Wednesday, July 13, 2016

Bumper Sticker Update #5

Here are my five most recent bumper stickers. I have been making them since April 2013 and I am now up to thirty-two. I am not sure how many total I've made and distributed because the editions have varied and it would take some math to figure out but it is somewhere around 300 at this point. 

As I have mentioned in previous posts about them, I create them as anti-bumper sticker bumper stickers to counteract the effects of dogmatic and demanding bumper stickers typically found on vehicles in the US. To get them on the streets, I offer all US residents one free as long as they promise to put it on their vehicle; all other bumper stickers are $10. Just email me an address and I'll send one to you. 

Because they are limited edition, I usually only have the latest or latest two available to chose from. To find the latest version, please check my Facebook page.
limited edition of ten
3" x 10"
limited edition of ten
3" x 10"
limited edition of ten
3" x 10"
As of today, I still have a couple of the one below.
limited edition of ten
3" x 10"
Below is the latest version. The six month gap between designs is by far the longest I've gone in my bumper sticker designing history. It must mean that I'm not getting out enough and meeting new people so I'll have to make an intention to do more of it, at least through the summer.
limited edition of ten
3" x 10"
If you like the concept and/or designs I hope you'll ask for one. I really would like to get more on the roads around the US, I feel they help to lower anxiety/stress levels because they are non-antagonistic (they don't tell other people what to think/believe/do), and we can certainly use more of that, especially on the roadways.

Tuesday, July 5, 2016

Pick 'Em Up @ Exposed 2016

I am please to announce I have a piece in Exposed 2016 along with fifteen other regional and national artists. The show is an outdoor exhibit throughout Stowe, Vermont and is organized by the Helen Day Art Center.
Pick 'Em Up
latex paint on wood
77" x 210" x 4"
My submission, Pick 'Em Up, is intended as a playful reinterpretation of the children's game Pick Up Sticks. I believe it creates an interesting contrast with the serious and austere historic New England architecture.
 Pick 'Em Up (closeup)
Because it is a historic building, I wasn't allowed to screw anything into the bell tower columns. To get around this limitation, I strapped boards in front and behind the columns then screwed column "blanks" into my strapped boards. I was then able to attach my "sticks" into my blanks. From the ground the entire contraption is not very noticeable.  
Pick 'Em Up (bell tower view)
I am very thankful that the curator, Rachel Moore, allowed me to install my piece on the bell tower. I know the Stowe Select Board was not happy about the idea of art being installed there and I am sure there will be additional "public relation issues" because of it, but the building does house an arts center so it is wonderful that the Helen Day is willing to push the boundaries a little bit in the service of art. 
Stick Colors
I bought red, yellow, blue, black, and white paints; and mixed the other ten colors on my own. Each sticks is 120" x 2.5" x 0.75"; except the red one which is only 117" long.

The reception will take place on July 23 at 4:00 pm. People will meet at the art center and then start to walk around town with brief comments by each of the artists. The walk should take about two hours. The exhibit will be up through October 15.

Monday, June 27, 2016

New Box Of Courage Installation

My "Box of Courage" sculpture will be on display in front of ECHO, Leahy Center For Lake Champlain on the Burlington water front until mid-October. This is the third installation of the piece I made in 2013 as part of Helen Day Art Center's Exposed exhibit in Stowe, VT. It was also on view in Burlington last year as part of the Art Hop.
Box of Courage
plywood, wood, paint, screws
86" x 86" x 48"
Box of Courage
As usual, I found that children intuitively knew how to use it and immediately started climbing inside.

I'm very happy ECHO chose the piece for the front of their building because it offers plenty of exposure with around half a million people passing by it through the summer. Additionally, ECHO arranged for an interview with Tom Messner of WPTZ, Channel 5 in Burlington, giving me regional exposure as well.
Live interview with Tom Messner, WPTZ
June 16, 2016
(photo credit: Jessie Forand)
After the interview, where I explained the purpose of the box being an interactive work of art, Tom finished his broadcast from inside the box.
Tom Messner, WPTZ live broadcast, June 16, 2016
photo credit: Jessie Forand
I have to say that the interview was a lot of fun, and, being that it was filmed live and I needed extra courage to feel comfortable doing it, I can now attest to the fact that the box really does work, it certainly gave me more courage.

