Monday, February 1, 2010
Tuesday, November 10, 2009
Hey There.
Well I don't know if anyone is still using this blog but I thought I send a little message. First off, I miss everyone and hope all is well secondly I am having a early birthday bash for myself on Saturday in Koreatown and would love for people to go. It's just going to be a bunch of friends hanging out hopefully doing some bad drunk karaoke and mingling. So if you aren't busy would love for you to stop by just give me a buzz (562) 522-2401 and have a great day and week.
Wednesday, September 23, 2009
Saturday, August 29, 2009
Monday, July 20, 2009
Thursday, June 25, 2009
You're all invited!!
.... to spend the 4th with me!!
4170 Country Club Drive
Long Beach, CA 90807
BBQ
Fireworks
Fried Green Tomatoes
Keg
Hot tub
Ice Luge
Homemade Sweat Lodge
Strobe light hair dancing
Pets encouraged
What more could you ask for?!
Bring a dish of whatever like... pot luck style.
It's gonna be great.
Hope you can make it.
6ish...
Mariah
Wednesday, June 17, 2009
Monday, June 8, 2009
Thursday, June 4, 2009
ALTERMODERN MANIFESTO
ALTERMODERN
MANIFESTO
POSTMODERNISM IS DEAD
A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture
Increased communication, travel and migration are affecting the way we live
Our daily lives consist of journeys in a chaotic and teeming universe
Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture
This new universalism is based on translations, subtitling and generalised dubbing
Today's art explores the bonds that text and image, time and space, weave between themselves
Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.
The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.
Extended text
Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.
More generally, our globalised perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and depend now on trans-national entities, short or long-distance journeys in a chaotic and teeming universe.
Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.
The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.
If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities.
We are entering the era of universal subtitling, of generalised dubbing. Today's art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication.
The artist becomes 'homo viator', the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time.
Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as 'time-specific', in response to the 'site-specific' work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space.
The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity.
Nicolas Bourriaud
POSTMODERNISM IS DEAD
A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture
Increased communication, travel and migration are affecting the way we live
Our daily lives consist of journeys in a chaotic and teeming universe
Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture
This new universalism is based on translations, subtitling and generalised dubbing
Today's art explores the bonds that text and image, time and space, weave between themselves
Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.
The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.
Extended text
Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.
More generally, our globalised perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and depend now on trans-national entities, short or long-distance journeys in a chaotic and teeming universe.
Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.
The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.
If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities.
We are entering the era of universal subtitling, of generalised dubbing. Today's art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication.
The artist becomes 'homo viator', the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time.
Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as 'time-specific', in response to the 'site-specific' work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space.
The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity.
Nicolas Bourriaud
Wednesday, June 3, 2009
Is Mijin Schatje An Art Thief?
Check out her website: http://www.mijnschatje.fr/
Now Check out the accusation: http://www.radiotrash.org/mijn/
Let me know what you all think!
Now Check out the accusation: http://www.radiotrash.org/mijn/
Let me know what you all think!
Thursday, May 28, 2009
Monday, May 25, 2009
Honey, I'm home!!
Hey there!
I'm back and I can't wait to hear about the show.
Is there still talk of a dinner?
I hope so.
I'd love to see you guys and chatty chat chat.
I'm back and I can't wait to hear about the show.
Is there still talk of a dinner?
I hope so.
I'd love to see you guys and chatty chat chat.
Saturday, May 23, 2009
Tuesday, May 19, 2009
Body - wire sketches
For consideration for Body:
by Sean Lueder (LBCC student)
3D wire figure drawings
a sampling of a collection of 10
each is 12-18" high
by Sean Lueder (LBCC student)
3D wire figure drawings
a sampling of a collection of 10
each is 12-18" high
Slapping Machine
For consideration for Body:
by Ashton Amores (LBCC student)
motorized slapping machine -
black flexible arm & hand rotate around
approx: 75" x 40" x 40"
by Ashton Amores (LBCC student)
motorized slapping machine -
black flexible arm & hand rotate around
approx: 75" x 40" x 40"
Monday, May 18, 2009
Good News. Bad News.
The good news... http://www.tate.org.uk/modern/eventseducation/musicperform/18340.htm
Jennifer West, an artist that I work for, is having an opening at the Tate in London and has asked me to go with to film and help install.
