Historically, Neidlinger has worked with circus performers, classically trained dancers, and individuals who have suffered from severe nerve damage, since their bodies are hyper-aware and sensitive to touch. In the long-term, she proposes, “the future of wearable technology becomes a part of us. Emotional displays and bio.media will be woven into our garments and architecture, so they are responsive. As an evolution from the ‘smart’ wristbands of today, we will have ‘sensitive’ fabrics.” Please click here to read the rest of the piece.
Kildall’s residency at the organization yielded a body of work involving a prospector in the year 2049, one who is scavenging, reinvigorating, and resurrecting discarded materials at the dump. From a figurative latex mask to the circuitry of bulky electronics that simulate transmissions from the future, his work illustrates a future founded on re-purposing the present. These unusual materials in particular were used to create his sculptural works “The Sniffer” and “The Universal Mailbox,” which were accompanied by large wooden blueprints explaining the function of each imaginary device. As a part of the installation, Kildall performed as the prospector, scavenging the Recology premises. His consumption of vacuum-packaged food products in his video performance was probably the most jaw-dropping moment of the installation. (Fortunately, he did not get sick.) Please click here to read the rest of the piece.
This post is long overdue. Months ago, I was reading through various art blogs and websites looking for interesting developments in the art world. One of my resources for art news is ArtInfo, having learned about Takashi Murakami’s current work, I saved a draft post and ONLY now just getting back to it (I originally wrote this back in late January of this year!). I still can’t believe it’s half way through April! What the heck? In any case, he is working on a Godzilla-like movie titled Jellyfish Eyes scheduled for release later on this year. Now, if you’re not too familiar with Murakami’s work, he is the artist responsible for Kanye West’s Graduation album cover.
Many Louis Vuitton fans may also remember a line of bags, accessories, and even a New York 5th Avenue store covered in Murakami’s work.
Last year, I read Seven Days in the Art World by Sarah Thornton. Each chapter looks at an important day in the art world (e.g., The Auction, The Crit, etc.). For The Studio Visit, Thornton met with Murakami and some of his staff. One thing that intrigues me is the collaborative effort it takes to manufacture the grandiose pieces. I try to take notice of what makes a particular artist successful and one of the common threads I see (especially across new media artists) is the ability to work with a cross-section of people. Now, I’m not the biggest fan of Murakami’s work but it’s difficult to deny his creative process and prolific production. His work is certainly reflective of human consumption and excess. From album covers (i.e., Kanye West) to the Palace of Versailles, his work is probably the most visually consumed. Reminiscent of Andy Warhol’s art factory, Murakami is an astute artist and business person. It only makes sense that he come out with a movie, right? Right! Quite honestly, I’m really intrigued and will be on the look out later this year.
We create a community of multi-disciplinary artists who fuse eastern philosophies and practices in their work. This new community engages musicians, architects, visual artists, sculptors, videographers, and others in a conversation and exchange that evokes the spirit of John Cage and his impact on avant-garde art that permeates and vibrates throughout the bay area. ~ Hanna Ragev, Co-Curator
Mathematicians, scientists, and artists are all driven by uncertainty. Chance operations might entail risk but it also lends itself well towards calculated steps. All of these factors drive innovation. As difficult as it may be to relinquish control in anything we do, chance is what helps create substantive work. This is particularly true for artists. But the belief that chance will deliver success is futile. Yet, with these elements, any favorable outcome from chance offers a catharsis from unproductive habits and stagnancy. One of the most notable iconic art figures, John Cage, best known for his experimental methods and approaches to music and art creation takes center stage as the inspiration for current exhibition Get Lucky: The Culture of Chance now showing at the SOMArts Cultural Center in San Francisco, CA. Curators, Hanna Regev and Justin Hoover, gathered a wide array of talented artists working in a wide range of media paying homage to Cage’s legacy.
Chance operation, which was so boldly undertaken by John Cage as a structural tool for fine art production is often misunderstood as haphazard. It is quite the opposite. John Cage developed exact structures with precise timing, scoring, and rule sets in order to re-frame the relationship between chance and choice in the western tradition. He used a proscenium setting to realize his pieces and yet his influence expanded to all aspects of contemporary and modern art. He largely looked to Chinese and Japanese traditional cultures for influence in how to determine his chance structures and opened the door for a precise indeterminacy. We are much in debt to his playfulness and precision. ~ Justin Hoover, Co-Curator
As Hoover mentioned, the relationship between chance and choice inevitably creates structure as seen in the artworks shown in Get Lucky. From textiles to multimedia installations, the show offers the viewer an incredible look into Cage’s influence on contemporary art practitioners. Michelle Wilson’s edible paper explores creating from a variety of food and vegetable products that look at unpredictability. Michael Bartalos’s cardboard boxes mimic building blocks with words that can be rearranged to create words and phrases leaving it up to the viewer to decide what other viewers will read. Immediately to the left and right, Tony May’s and David Middlebrook’s boat pieces are inversions of the other. One suspended while the other seems held up precariously by what appears to be bamboo shoots. In the midst of all the activity, sounds of Garrett La Fever, David Molina, and Mickey Tachibana’s collective artwork, Memory Web, resonate from the screening room. On the other side of the gallery, Mauro ffortisimo plays impromptu pieces from his deconstructed piano. ZERO1 alumni, Scott Kildall and Tim Roseborough present the idea of chance as a game. Aspects of the opening event harked to the days of Happenings and the emergence of relational aesthetics. As the viewers became active participants in the creation of art, the interplay between creation and consumption between artist and viewer presents another variable in how the art objects evolve.
Exhibiting artists include:
Nick Agid, Kirkman Amyx, Michael Bartalos, Richard Berger, Antonio Cortez, EXCOR (led by Sherry Parker), Mauro ffortisimo, Nancy Genn, Bryan Hewitt, Vita Hewitt, Robin Hill, Janet Jones, Nolan Jones, Theodora Varnay Jones, Jonathon Keats, Scott Kildall, Naomie Kremer, Jon Kuzmich, Garrett La Fever, Tony May, Jim Melchert, David Middlebrook, David Molina, Luke Ogrydziak, Micky Tachibana, Sandra Ortiz Taylor, Zoe Prillinger, Renee Rhodes, Tim Roseborough, Micky Tachibana, Kenneth Wilkes, Michelle Wilson
Originally posted to ZERO1. Please view posting here
A Los Angeles Aesthetic is definitely one of my favorite art bloggers. Her love for art has led her to Venice and she’s bringing shots of the Biennale to art lovers all of the world!!!
A few words for LAA…
THANK YOU, THANK YOU, and THANK YOU for sharing and I can’t wait to see more Pavilion shots and read more of your reflections! One day…I’m going to make it out to Venice myself. 2012, perhaps!? Again, LAA, you’re so awesome!