Tuesday, March 29, 2011
In addition to her regular teaching commitments at the Slade she has lectured extensively, for example Hearsay, Rumours, Bed-sit Dreamers and Art Begins Today, The Whitechapel Art Gallery and Tate Modern, 2002-2003; Lost for Words, Eva Hesse Symposium, Tate Modern, 2003.
Hive by Phyllida Barlow
Balcony by Phyllida Barlow
Untitled Column by Phyllida Barlow
Dettmer’s work has been exhibited and collected throughout the United States, Mexico and Europe. He has had solo shows in New York, Chicago, San Francisco, Miami, Atlanta and Barcelona and has had projects exhibited in Mexico City, Berlin and London. He has been represented at several international art fairs including Pulse (Miami), MACO (Mexico City), ARCO (Madrid), Scope (London, Miami), Art Chicago (Chicago) and many others. His work can be found in several private and public collections throughout the U.S, Latin America, Europe and Asia. Dettmer’s work has gained International acclaim through internet bloggers, and traditional media.
Dettmer thoroughly explains his work and his goal in artwork in one of his artist's statements and in an explanation of his work process.
He says, "The age of information in physical form is waning. As intangible routes thrive with quicker fluidity, material and history are being lost, slipping and eroding into the ether. Newer media swiftly flips forms, unrestricted by the weight of material and the responsibility of history. In the tangible world we are left with a frozen material but in the intangible world we may be left with nothing. History is lost as formats change from physical stability to digital distress.The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book’s intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. This is the area I currently operate in. Through meticulous excavation or concise alteration I edit or dissect communicative objects or systems such as books, maps, tapes and other media. The medium’s role transforms. Its content is re-contextualized and new meanings or interpretations emerge. In this work I begin with an existing book and seal its edges, creating an enclosed vessel full of unearthed potential. I cut into the surface of the book and dissect through it from the front. I work with knives, tweezers and surgical tools to carve one page at a time, exposing each layer while cutting around ideas and images of interest. Nothing inside the books is relocated or implanted, only removed. Images and ideas are revealed to expose alternate histories and memories. My work is a collaboration with the existing material and its past creators and the completed pieces expose new relationships of the book’s internal elements exactly where they have been since their original conception."
New Books of Knowledge, 2009Altered Set of Encyclopedias
Core 6, 2007
Guide to Useful Information, 2007
Sunday, March 27, 2011
My interests have always centred on the visual stimuli that we encounter in our daily lives. Currently I am experimenting with the use of glass outside of its traditional craft context, expanding its possibilities in contemporary art. A recent series of my work 'Control Briefs' is a series of sculptured women's underwear made in glass; each piece unique, with the mould taken directly from original garments. Glass is a challenging material and each of these sculptures has been created using a glass technique known as pate de verre or paste of glass in which powdered glass is applied as paint to moulds and fired in the kiln.
The sculptures are sometimes sexy, sometimes unattractive, bringing their secrets into a public space, touching on notions of voyeurism and alluding to a vestige of femininity that was more restrictive than today's. The work contests ideas behind the beauty myth in which we see both men and women endlessly pursuing the unattainable dream of physical perfection. By creating underwear in the seemingly inappropriate medium of glass, I intend to capture the restrictive and often uncomfortable positions we place ourselves in for fashion.
The sculptures are cast directly from original undergarments that I find intriguing, and perhaps once worn for a special occasion, which when reproduced in glass retain the delicate lace patterns and shape of the wearer. The processes used in order to create such technically challenging, visually rich and delicate works are intensive.
Saturday, March 26, 2011
A Process Note: Ceramic SculptureI generally construct each sculpture by intuitively joining dark and light clays. This is a visual metaphor for the joining of opposites and the union of diversity in life. Then I run the joined clay through a slab roller which intimately fuses the clay and gives me a uniform thickness. I begin construction of the work and it's execution is completed as I stated above and by using techniques such as scoring and slipping joints before I put two pieces together. All the work is allowed to slowly dry to become green ware. It is then bisque fired and either low fired or high fired to different temperatures. The sculpture's titled Ascent 1-4 were fired in a salt kiln. During the firing salt is introduced into the kiln and its reaction with the silica of the clay creates a beautiful dark color with a slight pebbled texture. It is my favorite way of firing clay.
My art work is about the excitement of exploring with your eyes, mind and spirit the unique and the mysterious. The work is created to have immediate impact and long lasting power. It is about seeing what you have never seen before. I hope the paintings and sculptures engage you by their power of color, motion and imagery and move you into a sense of wondering and curiosity. Right then and there you are beginning to be pulled in--to be involved in the process of discovering all the variety of shapes, the dark and light spaces in between them, how they're connected, float or seem to move fast accross the paper. I know you will often return to the painting and find new insights and associations with the imagery that will add to your overall sense of experiencing the original beauty of the creative process. These works would enliven and energize any room they are placed in.
Ceramic Sculpture, 3 Clays,
30"H x 17"W
Friday, March 25, 2011
After seven years of living in Canada and gaining dual citizenship as a Mexican-Canadian, Gabriel moved to Texas to pursue graduate school at the University of Texas at Dallas where he is presently a candidate for an MFA in Arts and Technology. His work has been exhibited in Dallas, Houston, Montreal, Toronto and Barcelona.
|Don't Ask Don't Tell No. 1 2009|
Air force boots and pins
Thread, wood, nails, paper, and video production and sound
|Piexus No. 3 2010|
Gutermann thread, wood and nails
Nora Ligorano and Marshall Reese have collaborated together as Ligorano/Reese since the early 80's. Nora Ligorano is a visual artist and graduated with a BFA in painting from Maryland Institute, College of Art. In 1982, she was a Fulbright fellow in design arts in Spain. Marshall Reese is a poet and video artist. In 1978, he received an NEA Creative Writers Fellowship for his poetry. He studied classical languages, classical art and architecture at Pomona College in California.
