In Garnett’s paintings, the Luminist celebration of the transcendental landscape gives way to the 20th-century encounter with the apocalyptic sublime. A few works provide an almost naturalistic sense of locale. With its blurrily recognizable foreground cacti and hints of arid terrain, Buster-Jangle might be a relaxed impression of a southwestern vista, were it not for the yellow and white fireball that is burning a hole in the placid blue sky. Other works, while retaining a rudimentary horizon line, tend toward coloristic abstraction. Sugar Shot, for example, shows a sketchy mushroom cloud shooting up through the surrounding atmosphere, sending yellow flashes shading into scarlet and green and spreading a deep blue-violet hue that signals a lethal degree of radioactivity. Christmas Island zooms us into the heart of a detonation. Dominating the top half of the canvas is a bluish half-globe; inside it is a pulsing circle of brilliant white, and outside it a zone queasily tinged with creams and greenish yellows. Not all of Garnett’s works employ such evocative color combinations, however; two of her most unnerving blast paintings consist of near monochromatic grays. (by Art in America)
Sarah Sze is creating a site-specific sculptural installation for Malmö Konsthall. The installa-tion will fill the entire exhibition space and interact with the surrounding architecture. A com-plex network of patterns, structures and details works together to create movement through the space. It is like a spontaneous organism that overflows, takes off, flows, hovers, and finally conquers the entire space. Many small individual components work together to create a greater whole. The components are formed out of small everyday and trivial objects which Sze carefully and thoughtfully combines and links into an airy and transparent structure.
From e-flux
Sze’s sculptures are flowing structures consisting of a conglomeration of small-scale household items that respond to and infiltrate the surrounding architecture. Like the information flow of the World Wide Web, her compositional language takes form by successively linking small bits of discrete information into a complex network. With an intensity born of a laborious patchwork technique that is at once painterly and sculptural, the interplay between individual components and overall structure allows Sze to explore the boundaries between art and everyday life.
From Carnegie Museum of art
Foam Magazine relaunch!
The central theme in this issue of Foam Magazine is `Eden´, which obviously refers to the Biblical garden from which Adam and Eve were expelled after biting the forbidden apple. However, Eden also serves as a metaphor for an idyllic place of peace and tranquillity, a spot so many people consciously or unconsciously yearn for. The conviction that life or even society as a whole can be improved is an important motivation behind much of what people do and is the inspiration for numerous forms of idealism and activism. Sometimes idealism of this kind manifests itself in influential political and religious movements, and sometimes it is not much more than an individual effort to give life a purpose. But creating heaven on earth is an unattainable ideal. Many attempts to improve society are sweetly naive or degenerate into exactly the opposite.
Check FOAMMAGAZINE
INTERNATIONAL MAGAZINE SYMPOSIUM 09 – 11.03.2007 LUXEMBOURG
In Luxembourg, magazine makers, art directors, photographers, illustrators, journalists, brand managers, students and a larger public will come together for a three-day-event.
The objective is for many of the most intriguing personalities in the worldwide magazine culture to interact with interested audiences and players from a multitude of fields and to exchange ideas, experiences, and view examples of some of the best and brightest offerings.
I want to go there! check the colophon site
Just received the 12th issue of 032c Magazine:
Post-heroic, Life in the long shadow of war.
“Out lives are threatened by imaginary sources, from images than haunt us – whether we’re in the subway, getting onto a plan, or living in a sky scraper. Such pictures accompany us day and night, and we become as soft as butter”
An interview by Joachim Bessing in 032c
for Writing Nonprofit Marketing Copy That Works#
#1 Be reader-centered, not writer-centered.
Many brochures, websites, and direct mail I see from nonprofits is focused on how great their services, products and organizations are. Hello? Audience, anyone? Consider your reader thinking, “What’s in it for me?” If you can, talk with some of your current donors, volunteers, members and clients and ask them 1) why they chose you, and 2) what they get out of your product, service or giving.
HINT: To instantly make your copy more reader-focused, insert the word “you” often.
#2 Focus on the benefits – not just the features.
The fact that your program, service or giving and volunteer opportunities offer a lot of neat features is great, but describing these features is not enough. Focus on benefits – what the features do for your audience.Let’s say your organization provides health services to the uninsured and to Medicaid and Medicare patients. Feature/ benefit sets to incorporate into marketing materials might include:
Feature: Access to healthcare services for everyone.
Benefit: You’ll be healthier, feel better and have more energy. As a result, you’ll miss less time from work and family responsibilities.Feature: Appointment times guaranteed within 15 minutes.
Benefit: You have to take off less time from work and can accurately predict when you’ll return.Feature: Medical staff is skilled in environmental health problems in the local community.
Benefit: Peace of mind. You can rely on the medical team’s skill in diagnosing and treating health issues that are unique to your community.
