moma's website with pictures.
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Friday, November 21, 2008
Sunday, November 9, 2008
Fun gurilla art
"Words That Glow in the Dark
For a graffiti artist, Evan Roth has an unusual rapport with the police. Case in point: he was doing his thing on New York City's Lower East Side one night when the cops pulled up in cruisers. Instead of pulling out handcuffs, they stopped to admire his craft.
That's because Roth and his partner James Powderly are pioneers of no-mess graffiti. Drawing on Powderly's background in military robotics and Roth's expertise in architecture, they have invented new ways to leave their mark on the city without defacing it. Their latest development is called the "throwie"--a cluster of LEDs attached to a battery and small magnet. A bunch of throwies can be tossed at any iron surface to create instant graffiti. Alternatively, a tag can be spelled out in advance on a T-shaped "night writer" and slapped onto metal surfaces at improbable heights.
Dubbing themselves the Graffiti Research Lab and backed by Eyebeam, a not-for-profit dedicated to patent-free open-source technology, Roth and Powderly set their invention loose on the Internet, where it quickly developed a passionate following. Others were soon adding improvements the duo had never thought of, such as timers and on-off switches. A website sprang up selling throwie kits--much to Roth's delight. "We want to get people excited about using public spaces," he says. "And get them excited about art." --By Ta-Nehisi Coates and Carolina A. Miranda
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=4&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A150281001&bConts=41
For a graffiti artist, Evan Roth has an unusual rapport with the police. Case in point: he was doing his thing on New York City's Lower East Side one night when the cops pulled up in cruisers. Instead of pulling out handcuffs, they stopped to admire his craft.
That's because Roth and his partner James Powderly are pioneers of no-mess graffiti. Drawing on Powderly's background in military robotics and Roth's expertise in architecture, they have invented new ways to leave their mark on the city without defacing it. Their latest development is called the "throwie"--a cluster of LEDs attached to a battery and small magnet. A bunch of throwies can be tossed at any iron surface to create instant graffiti. Alternatively, a tag can be spelled out in advance on a T-shaped "night writer" and slapped onto metal surfaces at improbable heights.
Dubbing themselves the Graffiti Research Lab and backed by Eyebeam, a not-for-profit dedicated to patent-free open-source technology, Roth and Powderly set their invention loose on the Internet, where it quickly developed a passionate following. Others were soon adding improvements the duo had never thought of, such as timers and on-off switches. A website sprang up selling throwie kits--much to Roth's delight. "We want to get people excited about using public spaces," he says. "And get them excited about art." --By Ta-Nehisi Coates and Carolina A. Miranda
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=4&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A150281001&bConts=41
More rescources for powerpoint
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=11&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A86194957&bConts=41
"In the gallery off to the other side of the golden bird-cage was a room-size installation titled Dream. This lyrical work also contained hidden barbs. A wall-to-wall swath of red silk was activated by industrial fans so that it billowed and rippled just above the ground like the surface of a windswept sea. Suspended from the ceiling, and casting the only light in the room, were myriad red lanterns constructed from the same silk to suggest various familiar objects. The forms recalled the Chinese funerary custom whereby paper versions of personal items are burned as offerings for use by the dead. But Cai updated the rite by creating his red lanterns in such nontraditional shapes as those of automobiles, laptops, refrigerators, fighter planes, missiles, skyscrapers, UFOs, a battleship and even the ubiquitous McDonald's arches. Thus a practice once designed to connect the living and the dead became a tacit critique of the consumerism and militarism of modern China. Equally subversive is the red color that pervaded this work. White is the funerary color of China, while red is the color for more joyful occasions. It is also the color associated with the Communist government. "
-a retrospective article.
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=9&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A99730565&bConts=41
"His explosions tap into a primordial human attachment to fire and to what he sees as our genetic memories of the Big Bang. "
"The most moving work in Ghent is a video montage of mushroom clouds above a sandpit filled with crabs. Protected by water, crabs were the only creatures to survive Hiroshima. Mr Cai sees the mushroom as the modern equivalent of the Great Wall. "Both were deterrents; both were stunning, visible symbols of power". Mr Cai conceived this show long before the Iraq war, but he is worried by the idea of smart bombs. Explosions create chaos. They are by nature uncontrollable; that is what attracts him to them as an artist. "No matter how carefully you prepare an explosion," he says, "when the elements of heat, wind, speed and height combine, explosions are still unpredictable. Nothing ever turns out the way you expect, which is ideal in art but perhaps not in war." "
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=3&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A175974758&bConts=41
"New York's Rent Collection Courtyard" is the on-site, temporary re-creation (repeating one that earned Cai the International Award of the Venice Biennale in 1999), in clay, by ten Chinese artists, of a vast socialist-realist sculptural tableau, from 1965. Cai intends "to bring the tradition of figurative sculpture into the arena of contemporary art, while also commenting on the fate of art under the manipulation of political ideology."
