(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

20 December 2011

Richard Serra: 7 @ MIA Park, Doha, Qatar

Image & Text via ARTINFO

Richard Serra's "7," 2011, composed of 7 steel plates that are 80 feet high, 8 feet wide, and 4 inches thick, the sculpture is 10 feet wide at the bottom and 9 feet wide at the top. On view in the new MIA Park, Doha, Qatar.

"The content of the work is not the work. The meaning of the work is your experience inside the work. Or when you see if from far away, it has another meaning. But if all those things mean nothing to you, then it's meaningless," said the artist, hard at work explaining the seven plates of German Cor-ten steel that stretch 80 feet into the air, making it Serra's tallest sculpture yet — and his first public commission in the Middle East.

19 December 2011

Dutch Design Firm MVRDV's "The Cloud" : A Controversial Resemblance to The Twin Towers Exploding

When Dutch architectural firm MVRDV unveiled its plans Wednesday to build two luxury residential towers connected by a cloud-like bridge in Seoul, it was relatively well-received by the architectural blogosphere — that is, until, other critics noted its resemblance to images of the exploding World Trade Center towers and hit the architects with a backlash of criticism. (Gizmodo's headline, "What the Hell Were These Architects Thinking?" is just a taste of it).

“A real media storm has started and we receive threatening emails and calls of angry people calling us Al Qaeda lovers or worse,” the firm stated in an apology on its Facebook page. “MVRDV regrets deeply any connotations The Cloud projects evokes regarding 9/11, it was not our intention.” In its defense, MVRDV also described “sunlight, outside spaces, living quality for inhabitants and the city” as its considerations in designing the project.

Families of 9/11 victims are not impressed by the apology. "I think it’s a total lie and they have no respect for the people who died that day," retired New York Fire Department deputy chief Jim Riches, whose son was killed on 9/11, told the New York Daily News. "They’re crossing a line."

The firm seems to have an ongoing history of insensitivity in the face of human tragedy. In 2008 MVRDV designed homes for Hurricane Katrina victims on behalf of Brad Pitt’s Make it Right Foundation, the dramatic angles of which inexplicably (and intentionally) looked as if they had survived a hurricane. They were never built.

MVRDV offered a image of the buildings (appropriately titled The Cloud) being bridged by an actual cloud as its inspiration. Other renderings show the pixelated-looking bridge, a 10-story structure which would connect the two buildings at their respective 27th floors, brimming with pleasant amenities: a fitness studio, swimming pools, cafés, and a serene little koi pond. Unfortunately, the images don't particularly shutter any visual comparisons to a cloud of debris.

The two towers were positioned as the entrance of the Yongsan International Business District, or “Dream Hub” project envisioned by Daniel Libeskind, who, in one final dose of irony, was the master planner behind the rebuilding of the World Trade Center. Despite the adverse reactions, the South Korean developers Yongsan Dreamhub corporation have no plans of altering the design. "Allegations that it was inspired by the 9/11 attacks are groundless," said Yongsan representative White Paik, according to the Sydney Morning Herald. As of now, construction is still scheduled to being January 2013.

15 December 2011



[TEXT: ARTINFO] Over 5,000 stainless steel replicas of stone fragments produced during the making of Zhan Wang’s film “My Personal Universe” float in the gallery space, echoing the multiple projections of actual rocks being blown apart displayed on the walls.

Katharina Grosse : One Floor Up More Highly @ MASS MoCA

Image & Text via MASS MOCA
[PRESS RELEASE] Katharina Grosse is known for the vibrant palette and exuberant gestures of her large-scale canvases and raucous installations which merge painting, sculpture, and architecture. Wielding a spray gun instead of a brush, Grosse often paints directly on the walls, floors, or facades of her exhibition sites, altering the logic and scale of architecture itself. In an effort to liberate her works from the Euclidian space of wall and floor, Grosse also incorporates into her multidimensional paintings a variety of unexpected objects, including beds, clothes, balloons, shaped canvases, and soil. Joining these incongruous elements in a continuous flow of color, Grosse opens up a new path for painting while rearranging conventions, hierarchy, and our very habits of seeing.

At MASS MoCA the artist has applied her atmospheric veils of paint to four mounds of soil which seem to spill from the upper balcony into the enormous space below. Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls -- the metaphorical canvas of Grosse's tremendous painting. While the sprawling installation provokes associations with a psychedelic, glacial landscape, Grosse's work is not representational. Her electric, sometimes dissonant palette is meant to temper the impulse to read the work as a recognizable image. Instead, the anarchic work embraces a state of ambiguity that allows for alternative ways of processing what is seen - whether in the installation's vast changes in scale or the shifting identities of its components in which mountains become piles of raw pigment and sliced Styrofoam appears tectonic.