After 20 years of collaboration, Ligorano/Reese's process of making work has become seamless and the boundaries between their conceptual contributions have all but disappeared. Their installations, limited edition multiples and artists books have been exhibited at the Cleveland Museum of Art, Museum fur Angewandte Kunst (MAK) in Frankfurt, Germany, MIT MediaLab, Museum of Arts & Design, the Neuberger Museum of Art, the Rotunda Gallery, Schroder Romero Gallery, The Kitchen, the Sculpture Center, and Lincoln Center. They have received fellowships and funding from the Jerome Foundation, NYFA, NYSCA, the NEA and Art Matters.
Free Speech Zone is from a series of works concerning the library as a cultural site. The installation takes its title from the growing restriction of the exercise of First Amendment rights by quarantining protest to designated areas.
The artists' first site-specific library installation Acid Migration of Culture (Donnell Library Center, Manhattan, 1994) focused on the library as a site of conflict - an institutional lightening rod where significant cultural issues about censorship and access to information are being waged.
Today, the significance of these issues, a short decade later, has not only intensified but grown more polemic and urgent. The overreaching powers of the Patriot Act, coupled with the explosion of the internet and monopolization of private media threaten the very fabric and foundations of our country and way of life. These are the concerns, which led the artists to create the installation on view at the Donnell Library.
Wednesday, March 23, 2011
A 20-foot-tall, narrow, tapering object with a pyramidal top, Damián Ortega's Obelisco Transportable stands on a grassy platform on wheels, as though it has been uprooted from a previous location and made portable. Since ancient times, when the form first emerged in Egypt, obelisks have served as visible centerpieces of cities. Ortega characterizes Obelisco Transportable as "a mobile landmark" that one could potentially move anywhere to commemorate anything. It offers a pragmatic yet wryly playful approach to a global society in which the balance of power is constantly in flux, and in which populations shift and drift from one place to another.
Obelisco Transportable is also a nod to the ways in which public sculptures and monuments have historically been moved from one city to another. Ortega describes this as the "Napoleonic gesture," in which the wartime victor plunders the monuments of captured cities and brings them back home to be installed in public there as a symbol of victory. Such transfers were meant to signal the rise of a new power and the demise of an older one, as well as an exchange of central and peripheral positions. Cleopatra's Needle in Central Park, for example, was originally created in Heliopolis, the ancient Egyptian city, more than 3,000 years ago. During the time of the Roman Empire, it was moved to Alexandria, where it remained for almost two millennia before being offered to the United States as a gift in the 19th century.
Ortega, who until just a few years ago was active as a political cartoonist in his native Mexico, creates sculptures, photographs, collages, and other works that tap into the poetic and symbolic resonance of everyday forms. Using wordplay, visual metaphors, and physical interventions, Ortega investigates the way in which objects serve as markers of cultural and political history. Among his best known works are the three pieces that make up "The Beetle Trilogy" - Cosmic Thing (2002), Moby Dick (2004-5), and Escarabajo (2005) - an epic series that revolves around the Volkswagen Bug as a ubiquitous icon of modernity.
Born in 1967 in Mexico City, Damián Ortega now lives and works Berlin. In 2003, his work was featured in the 50th Venice Biennale. His recent major solo shows include "The Beetle Trilogy and Other Works," Gallery at REDCAT (The Roy and Edna Disney CalArts Theatre) and the Museum of Contemporary Art, Los Angeles (2005); "The Uncertainty Principle," at Tate Modern, London (2005); "Damián Ortega," at Kunsthalle Basel, Basel (2004); "Spirit and Matter," White Cube, London (2004); "Damián Ortega," Museu de Arte da Pampulha, Belo Horizonte, Brazil; "Moby Dick," kurimanzutto, Mexico City; and "Damián Ortega: Cosmic Thing," ICA Philadelphia, Philadelphia (2002).
Tuesday, March 22, 2011
Chris Burden works and lives in California and has been represented by Gagosian Gallery since 1991. He has had major retrospectives at the Newport Harbor Art Museum, Newport Beach, California (1988) and MAK-Austrian Museum of Applied Arts, Vienna (1996). In 1999 Burden exhibited at the 48th Venice Biennale and the Tate Gallery in London. And for the summer of 2008 a 65 foot tall skyscraper made of Erecter set parts, titled What My Dad Gave Me, stood in front of Rockefeller Center, New York City.
Three Ghost Ships, 1991
Sailboats, one with solar panel and electronic components
3 boats: 6-1/2 x 6-1/2 x 15-1/2 feet each sailboat hull
Installation at Gagosian Gallery, Beverly Hills
Indo-China Bridge, 2002
Stainless steel reproduction Mysto Type I Erector parts,
15-1/4 x 45 x 8-1/2 inches (38.7 x 114.3 x 21.6 cm)
Ed. of 12
Medusa's Head, 1989-1992
Plywood, steel, rock & cement
14 feet diameter (4.3 m
|Water Tank E2 2010|
Welded galvanized steel water tanks mounted on metal stand
|Bird Ring 2007|
Monday, March 21, 2011
Sunday, March 20, 2011
1898 (Regensburg, Bavaria, Germany)