Citizen Architect

I just heard on WNYC that director Sam Wainwright will take questions following a screening of his documentary on Samuel Mockbee and the Rural Studio called the Citizen Architect at the beautiful Cooper-Hewitt.



Blurb about the film from the Leonard Lopate Show Page:


"Hale County, Alabama is home to some of the most impoverished communities in the United States of America. It is also home to Auburn University’s Rural Studio, one of the most prolific and inspirational design-build outreach programs ever established. Citizen Architect is a documentary film chronicling the late Samuel Mockbee, artist, architect, educator and founder of the Rural Studio with never-before-seen interviews with Mockbee himself."

There should be a stream of the interview on the WNYC  page.

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Around YYZ




Check out David Court and Josh Thorpe for YYZUnlimited...in a series of 5 audio tours using YYZ as a departure. For the first, Court and Thorpe are joined by artist/architects Scott Sorli and Flavio Trevisan.
to download

And if you haven't already stop by YYZ to see Hadley+Maxwell and Barbara Balfour!

Wow! Thank you Douglas Kelley for todays DKS show listing in my inbox!


In addition to the riot of color that punched me in the eyes and so delighted my soul this morning, there is a really interesting piece that Douglas Kelley has written both on the artist Deborah Kass and an exerpt from a Simon Critchley lecture which I found really interesting this morning. So thank you!

I will include the DK's "disclaimer" and a link to the rest of the piece. Looking forward to more.

From the DKS site. Read the rest here.
____________________________________________________________________________________
"A General Disclaimer.

Despite these accolades it is still my humble opinion that Deborah Kass, as popular and influential as she is, is nevertheless still one of the most undervalued artists in the world. Obviously I'm a fan.

I am not an art critic or even an art historian, even though I have interests in both. Mostly my interest in art is strictly from the point of view of being an artist, and so when I write about Ideas, Trends and Key Individuals Shows, Galleries and History, I feel I am in a collaboration with all of those things. It's sort of a one-sided collaboration, because I never let people read what I'm going to send out with the list beforehand, because that's an invitation to editing and rewriting the material, and the unhappy fact is that I don't consider writing that easy to want to do it over. In fact I find it damn difficult, (I can't understand how critics and art historians by Jerry and Roberta, who I idolize, crank it out by the pound?) So I feel it's always necessary to begin with a blanket apology for any errors, omissions, mistakes or mischaracterizations of people's words, history, politics, quotations or People's personal or private's subjectivities I write about. All opinions are strictly my own and definitely should not be considered representative of the opinions of any individuals mentioned. I'm extremely confident when I am expressing my own opinions, prejudices and ideas, or when I am drawing freely upon the work of someone like Simon Critchley, who I quote freely, because I feel he expresses my ideas better than I do. (That, in addition, to being my biggest influence currently.) I'm planning to use a lot of quotes of his and take my time bringing everything full circle. because in addition to talking about Ms. Kass, I plan on introducing my new personal philosophy, the global art manifesto, and political agenda to save the world, that I have tentatively titled as being: “Synthetic Speculative Surrealistic Anarchistic Otherism," or SSSAO or "Otherism" for short.

These essays are going to be an ongoing weekly project, and I plan to add more maternal about Deborah Kass in the weeks going forward, because this year I want to write about only a few artists whom I think of as values artists. Individuals whose work I feel will be an interesting commentary on our present times 500 years hence.

For those you who don't know Professor Simon Critchley, he is a New York-based, British born Philosopher, who is the philosophy chair at The New School For Social Research. Who is a fan of art, and a popular speaker at art fairs, who has in the past discussed some of the contemporary contradictions in the relationship of art to theory. I am going to mix some his remarks, with my remarks, and maybe with some remarks by Deborah Kass. Here is some of that, little of his ‘terroristic’ model of theory, (in which he real reassures artists they should stress too much about it) as he explains how perhaps that art and theory have not become divorced. We might even say that in some cases they have merged, or perhaps both become attached to a third term, perhaps art and theory have adopted a form of triolism, a ménage a trois?

Negotiating art and theory through a third term is extremely relevant to Deborah Kass's work. whether it's politics, feminism, the Jewish intellectual tradition, Broadway theater in musicals, our many other things, everything has something to do with her relationship with the intellectual Jewish life of New York City."

The Citizen Architect

Just a follow up on The Citizen Architect. You can stream the video on the PBS.org website. My husband and I watched it a few weeks ago and it is amazing. I have so much respect for the work that Samuel Mockbee started. I think that it must be an amazing experience for a young architect to work with the Rural Studio.

BTW, another great series of videos from PBS.org is the Craft in America cycle. It is worth a dip into the series of videos which again you can stream from your computer.

If you feel generous, think about giving a donation to your local PBS station.

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via instant coffee...