The work's most salient connection to geography lies in the viewer's ability to walk by, around, and above Grosse's undulating fields of color as they unfold over time and space. Traversing the galleries, visitors are given the opportunity to understand Grosse's painting from multiple vantage points both outside and inside the work itself and, as the exhibition's title obliquely implies, stumble toward a higher plane of perception. Working in both real and pictorial space simultaneously, the artist emphasizes the instability of what we know as reality and the potentiality in what lies beyond the limits of conditioned sight and thought.

14 December 2011

TIME Person of the Year: THE PROTESTER


Cover Design: Shepard Fairey

TIME Person of the Year Runner-Up: Ai Weiwei––The Dissident

Image & text via TIME

For 81 days last spring and summer, Ai Weiwei was China's most famous missing person. Detained in Beijing while attempting to catch a flight to Hong Kong on April 3, Ai, an artistic consultant for the iconic Bird's Nest stadium, was held almost entirely incommunicado and interrogated some 50 times while friends and supporters around the world petitioned for his release. On Nov. 1, Ai, who says the case against him is politically motivated, was hit with a $2.4 million bill for back taxes and penalties. Two weeks later, he paid a $1.3 million bond with loans from Chinese supporters who contributed online and in person and even tossed cash over the walls of his studio in northeast Beijing.

The son of a revolutionary poet, Ai, 54, has grown more outspoken in recent years, expressing his anger at abuses of power and organizing online campaigns, including a volunteer investigation into the deaths of children in schools that collapsed during the 2008 Sichuan earthquake. His detention came amid a broad crackdown on activists by the Chinese government meant to stamp out a call for Arab Spring–inspired pro-democracy protests as well as continuing unrest in the Tibetan regions, where 12 people have set themselves on fire since March to protest Chinese policies.
Ai, who speaks excellent if not quite flawless English, sat down on Dec. 12 with TIME's Hannah Beech and Austin Ramzy — and a calico cat, one of nearly two dozen cats and dogs at his studio — to discuss his detention, the poetry of Twitter and whether China is immune to the global forces of protest and revolution.


Otavio Schipper: Empty Voices

Otavio Schipper
Empty Voices, 2011
20 bronze sculptures and acoustic foam
350 x 450 x 500 cm
Unique installation

Originally developed by musicians in order to produce “pure”, perfect pitch for tuning musical instruments, the invention of the tuning fork dates back to the 18th Century. Since then, it has most frequently been used in any number of experiments regarding the nature of sound, notably in analyses of the sets of tones that make up the vowel sounds used in human speech.

In this specific piece, the artist’s constructive approach to sculpture draws from the Modernist tradition (chiefly from Brancusi’s birds and the elongated figures of Giacometti’s The Palace at 4 a.m.) as well as from minimalist and serial methods of musical composition as exemplified by atonalism and other avant-garde techniques such as the polyphonies of ars combinatoria.

The sculptures are cast in bronze from computer-generated molds measuring from 40 to 150 centimeters in height.

13 December 2011


Damien Hirst Buys Mazzucco's Culos for $750,000

Image & Text via ARTINFO

Damien Hirst Buys $750,000 in Butts: The not-so-young British artist bought out an entire collection of Raphael Mazzucco's "Culo" series of derriere photos for $750,000 during the photographer's Art Basel launch party for the work's book version.

Congrats to friend and model Lea Muses. xx

08 December 2011

MoMA New Photography 2011: Doug Rickard

[MUSEUM PANEL] Rickard studied United States history and sociology at the University of California, San Diego, before moving to photography. He has drawn on this background in research for his series A New American Picture, which focuses on places in the United States where unemployment, crime, and drug use are rampant and educational opportunities are few. On a virtual road trip, Rickard located these sites remotely using the Street View feature on the website Google Maps, which has mapped and photographed every street in the country. Scrutinizing the Google Maps pictures, he composed images on his computer screen, which he then photographed using a digital camera. The resulting pictures––digitally manipulated to remove the Google watermark and cropped to a panoramic format––comment on poverty and racial equity in the United States, the bounty of images on the web, and the issues of personal privacy.



FRESNO, CA. 2009


DALLAS, TX. 2009




Joe Jones
American, 1934-1993
Smoking, Fluxfilm no. 18 c.1966, Fluxus Edition
announced 1966
16 mm film transferred to video (black and white, silent), 10 min.
Filmed by Peter Moore (American, 1932-1993)