#3, 4 & 5 on Nancy Schwartz
Beautiful paintings by Laura Brink
Current is a national cable and satellite channel dedicated to bringing your voice to television.
Current is about what’s going on: stories from the real world, told by you.
We slice our schedule into short segments that we call “pods” — each just a few minutes long. You’ll see profiles of interesting people on the rise, intelligence on trends as they spring up around us, and international news from new perspectives.
And much of it comes straight from you.
We call it viewer-created content, or VC2. Right now, VC2 makes up about a third of our channel — and that share is growing.
New paintings by Alexander Weinstein at Berman Turner Projects
Just received my copy of World Changing; a users guide for the 21st century. It’s beautiful! Buy it!
This is a nice present for November the 21st…
Tierney Gearon’s most recent work, The Mother Project, is the culmination of a series spanning more than eight years. The artist continues to photograph her family, but now concentrates on her mother, who lives alone in a small town in upstate New York. The exhibition will include twenty-five 20” x 24” photographs set mainly in and around her mother’s home. The images depict psychologically intense, often bizarre scenarios, some of which occur naturally and some of which are facilitated or encouraged by the artist. Many images include Gearon herself or one or more of the artist’s children.
at the Yossimilo Gallery
For Dario Robleto, the healing power of art is a central concept best manifested by his interest in trench art, which encompasses objects made by prisoners of war or by soldiers convalescing from wounds as handicraft therapy. The carefully rearranged and conceptually loaded elements encourage us to use art as the means by which to examine our past and reconcile pains inflicted on individuals by the making of history.
A beautiful exhibition at D’Amelio Terras, NY
The text become the trees of a forest inhabited by the birds, where a person might like to wander, hearing the trees rustling in the breeze, the cacophony of birds twittering, but as the light fades, may feel frightened and anxious. out of place.
Su Blackwell
Austerity Deluxe is a phrase that discribes an on-going movement within the luxury sector. Currently, it is about luxury re-aligning itself, moving away from bling, towards more esoteric and rarified climes. Long term it will redefine the very nature of luxury itself, by taking it back to its pre-bling roots. Here, at its best, luxury was about authenticity, craft, innovation, originality and rarity. Add to this, the more recent idea that luxury can and should be about sustainability, eco-manufacturing and the need to use materials that are less injurious to the planet or it wildlife and you begin to see luxury in a different light. This is a luxury that is about care and consideration, but also about intelligence, insight and experience — qualities that cannot be manufactured in themselves but are orchestrated, or created when all elements of the bigger picture or brand are considered.
And this of course is luxury’s future path and selling point. A luxury that is no longer about surplus, but about measure, about uniqueness and a certain amount of denial and waiting. In many ways then it is about virtues that we have long forgotten or dismissed because they no longer seem appropriate to the age we live in. Virtues such as patience, the need to take time out to appreciate and understand; the need simply to pause and reflect specially the latter. For as the good connoisseur knows, having an object is not the same as understanding it or indeed appreciating it. And austerity deluxe requires this atribute more than all others.
Continue reading: Luxury trends from Inside magazine
So the Long Tail is made up of millions of niches. The Bottom of the Pyramid is made up of mass markets made even more mass.
The beautiful work of Helmick + Schechter
Using traditional methods, the artists sculpted twelve life-size portraits of ordinary American citizens-representing twelve members of a jury. The heads were then laser-scanned, rapid-prototyped at small scale, cast in pewter in large quantities, finished with a hand-rubbed patina, and precisely affixed to hundreds of suspended cables.
Collectively, the over 3,000 small sculptures coalesce into two monumental heads facing each other across a skylit courthouse atrium. In creating an abstract representation of implied dialogue, this artwork honors a legal system rooted in the voice of the people.
Some lovely works by Dutch Uncle.
An-My Lê explores the military conflicts that have framed the last half-century of American history: the war in Vietnam and the current war in Iraq and Afghanistan. The artist approaches these events obliquely. Instead of addressing her subject by creating reportage images of actual shocking events, she photographs places where war is psychologically anticipated, processed, and relived. Her series Small Wars (1999-2002) depicts men who spend their weekends reenacting battles from the Vietnam War in the forests of Virginia. Lê’s current series, 29 Palms (2003-present), documents a military base of the same name; located in the California desert, it is where soldiers train before being deployed to Iraq or Afghanistan. These dramatizations of war—one a reenactment, one a rehearsal—allow her to create a unique kind of war imagery—one that is unexpected, removed, and revelatory.
At MoCP (Museum of Contemporary Photography) Till january 2007
Pictures from The Phoenix
Buy the Small wars book here.
Our daily bread is an impressive film about industrial food production and high-tech farming:
The film looks without commenting into the places where food is produced in Europe: monumental spaces, surreal landscapes and bizarre sounds – a cool, industrial environment which leaves little space for individualism. People, animals, crops and machines play a supporting role in the logistics of this system which provides our society’s standard of living.
Acknowledgements to re blog