Wednesday, June 8, 2016

Crafted: Objects in Flux @ Boston MFA

The Boston MFA's exhibit Crafted: Objects in Flux (August 25, 2015 to January 10, 2016) challenged and effectively obliterated the false dichotomy between craft and art in a way that reminds me of the 40 Under 40: Craft Futures show at the Renwick Gallery in 2012. This exhibit, curated by Emily Zilber, goes even further by including artists of multiple generations and multiple nationalities. The show is also very important in breaking down the barriers between "craft" and "art" because, surprisingly, it is the first time an exhibit of this kind has been held in an encyclopedic museum.

My favorite work in the show were these pyrographs by Japanese-American artist Etsuko Ichikawa.
Etsuko Ichikawa
Trace 2012 and Trace 2112
glass pyrographs on paper
The pyrographs themselves are both beautiful and interesting but what makes them truly great is watching the accompanying video that shows how Etsuko makes them -- by snaking molten glass on paper and using an immense amount of skill in creating beautiful designs without causing the the entire effort to go up in flames. Part dance, part performance, part glass making, the end result is a work that captures a unique moment in time.
Etsuko Ichikawa
still from glass pyrograph video
Etsuko Ichikawa
still from glass pyrograph video
Charlotte Potter's Pending is an interesting conceptual piece. She projected a map of the US on the wall and placed a cameo pendant of her pending Facebook friend requests on their location.
Charlotte Potter
hand-engraved glass cameos, metal, images courtesy of Facebook
The length of the rod is proportional to the number of their mutual Facebook friends. Additionally, she very skillfully carved the image on the cameos from her friend's Facebook profile picture.
Charlotte Potter
Pending (closeup)
Greg Payce, a Canadian artist, sculpts amazing negative space images with porcelain vases that he throws by hand. Unfortunately, because I hate reading wall text in museums, I totally missed the images he creates and, consequently, didn't get a good picture of the actual vases in the exhibit.
Greg Payce
Adam and Eve
Two lenticular photographs of porcelain vases
Christy Oates often ties the traditional decorative furniture technique of marquetry with conceptual art. Here she has created work that you might expect to be made for the top of high-end furniture but they are designed using a computer algorithm based on the top trending Google news story of the day. There were fifteen pieces on display representing fifteen days in September 2011.
Christy Oates
Kaleidoscope Algorithm
Fifteen segments in various woods
Thankfully, there was an accompanying video to clarify her process.
Christy Oates
still from Kaleidoscope Algorithm video
Similarly, Alison Elizabeth Taylor uses the same traditional technique to "paint" a very different type of contemporary commentary.
Alison Elizabeth Taylor
Tap Left On
wood veneer, shellac
Her work often deals with working class issues, which is an interesting contrast to the "craft" typically used as decoration for economic elites.
Alison Elizabeth Taylor
Armstrong Congoleum
wood veneer, shellac, aluminum
Chien-Wei Chang, a Taiwanese-British artist, created this Huge Ladle (I'm guessing it is about five feet long). With it he plays with the concept of craft objects being functional. Additionally, his ladles are conceptual, relating to his own journey of emigration -- being scooped out of one container and being placed into another. 
Chien-Wei Chang
Huge Ladle
silver plating, padauk wood
Faig Ahmed is an artist from Azerbaijan who uses traditional rug making techniques and styles of his culture as a launching pad to visually tie the past with the present.
Faig Ahmed
Handmade woven carpet
With her Hair Craft Project, Sonya Clark honors artists that are traditionally overlooked and under-valued. Over a one year period she visited eleven hairdressers and had them create their art in two forms, ephemerally on her head and permanently on canvas.
Sonya Clark
The Hair Craft Project
Hairstylists with Sonya
color photographs
She also photographed the artist with their creation, thereby literally and metaphorically standing up for the work so that it can be seen as museum quality art. 
Sonya Clark
The Hair Craft Project
Hairstyles on Canvas
silk threads, beads, yarn, shells on canvas
Astrid Krogh is a Danish artist who created this beautifully woven optical fiber "fabric." The title, Ikat II, refers to a technique of resist dying that allows subtle bleeding of the colors, similar to how the different color light fibers interact with each other. As such, it is a work that is equally contemporary and traditional.
 Astrid Krogh
Ikat II
woven optical fibers, paper yarn, light monitors
With this closeup you can more clearly see the weaving pattern and the subtle bleed of color caused by the interaction of light.
Astrid Krogh
Ikat II (closeup)
In all there were forty-one artists in the exhibit representing an amazing amount of diversity in styles, techniques, and background. The quality of work was great but what I truly loved was seeing a major fine art museum breaking down barriers between it collections and expanding the definition of what "fine art" means. 

