yet for all our directions of concerted pursuit, happiness remains mostly a visitation a strange miracle that seems to come and go with a will of its own. Those who prefer their principles over their happiness, Albert Camus wrote in contemplating our self-imposed prisons, they refuse to be happy outside the conditions they seem to have attached to their happiness.
How to welcome the visitation of happiness on its own miraculous terms, liberated from our conditioned and conditional expectations, is what poet Jane Kenyon (May 23, 1947April 22, 1995) a woman of immense wisdom on what it takes to nourish a creative life explores in an astounding poem posthumously published in The Breath of Parted Lips: Voices from the Robert Frost Place (public library).
I asked the wonderful Amanda Palmer to lend her voice to Kenyons masterpiece in a com...
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