28. CALL | MASS MoCA / Cabinet | An Exchange with Sol Lewitt | OCT 15
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A two-part exhibition curated by Regine Basha

The story of Sol LeWitt's exchanges with other artists is by now
widely known. Though most artists engage in this process at one
point or another, LeWitt seemed fully committed to it as an
artistic code of conduct, a way of life. Eva Hesse, Robert
Mangold, Hanna Darboven, and Robert Ryman are just a few of
LeWitt's celebrated contemporaries with whom the artist
exchanged works. Such exchanges were not limited to well-
known artists, however: LeWitt consistently traded works with
admirers whom he did not know but who had nevertheless sent
their work to him, as well as amateur artists with whom he
interacted in his daily life. LeWitt's exchanges—he responded to
every work he received by sending back one of his own—
fostered an ongoing form of artistic communion and, in some
cases, a source of support and patronage. The Sol LeWitt
Private Collection retains all of the works he received, as well as
a record of what he offered in return.

For LeWitt, the act of exchange seemed to be not only a
personal gesture, but also an integral part of his conceptual
practice. In addition to encouraging the circulation of artworks
through a gift economy that challenged the art world's
dominant economic model, LeWitt's exchanges with strangers
have the same qualities of generosity, and risk, that
characterized his work in general. This kind of exchange was
designed to stage an encounter between two minds, outside the
familiar confines of friendship.

If we consider the process of exchange as another of Sol
LeWitt's instructional pieces, then the rational (or irrational)
thing to do is to continue to exchange work and ideas, if only
symbolically, with him.

—This is a call to those who share an affinity with Sol LeWitt's
legacy as a conceptual artist, to those who knew him and those
who did not—to anyone who has ever wondered, "What would
Sol LeWitt like?"

—Guidelines

Your gift to Sol LeWitt can take the form of an image, an
object, a piece of music, or a film. Books, ephemera, and other
non-perishable items (e.g. wine) are also welcome. Other ideas
may be discussed with the curator.

2D contributions should be no larger than 8.5 x 11 inches; 3D
contributions should be no larger than 12 x 12 x 12 inches.

All contributions will be exhibited at either Cabinet or MASS
MoCA. The curator will notify you of the location of your
contribution by 1 December 2010.

Contributions can be dropped off, mailed, emailed, or faxed
between September 15th and October 15th:

An Exchange with Sol LeWitt
c/o Cabinet
300 Nevins Street
Brooklyn NY 11217, USA
Fax: + 1 718 222-3700
Email: exchangelewitt@gmail.com

A publication documenting the contributions will accompany
the shows and will be presented at the conclusion of the project
to all participants.

Please note that we cannot return your contribution. You can,
however, pick it up at the end of the exhibition if prior
arrangements have been made.

For further information, please contact Regine Basha at
exchangelewitt@gmail.com.
http://www.cabinetmagazine.org
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Thought Feathers

’Yes, drawings are thought feathers, they are ideas that I seize in mid flight and put down on paper. All my thoughts are visual. But the subjects of my drawings are often not translated into sculpture until several years later. As a result, there are a lot of things that appear in drawings but are never explored further.'

[Louise Bourgeois]

Bust a move!

via The Official Autoshare Blog: 

Art On The Move moves onto an AutoShare Ford Transit

AutoShare has decided to collaborate with a unique Toronto art program ART ON THE MOVE. The program integrates public art and urban design by engaging professional artists and community members – kids, adults, and seniors – who collaborate to adorn vehicles with original artwork.

The design for AutoShare’s Ford Transit Connect was created by artist Susan Rowe Harrison, and 26 children of the Karen Kain School of the Arts Afternoon Art Club (Grades 4, 5 and 6). The program will officially launch June 15th, at the National Yacht Club and showcasing 5 original art-wrapped vehicles.
 

Wabi-Sabi from emmas design blog

Contemporary wabi-sabi tea bowlImage via Wikipedia

I love the idea of Wabi Sabi. Emma Fexeus of emmasblog put together a great piece on wabi-sabi and a list of resources. Thanks emma!
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from emma's design blog 2008-12-30 @ 23:20:50
Wabi Sabi, a little more background

“Pare down to the essence, but don’t remove the poetry. Keep things clean and unencumbered but don’t sterilize” says Leonard Koren, author of Wabi-Sabi: for Artists, Designers, Poets & Philosophers. That would be exactly what I think defines good interior design. And that is the reason why I am so drawn to the Japanese philosophy of wabi sabi, and would like to share some of what I've found out lately.

More...

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OK, here they are. They are all sort of in the same series but a bit different. Not sure if which one I like if any. If there is anyone out there, what do you think?

wednesday/thursday sketches





Now I just need to convert the images from yesterday so that I can post them as well. I had a good day today but don't feel that I am "there" yet in the drawings. I still need more time to work on these. I am trying to bring in more of my work to the project. Then to bring back in the student art in a way that works. More later. Ouch my head hurts!

another project

Here are some photos that I took recently to inspire some drawings I am working on for a client...I will update as I finish the work...funny that this is bird poop on the cement wall of an underpass in our neighborhood...anything can be mesmerizing and beautiful...