Archived Posts from this Category
Archived Posts from this Category
Seems Myspace is good for something..the other day my friend Julia sent along a bulletin making mention of a new project titled “Casa Segura.” I thought it quite relevant to our present locale and situation (you know..those fancy new solves-all-problems border fences?) . from the website :
Casa Segura (Safe House) is an artwork that combines a small public access structure on private land in the Sonoran desert in Southern Arizona with a dynamic bilingual web space that facilitates creative exchange, dialogue, and understanding. Located north of the Mexican border, Casa Segura engages three distinct groups: Mexican migrants crossing the border through this dangerous landscape, the property owners whose land they cross, and members of the general public interested in learning more about border issues and the intricate dynamics at play in this heavily trafficked region. It is a conceptual project that contrasts existing conditions with new choices that can positively transform how individuals on both sides of the divide engage with and perceive one another.
Posted by justin on 30 Jul 2007 | Tagged as: adventure day, art + bikes, art paparazzi, arts organizations, design, in yo face, mustaches, opportunities, party photos, performance art, possibilities, responses/reviews, rock!, silliness
Alice Twemlow, kicking off a piece for Design Observer, points us to a Very Short List post giddily discussing an album which is a soundtrack without a film. Very Short List concludes the post reeling with the possibilities: “Dazzling book jackets without novels inside; awesome stage sets on which actors never set foot; kick-ass magazine covers with no accompanying articles . . . we love the myriad possibilities of this new cart-before-the-horse genre.”
Of course, something like this has been done many times before: Brian Eno’s “” (a 1978 album featuring soundtracks for imaginary films); Stanislaw Lem’s “” (reviews of imaginary books) and “” (introductions to imaginary books); and yes, even Harland Miller’s covers for imaginary books. The Design Observer article focuses on poster art, and the relationship between the poster and the (sometimes fictitious) event or product being promoted. It moves from minimal Japanese poster artist Ten do Ten whose designs only use huge black and red pixels, to Richard Niessen’s “Kong” poster: “A mosaic built up from pixellated K’s, O’s, N’s and G’s and fusing the game-scapes of Donkey Kong and Pong to create an architectural setting for King Kong.” Definitely worth a read.
Mr. Bichelbaum hits the Oil Industry with a doozy of a presentation, proposing that the key to fueling the petroleum industry is found in burning human beings. This new magical fuel, called Vivoleum, will solve all of life’s little energy crises. Lots of their website links are broken, maybe because they are under serious Homeland Security surveillance. The Yes Men sure know how to pull the wool, though nothing seems quite as incredible as their DOW chemical acceptable risk calculator stint.
I experienced this today on a weird wading walking type of thing..
Puttering around the San Francisco/Bay Area art scene a few years ago, I always enjoyed finding residual artifacts made by the ever elusive Carolyn Ryder Cooley. Her work melts curious, sometimes precarious performances with elaborate costumes and an abundant array of forest fauna drawings. She now lives and works in Albany, NY and recently curated this interesting group show called Vestuary Operatics. An intriguing aspect of this show rests in the local art community’s ability to revive a forgotten architectural gem, in this case, the long abandoned St. Anthony’s church in Albany. Here are a few more examples of Cooley’s carefully crafted scenes:
Seems like the Slovanians are onto something, in the case of a guy named Vuk Cosic and the ASCII Art ensemble, you can watch the opening scene of Psycho or perhaps a poignant scene from the brainy landscape of Eisenstein. These online creations remind me of concrete poetry and text as art or occasionally siphoned of meaning as in Magritte’s hypnogogic endeavors. Catalonian poet and Surrealist, Joan Brossa, left a legacy of visual poetry in various forms such as this: