Sunday, March 28, 2010
These two Dutch guys operate in the art/craft area, and I like what they do. They work as avant-guarde designers that get rid of comfort as a design principle. See the review by Blake Gopnik in the Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2010/03/24/AR2010032403318.html
"Magic Eye and Johns Hopkins University are pleased to host an evening of film and conversation with acclaimed experimental filmmaker Phil Solomon.
'Although part of a long avant-garde tradition, Mr. Solomon makes films that look like no others I've seen. The conceit of the filmmaker as auteur has rarely been more appropriate or defensible — The liberating effect of Mr. Solomon's work suggests a rather different realm: Film Meets Vision, Rejoice!' – Manolha Dargis, New York Times
The screening will include excerpts from his installation at the Corcoran Gallery of Art “American Falls” and a selection of his films and videos, including “Remains To Be Seen” which Stan Brakhage named as one of his Top Ten Films of All Time for Sight and Sound magazine.
Solomon’s film work employs an array of chemical and optical treatments to explore the natural state of decay of 16mm film. The results produce a molten emulsion unique to his cinema, a visually mesmerizing struggle between a captured image and the materiality of the medium.
His recent video series called “In Memoriam, Mark Lapore” operates in the genre of machinima. Appropriating scenes from the lawless world of Grand Theft Auto, Solomon quells the crime wave and creates a trance-like wandering through a desolate urban landscape. The trilogy, named as one of the Top Experimental Films of 2007 by the Village Voice, will close the evening’s program.
Phil Solomon teaches at University of Colorado – Boulder. He has participated in two Whitney Biennials and has had three Cineprobes (one-man shows) at the Museum of Modern Art. He has won a John Simon Guggenheim Memorial Fellowship (1993) and The Thatcher Hoffman Smith Award (2007), as well as grants from the National Endowment for the Arts and the Creative Capital Foundation."
Saturday, March 27, 2010
"Ouroboros, as the Greeks called the snake that eats its tail, has from ancient times been a symbol of cosmic unity and self-sufficiency."
Friday, March 26, 2010
Thursday, March 25, 2010
Wednesday, March 24, 2010
Table of Contents: Artists Who Make Books
In Conjunction with "Fresh Prints" at Open Space and the BMA Print Fair
Exhibition Runs: March 26th - April 9th
Opening Reception: Friday March 26th 7pm-10pm
H&H Building 3rd Floor / 405 W. Franklin Street / Baltimore, MD
Tuesday, March 23, 2010
Saturday, March 20, 2010
Sunday, March 14, 2010
Susan Lee-Chun invites Baltimore fitness fans to join her exciting new faux-real fitness program: “Everybody Suz-ercise!”
Susan Lee-Chun and her three selves—Sue, Sioux and Su (The Suz) are on a quest for ultimate happiness and fulfillment through contemporary fitness. Become part of the high mode, high performance team that presents Come on Baltimore, Let's Suz-ercise! outdoors in the Inner Harbor this June 23!
MARCH 18 6pm Conversation with The Suz 7pm Everybody Suz-ercise! A presentation by The Suz See what Suz-ercise is all about and how Together, we'll help you meet our immeasurable goals.
10am Suz-ercise Participant Orientation: Start on your path to becoming a Certified Suz-erciser. Get measured for your Suz-authentic workout gear. Learn how to train for the experience of your lifetime with The Suz on June 23, 2010.
June 23 6pm at Baltimore's Inner Harbor: Come on Baltimore, Letʼs Suz-ercise!
Info: TheSuzITsFauxReal or call 410 962 8565
Galleries and museums are, for all intents and purposes, standardized exhibition containers. The three multimedia works that comprise Michael Guidetti’s solo show ruminate on this form, each representing a discrete space used to show art. He sets down basic architectural frameworks in watercolor and effectively enlivens them with superimposed digital projections. Two of the works, Bounce Room 1 and Bounce Room 2 (all works 2009), depict modernist white-cube spaces overlaid with projected red, green, and blue blobs that ricochet against the depicted walls and ceilings. These elements are as playful and mesmerizing as a game of Pong, but they also highlight the infrastructure of projection technology—the RGB color model at the heart of most image production. Guidetti revels in stripping his subject down to its baseline, and while there’s the potential for tech gimmickry to overshadow the works, they’re ultimately more meditative than whimsical, each projecting viewers into dollhouse discotheques. His Untitled is a more earnest and provocative work, referencing a Romanesque gallery with coffered ceiling and windows that seemingly overlook the sea, the whole setting a heavenly, hallowed milieu. In it are pedestals displaying Asian-looking artifacts—a Buddha statue, a teapot, and animal figures. The latter images are purplish projections, apparitions that subtly flicker. Gathered from open-source 3-D scans of artworks (among the first digital copies ever made), the computer-enhanced renderings progress through a slow, looped cycle from day to night. It’s an idealized, digital simulacrum—with pixelated edges showing. As installed in the cozy dimensions of Jancar Jones, which is not much bigger than a closet, the works are set within a near version of themselves—and it’s the kind of metagesture that seals the self-reflexive deal.
— Glen Helfand
watch this video
Saturday, March 13, 2010
Peter Schjedahl's take on the Dakis Joannou collection/Jeff Koons curated show at the New Museum in the New Yorker magazine, March 15. He thinks the exhibit is agressive and great, but he also addresses the larger social context in which this takes place, namely the mega collectors of "abominable wealth" intermingling with the relatively poor (except for the Jeff Koonses of the world) artist class. If art reflects society, for which I think is a pretty powerful argument, isn't there a kind of poseur mentality in the "noblesse oblige laced with a left-libertarian raciness" which characterizes the nexus of art stars with the aristocracy of wealth and social clout in the context of a society struggling with foreclosures and economic depression? See http://www.newyorker.com/online/multimedia/2010/03/15/100315_audioslideshow_dakisjoannou
Thursday, March 11, 2010
Wednesday, March 10, 2010
The Library of Unread Books
For over 10 years, Julius Deutschbauer has collected hundreds of books, all of which have a single characteristic in common: their owners would have liked to have read them, but never fulfilled their good intentions. Shown as part of Philagrafika 2010: The Graphic Unconscious, The Library of Unread Books explores the idea that today the number of books that are not read far exceeds the number that are.
The Print Center invites you to add your unread book to our growing collection. Just add it to our bookcase on the second floor and fill out the survey provided. At the end of the exhibition, the Library will travel to the Austrian Cultural Forum in New York City.
In addition, Deutschbauer will be in residence at The Print Center from April 6 - 11 interviewing participants about their unread book. Please contact John Caperton, Curator at 215-735-6090 x3 or firstname.lastname@example.org if you would like to schedule an interview with the artist.
Monday, March 8, 2010
Saturday, March 6, 2010
Wednesday, March 3, 2010
I'm headed to NYC this weekend, because there is a hell of a lot of good, temporary stuff going on:
The Whitney Biennial:
The Armory Show
Scope Art Fair
This is just a sampling: the latter three are only this weekend! Highly recommended.
Also, remember to look back at the list I posted for visiting artists (a few weeks back, here). Alexa Brooks will be visiting tomorrow, so those of you who have studio visits with her will want to be prepared.
See you soon,