Tuesday, March 29, 2016

Wonder and Wonderings at The Renwick Gallery

The Renwick Gallery's inaugural exhibit following a major two year closure and renovation is aptly titled Wonder because, not only does each of the large room filling pieces inspire wonder from the viewer, but the exhibit as a whole makes one wonder what what the Renwick, the self described museum of American craft, is planning for the future.

In remodeling the interior space the Renwick seems to be remaking their entire image that includes being more visible and drawing larger crowds. As part of this process they have created signage that has been controversial and drawn the ire of the National Parks, National Capital Planning Commission, and the U.S. Commission of Fine Arts who decry, ask for removal, and question its legality, particularly of the one on top-center of the building which reads, "Dedicated To ^ the future of ^ Art." 

Whether ugly or illegal, the sign has certainly done its implied purpose of drawing publicity to the institution. Personally, I don't have a problem with it. I like the contrast of old and new, and I like how it challenges stodgy attitudes toward design. Not everything has to "go with" everything around it. Shaking up the viewer and getting them out of their "safe place" is part of what art should do. 
New Renwick Gallery signage
Signage and controversy are useful only if there is substance inside the museum to back up the publicity. Fortunately, the Renwick has fulfilled this objective in spades with a block buster show. In it they have given nine artists an entire room to work, each in their own way inspiring wonder from the viewer. Interestingly, at the beginning of the exhibit there is a sign encouraging photography which further indicates how much the museum wants to raise their profile and engage with the public.
In the first room most visitors will encounter is an installation by blue chip artist Tara Donovan. She is a master of taking inexpensive everyday objects and turning them into something mysteriously organic.
styrene index cards, metal, wood, paint, glue
Tara Donovan
Courtesy of Pace Gallery
In this case she has used millions(?) of stacked paper 3" x 5" index cards to create stalagmite-like mounds. It is a great piece and a great draw to the rest of the show. 
Untitled (second view)
From this perspective the work is both jagged and soft, seemingly made by some sort of natural process. Only from a tight closeup is it clear that it is made from index cards.
Untitled (closeup)
Jennifer Angus's installation titled In The Midnight Garden evokes wonder with hundreds of dead insects pinned to the wall and a red dye wall wash made from the cochineal insect. Given the numerous skulls created in a ring around the room, the work seems to be a meditation on death. It is a great piece.
In The Midnight Garden
cochineal, various insects, mixed media 
Jennifer Agnus
Courtesy of Jennifer Agnus
It draws viewers in with a fascinating array of large, beautiful, and unusual insects; working on the macro- and micro-scale. And it guides viewers in thinking about life and impermanence, whether they realize it or not.
In The Midnight Garden (closeup)
In The Midnight Garden (second closeup)
Similarly, John Grade's piece, Middle Fork (Cascades), is a meditation on life and death. With it, he has cast and recreated the form of an actual tree (hemlock) in the Cascade mountains of Washington.
Middle Fork (Cascades), 2015
reclaimed old growth Western Red Cedar
John Grade
Courtesy of John Grade
It is built with thousands of blocks of reclaimed red cedar, evoking wonder about, amoung other things, its natural beauty and how it was re-created. It captures a moment in the life of the tree, like a photograph, and after the exhibit, it will be returned to the forest and allowed to decompose next to the tree that inspired it.
Middle Fork (Cascades), 2015 (second view)
Middle Fork (Cascades), 2015 (closeup)
Patrick Dougherty's Shindig is beautiful, and fascinating, but to me it feels cramped and out of place even with having been built in one of the largest rooms. The willow saplings, woven together, look as if they have come to life and are dancing, however. being placed indoors with a low ceiling, it is hard to see the full impact of the piece. 
Patrick Dougherty
willow saplings
Courtesy of Patrick Dougherty
Shindig (closeup)
Gabriel Dawes piece, Plexus A1, brilliantly creates the illusion of light passing through a prism using only colored thread.
Gabriel Dawes
Plexus A1
Courtesy of Conduit Gallery
There are many aspects of this piece that illicit "wonder," but one of them is the disbelief that it is really made with only thread. Well, here is a view of the ceiling to give a clearer understanding of how it is put together.
Plexus A1 (ceiling closeup)