Bad news... is that I have to leave tomorrow (tuesday) and will be missing on the body show... I know, I know. I missed the first one. It's ridiculous... but I couldn't turn this opportunity down. I will come tuesday morning and help with all I can. Also, I bought some reflective mylar and will install some fun house mirrors for the body show. ALSO and more importantly, my mom will bring some treats for the show.
Habib? Will you be at school today (monday)???
Are you starting to take down the show today or tomorrow?
Jennifer West, an artist that I work for, is having an opening at the Tate in London and has asked me to go with to film and help install.
Bad news... is that I have to leave tomorrow (tuesday) and will be missing on the body show... I know, I know. I missed the first one. It's ridiculous... but I couldn't turn this opportunity down. I will come tuesday morning and help with all I can. Also, I bought some reflective mylar and will install some fun house mirrors for the body show. ALSO and more importantly, my mom will bring some treats for the show.
Habib? Will you be at school today (monday)???
Are you starting to take down the show today or tomorrow?
Sunday, May 17, 2009
Friday, May 15, 2009
PROPOSAL FOR BODY SHOW
THE GALLERY SPACE AS AN ACTUAL BODY?
BLACK YARN CAN HANG IN DOORWAY OR TO SECTION OFF VIDEO SCREENING AREA.
FLESH COLORED WALLS PRESENTING TAMARAS SCULPTURE AS MORE OF A BODY PART MAYBE WRAPPING AROUND THE GALLERY (INTESTINES?) LISA CAN SHOW A LARGE BLOODY WATERCOLOR PAINTING?
BLACK YARN CAN HANG IN DOORWAY OR TO SECTION OFF VIDEO SCREENING AREA.
FLESH COLORED WALLS PRESENTING TAMARAS SCULPTURE AS MORE OF A BODY PART MAYBE WRAPPING AROUND THE GALLERY (INTESTINES?) LISA CAN SHOW A LARGE BLOODY WATERCOLOR PAINTING?
Wednesday, May 13, 2009
Tuesday, May 12, 2009
Meet on Wed instead?
12AD - most of us would like to meet on Wed at 10a instead of our usual time. Does that work? Please see the email for details.
Body - statement
Body.
An exhibition to explore and celebrate our
human forms - the tangible, physical presence
and our internal, abstracted, emotional, mental
and cerebral one. We examine our dualities.
What are they?
What is our common language?
Is it our form?
Is it DNA?
Is it our individual and/or our collective
joy, pain, grief, delight, confinement and struggles?
How are the body and nature connected?
Are we the sum of our parts?
Or do our parts make our total being?
What is giving?
What it taking?
Body.
An exhibition to explore and celebrate our
human forms - the tangible, physical presence
and our internal, abstracted, emotional, mental
and cerebral one. We examine our dualities.
What are they?
What is our common language?
Is it our form?
Is it DNA?
Is it our individual and/or our collective
joy, pain, grief, delight, confinement and struggles?
How are the body and nature connected?
Are we the sum of our parts?
Or do our parts make our total being?
What is giving?
What it taking?
Body.
Monday, May 11, 2009
Thursday, May 7, 2009
Body - 2 sculptures by Noah Thomas
Here are 2 works that Noah Thomas has available for Body. Yes, these have a peripheral reference to the human body but they will work if we go w a broader definition.
His work can be viewed at noahthomas.org
Wednesday, May 6, 2009
Monday, May 4, 2009
Saturday, May 2, 2009
Saturday, April 25, 2009
Wednesday, April 15, 2009
Monday, April 13, 2009
Sunday, April 12, 2009
Stas Orlovski -- Artwork for Body Show
I'm happy to present Stas Orlovski 's drawings for the Body exhibit. They are wonderful examples of his artwork selected by him personally because of the figurative/body elements...
Sculptures with Storm,
2006, Charcoal, graphite, ink, xerox transfer,monoprint on paper on canvas
40 x 28 inches
Wildflower,
2002, Charcoal, graphite, watercolor, ink,silverpoint, watercolor on paper on canvas
24 x 24 inches
Sculptures with Storm,
2006, Charcoal, graphite, ink, xerox transfer,monoprint on paper on canvas
40 x 28 inches
Wildflower, 2002, Charcoal, graphite, watercolor, ink,silverpoint, watercolor on paper on canvas
24 x 24 inches
Saturday, April 11, 2009
Complete Body
It seems logical that the "Body" is mostly consistent of your works and your teacher's. Be reminded of the gallery space and its dimensions as you move forward. Make diagrams of the space for yourselves, and place the works that you have so far chosen ...