-cai likes to give subtle, underhanded commentary on political matters. these clay sculptures crumble over time.
http://www.caiguoqiang.com/shell.php?sid=3
-a full pdf of a new york times article with pictures.
http://proquest.umi.com.proxy-tu.researchport.umd.edu/pqdweb?index=1&did=404799911&SrchMode=1&sid=1&Fmt=3&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1226264670&clientId=41150
-library database of the seme article.
Mr. Cai -- his full name is pronounced sigh gwo chang -- is one of several artists from China who gained international attention during the 1990's, and one of the few who has sustained the momentum. He has been using gunpowder as an art medium for years. With it, in 1993, he created a six-mile-long ''wall of fire'' extending west from the end of the Great Wall of China in the Gobi Desert. (remember the pronunciation!!!)
"In the gallery off to the other side of the golden bird-cage was a room-size installation titled Dream. This lyrical work also contained hidden barbs. A wall-to-wall swath of red silk was activated by industrial fans so that it billowed and rippled just above the ground like the surface of a windswept sea. Suspended from the ceiling, and casting the only light in the room, were myriad red lanterns constructed from the same silk to suggest various familiar objects. The forms recalled the Chinese funerary custom whereby paper versions of personal items are burned as offerings for use by the dead. But Cai updated the rite by creating his red lanterns in such nontraditional shapes as those of automobiles, laptops, refrigerators, fighter planes, missiles, skyscrapers, UFOs, a battleship and even the ubiquitous McDonald's arches. Thus a practice once designed to connect the living and the dead became a tacit critique of the consumerism and militarism of modern China. Equally subversive is the red color that pervaded this work. White is the funerary color of China, while red is the color for more joyful occasions. It is also the color associated with the Communist government. "
-a retrospective article.
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=9&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A99730565&bConts=41
"His explosions tap into a primordial human attachment to fire and to what he sees as our genetic memories of the Big Bang. "
"The most moving work in Ghent is a video montage of mushroom clouds above a sandpit filled with crabs. Protected by water, crabs were the only creatures to survive Hiroshima. Mr Cai sees the mushroom as the modern equivalent of the Great Wall. "Both were deterrents; both were stunning, visible symbols of power". Mr Cai conceived this show long before the Iraq war, but he is worried by the idea of smart bombs. Explosions create chaos. They are by nature uncontrollable; that is what attracts him to them as an artist. "No matter how carefully you prepare an explosion," he says, "when the elements of heat, wind, speed and height combine, explosions are still unpredictable. Nothing ever turns out the way you expect, which is ideal in art but perhaps not in war." "
http://galenet.galegroup.com.proxy-tu.researchport.umd.edu/servlet/BioRC?vrsn=149&OP=contains&locID=umd_towson&srchtp=name&ca=1&c=3&AI=U17615043&NA=cai+guo-qiang&ste=16&tbst=prp&tab=8&docNum=A175974758&bConts=41
"New York's Rent Collection Courtyard" is the on-site, temporary re-creation (repeating one that earned Cai the International Award of the Venice Biennale in 1999), in clay, by ten Chinese artists, of a vast socialist-realist sculptural tableau, from 1965. Cai intends "to bring the tradition of figurative sculpture into the arena of contemporary art, while also commenting on the fate of art under the manipulation of political ideology."
-cai likes to give subtle, underhanded commentary on political matters. these clay sculptures crumble over time.
http://www.caiguoqiang.com/shell.php?sid=3
-a full pdf of a new york times article with pictures.
http://proquest.umi.com.proxy-tu.researchport.umd.edu/pqdweb?index=1&did=404799911&SrchMode=1&sid=1&Fmt=3&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1226264670&clientId=41150
-library database of the seme article.
Mr. Cai -- his full name is pronounced sigh gwo chang -- is one of several artists from China who gained international attention during the 1990's, and one of the few who has sustained the momentum. He has been using gunpowder as an art medium for years. With it, in 1993, he created a six-mile-long ''wall of fire'' extending west from the end of the Great Wall of China in the Gobi Desert. (remember the pronunciation!!!)
Friday, November 7, 2008
artist profile project
http://www.caiguoqiang.com/
this is his own webpage, it basically has pictures of his works. they're nice pictures but there's little else.
this is his own webpage, it basically has pictures of his works. they're nice pictures but there's little else.
Thursday, November 6, 2008
Body Art
http://www.frieze.com/issue/article/survival_kit/
this article talks about Chris Burden's work. Love the "flying steamroller".
The way that this article puts it, Burden's "body modification" is like the way pagan Celts would adorn themselved with full-body tatoos, which must have been excrutiating. These tatoos were considered magic, and sometimes they would fight naked with only the tatoos for protection. Burden empowers himself by doing what he wishes with his body.
Mendieta was like the artists in the video we watched because she adorned herself to get in touch with nature and the divine.
this article talks about Chris Burden's work. Love the "flying steamroller".
The way that this article puts it, Burden's "body modification" is like the way pagan Celts would adorn themselved with full-body tatoos, which must have been excrutiating. These tatoos were considered magic, and sometimes they would fight naked with only the tatoos for protection. Burden empowers himself by doing what he wishes with his body.
Mendieta was like the artists in the video we watched because she adorned herself to get in touch with nature and the divine.
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