In learning about this exhibit and seeing that Janet Echelman had a piece in it, I was excited to see it in person. I've seen numerous images of her floating "net" sculptures and wanted to experience one. And, judging from the crowd of people lying, looking, and relaxing underneath it, one could say it is clearly a success. For me, however, it felt like a bit of a let down. As with Patrick Dougherty's piece, it felt out of place, claustrophobic, and artificial being confined to a room, even if it is the largest room in the building. Regardless, I am excited that this (along with the printed textile flooring that Janet also created for the exhibit) will be permanently installed in this room. Perhaps my opinion will change over time as I repeatedly view it.
Janet Echelman
knotted and braided fiber with programmable lighting and wind movement 
above printed textile flooring
Courtesy of Janet Echelman, Inc.
One advantage of having the piece hang in a room, however, is the wonderful shadows it casts on the walls. 
Maya Lin is another "blue chip" artist most famous for her brilliant Vietnam Memorial in Washington, DC. Her Folding the Chesapeake is installed on the second floor of the Renwick.
Maya Lin
Folding the Chesapeake
marbles and adhesive
Courtesy of Maya Lin Studio
The piece is a map of the Chesapeake Bay projected on to the walls, ceiling, and floor of the room and constructed out of large green fiberglass marbles, the same type of marble her father used in the 60's for glass blowing in the early days of the studio glass movement.
Folding the Chesapeake (closeup)
The work clearly has personal meaning for Maya in terms of the history and emotions associated with the marbles. The wall text also makes clear that she is trying to sharpen "our attention to the need for conservation" of the Chesapeake and other natural wonders; but for me there seems to be a disconnect between the material, the image, and the concept. The piece does induce "wonder" but the wonder that I am stuck on is "what is the connection between marbles and bay?" which ends up being a distraction and ultimately makes it less interesting than many of the other pieces in the show.
Folding the Chesapeake (second view)
Anonymous Donor by Chakaia Booker is an almost-maze-like structure made of rubber tires and, for me, seemed to be the least effective piece in the show. I tried, but I was not able to find the piece emotionally, conceptually, or aesthetically interesting. Even after reading the wall text, which attempts to guide our interpretation with the thought that "By massing, slashing, and reworking a material that we see daily but never fully consider, she jolts us out of complacency to grasp these materials for what they are: a natural resource marshaled through astonishingly complex channels into a product of great convenience and superabundance." Unfortunately, I can't say the piece makes me feel "jolted out of complacency," rather, I spend my time wondering what the connection is between her goals and the structure.
Chakaia Booker
Anonymous Donor
rubber tires and stainless steel
Courtesy of Chakaia Booker
The Leo Villareal chandelier is a permanent installation. It is made of hundreds of rods, each with dozens of LEDs and is programmed to flash in a way that the chandelier never illuminates that same way twice. I found this to be a confusing and disappointing selection for the space. He may be a great artist with many impressive installations, but this piece is so completely cold and impersonal I can't help but wonder why it was selected for permanent installation in what was once considered America's premier craft museum. Perhaps there is justification in association with the concept that it never illuminates the same way twice; and that idea probably represent individuality and the uniqueness of craft work, but looks very industrial and with just a single light color, all the different illuminations seem to be exactly the same, not matter that they are all said to be unique.
Leo Villareal
Volume (Renwick)
white LED, mirror finished stainless steel,
custom programmed software, electrical hardware
Leo Villareal, courtesy of Connersmith
At the end of the exhibit there was a nice video presentation of each of the artists talking about their process and the work exhibited.
End of exhibit video discussions
Typically this types of presentations are only given cursory viewing by audiences, so it is a testament to the quality of the show and the interest it has generated that so many people took the time to sit and watch it, often through completion.
Exhibit video audience
Overall, I was extremely impressed with the Renwick's inaugural show. It definitely met its goal of inducing wonder and the work is really top notch. However, I am also left with wonder about what the show means for the future of the Renwick's collection and its history as a "craft" museum. I believe that the term "craft" is very limiting and may have past its historical usefulness in situations where the artist's goal is to create art using "craft" materials, but I hope the museum maintained a historical connection to its past as a "museum of american craft." With the major exhibit before the renovation, 40 Under 40: Craft Futures, the Renwick did a remarkable job of balancing the past and future of art/craft. This one makes me wonder about the museum's future and whether it has decided to abandon its past in search of larger audiences.