Irony of Laughter
During one conversation Kafka responded to Januoch's declaration that the wall of laughter is a "defence against what comes from outside" (Janouch 33). Kafka replies "Is it indeed? Every defence is a retreat, a withdrawal. A blow at the outside world is always a blow at oneself. For that reason every concrete wall is only an illusion, which sooner or later crumbles away. For Inner and Outer belong to each other. Divided, they become two bewildering aspects of a mystery which we endure but can never solve" (33).
Kafka saw humor not only as a defense against the pain and anguish he felt inflicted upon him by the outside world, but also against the pain he rained upon himself. This was a man who chose words carefully and used humor sparingly. But when Kafka used humor, as shown here, he used it to further emphasize the horror of what was going on in his worlds.
Kafka saw humor not only as a defense against the pain and anguish he felt inflicted upon him by the outside world, but also against the pain he rained upon himself. This was a man who chose words carefully and used humor sparingly. But when Kafka used humor, as shown here, he used it to further emphasize the horror of what was going on in his worlds.
Friday, April 10, 2009
Positive Thoughts
Here's a bit of inspiration to start our Spring Break...enjoy and stay safe.
Stay "Small"...But Think Big.In challenging times in our lives, sometimes we need to look around and "take in" what nature gives us. When we are facing challenges, just sit at the beach and look at the vast ocean, look at the night sky with the billions of stars that are around us, or gaze at a mountain...it makes us, and our challenges seem small in comparison. This contrast can help us to think about how tiny our challenges are,and how big the Universe is, and all the possibilities that await us.
(from Dr. Vik's spin it and win it blog)
Stay "Small"...But Think Big.In challenging times in our lives, sometimes we need to look around and "take in" what nature gives us. When we are facing challenges, just sit at the beach and look at the vast ocean, look at the night sky with the billions of stars that are around us, or gaze at a mountain...it makes us, and our challenges seem small in comparison. This contrast can help us to think about how tiny our challenges are,and how big the Universe is, and all the possibilities that await us.
(from Dr. Vik's spin it and win it blog)
Thursday, April 9, 2009
Body Art for Your Consideration
I love this sculpture and would like to submit it as possible artwork for Body. It was brought to my attention by Mariah, (and the artist just happens to be Tamara).
The scale and shape of this sculpture are immediately eyecatching, but upon further examination, the work is nuanced and reads in many ways....it can represent bodily organs, splayed out for our examination. It references cells in the process of mitosis. It may be a growing tumor, the body turned grotesque and growing....(but I still see a sense of whimsy about its drooping, ballon-animal forms).
I know we will vote as a class on the final art exhibited. LET THERE BE A WEALTH OF RICHES....the more quality artwork we have to select from, the better the Body show will be.
Coleen Sterritt
Coleen Sterritt has shown in many locations including recently at the Ben Maltz Gallery (see post below). Here are two quotes from catalog essays to support why her work & works like this should be included in our show Body.
"...tangential to the sculpture and often implicate abstracted meditations
on the body as oozing, as skeletal, as plant like, while always remaining
contemplative studies of form."
Also:
"Sterritt's work on paper bears a significant formal and spiritual connection to the sculptural work (although
the paper pieces do not serve as studies for the three-dimensional). And both bristle with suggestions
of the human body, of tools and tables, of machines and furniture, of things as they are and as they appear
to us in dreams."
.
"...tangential to the sculpture and often implicate abstracted meditations
on the body as oozing, as skeletal, as plant like, while always remaining
contemplative studies of form."
Also:
"Sterritt's work on paper bears a significant formal and spiritual connection to the sculptural work (although
the paper pieces do not serve as studies for the three-dimensional). And both bristle with suggestions
of the human body, of tools and tables, of machines and furniture, of things as they are and as they appear
to us in dreams."
.
Salomon Huerta - addendum
12AD - here's a follow up to Lisa's post - to let you know of another place that Salomon will be showing. It is the Ben Maltz Gallery at Otis College near LAX.
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