Hi guys, I wanted to share this. Her art seems relevant to our current assignment of photography and sculpture.
2020 Article: https://www.thisiscolossal.com/2020/09/victoria-villasana-embroidered-photographs/
2017 Article: https://www.thisiscolossal.com/2017/10/embroidered-vintage-photos-victoria-villasana/
Artist: Victoria Villasana
To access the Tuesday' Sept. 15th talk, 6:15PM join Zoom Meeting
Meeting ID: 939 2451 1495
LESLIE HEWITT "READING ROOM" AT PERROTIN NEW YORK video here
Leslie Hewitt
On the occasion of her solo exhibition at Perrotin New York (September 11 – October 26, 2019), Leslie Hewitt talks about Lewis Michaux, a Harlem bookseller and civil rights activist who inspired the show. She also explains her attraction to minimalism, and the connection between her photographic work and the Dutch still life paintings of the 16th and 17th century.
Artie Vierkant uses augmented reality to put his art in your hands
By Drew Zeiba •
For photosculpture projects artists often use original photographs to compose the sculpture and also, when completed, to document the sculpture. Since many artists are now not close to photo facilities here are three videos that go over tips for producing good photo documentation of objects/sculptures. The videos are here and here and here.
An introduction to the art critic Walter Benjamin and his most influential essay, the Work of Art in the Age of Mechanical Reproduction. Including David Douglas's the Work of Art in the Age of Digital Reproduction. Original Score by August Aghast
John Berger Ways of Seeing
Video here (optional viewing for Concepts and Strategies)
A BAFTA award-winning BBC series with John Berger, which rapidly became regarded as one of the most influential art programmes ever made. In the first programme, Berger examines the impact of photography on our appreciation of art from the past. Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.
Oiliver Herring on Art21 video here
Searching for a release from his past meditative work of knitting colorless sculptures with Mylar tape, Oliver Herring began making fantastical stop-motion videos of himself, and subsequently of strangers encountered by chance. In addition to videos, Herring creates sculptures of “off-the-street” strangers, using Styrofoam covered with photographs that reproduce the skin of the model.
He also photographs strangers’ faces after they’ve spent hours spitting colorful food dye over their faces. The portraits are intense documents of an unusual kind of intimacy. “I usually wait for a moment that brings out some kind of vulnerability,” he says. “That’s what I’m after. This personal connection with a stranger.”
Photosculpture (photo + sculpture), etymologically, is the combination of photographs and sculpture. In an early nineteenth century Webster’s Dictionary (published 1913) definition, it was simply defined as:
A process in which, by means of a number of photographs simultaneously taken from different points of view on the same level, rough models of the figure or bust of a person or animal may be made with great expedition.
READ MORE HERE
TONIGHT at 6:15PM: School of Art + Art History Visiting Artist Virtual Lecture: Warren Neidich.
To access the talk, go to UF College of the Arts YouTube channel – the livestream will pop up when we go live: https://www.youtube.com/channel/UCcUIacLwOcupTkofTR764_Q
For comments / questions, audience members need to login to YouTube; comments will be moderated.
Warren Neidich
Having studied photography, neuroscience, medicine and architecture, Warren Neidich brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking.” He currently uses video and neon to create cross pollinating conceptual text-based works that reflect upon situations at the border zone of art, science and social justice. His performative and sculptural work Pizzagate Neon (2018), recently on display at the Venice Biennial 2019, analyzed through a large hanging neon sculpture the relations of Fake News, networked attention economy, evolving techno-cultural habitus and the co-evolving architecture of the brain. His recent conceptual project Drive-By-Art (Public Sculpture in This Moment of Social Distancing) just opened on the South Fork of Long Island and Los Angeles to some acclaim including reviews in the NY Times, Hyperallergic, The Art Newspaper, Time Out and LA Magazine. He is founder and director of the Saas-Fee Summer Institute of Art (2015-), a theory intensive postgraduate course that attracts students worldwide operating in Los Angeles, NYC and Berlin. Additionally, he was a tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving as Professor of Art at the Weissensee Kunsthochschule, Berlin. He has been a visiting lecturer at the departments of art at Brown University, GSD Harvard University, Columbia University, Princeton University, Southern California Institute of Architecture, UCLA, La Sorbonne Paris, University of Oxford and Cambridge University, UK. He is the American editor of Archive Books and author of over 20 books. His recent books include The Glossary of Cognitive Activism, Archive Books, Berlin, and Neuromacht (in German) Merve, Leipzig.
*Visiting Artist Series lectures and studio visits will be virtual and online this semester. Please be aware students and the public are forbidden to tape or repost the online lectures and studio visits. UF will tape lectures with the permission of individual speakers and some of the talks will be available in the future for faculty, staff, and students.
https://arts.ufl.edu/in-the-loop/events/visiting-artist-lecture-with-warren-neidich/
SculptureCenter, The New School: Expanded, Exploded, Collapsed?, 4 /19/10, Part 1 here
SculptureCenter, The New School: Expanded, Exploded, Collapsed?, 4/19/10, Part 2 here
Thirty years on from Rosalind Krauss’ seminal text Sculpture in the Expanded Field, a panel of artists and critics reconsiders the concept of the "expanded field" in light of contemporary art production. Co-sponsored by the Vera List Center for Art and Politics, the discussion reflects upon how performative, discursive, and design models developed since the essay's publication may have shifted the formal, political, and semiological parameters of sculpture today.
Moderator
Fionn Meade, Curator, SculptureCenter
Participants
Johanna Burton, art historian and critic
Josiah McElheny, sculptor and faculty member, Yale University
William Pope.L, performance artist and Professor of Theater and Rhetoric, Bates College
According to the Metropolitan Museum of Art the Surrealist artist, "Brassaï collected and photographed tiny castoff scraps of paper that had been rolled, folded, or shaped unconsciously by idle hands-readymade Surrealist objects that represent what Rosalind Krauss has described as "the automatic writing of the world." A selection of these images was published in the following year in the avant-garde magazine Minotaure accompanied by captions written by Salvador Dali."
"What happens when sculpture ceases to be quite so controlled, when
it lets itself be dictated by principles of chance, determined by its environment
or by the circumstances of its reception and documentation? For the brute
activities listed above we could substitute a different set of much less ‘voluntary’
ones: fingering, fiddling, propping and shuffling, to which should be added the
instantaneous snapping of the camera lens. Where sculpture is ‘found’ and not
‘made’, or indeed exists somewhere between the two, it can also become less
material and more obviously contingent – a form of a thing, or a formation of
things, captured at a specific time. If ‘voluntary’ sculpture suggests the production
of a deliberate material configuration, set forever in hard matter, ‘involuntary’
sculpture points to its own transience or its role as part of an ongoing process,
where it exists beyond a serendipitous photographic image.
This volume takes its cue from a selection of photographs by Brassaï with
captions by Salvador Dalí published in the surrealist periodical Minotaure in 1933
and bearing the title ‘Involuntary Sculptures’ (Figure I.1). Scraps of everyday
debris – including rolled-up bus tickets, a piece of bread roll, a curl of soap from a
sink and a blob of toothpaste – featured in photographic close-up as ‘automatic’
sculptural configurations. These banal and non-artistic objects (one of the tickets
was allegedly found screwed up in the pocket of a bank employee) were intended
at least in part as a riposte to the prevailing perception of sculpture at the time...
Brassaï and Dalí’s photo-essay provides a tantalising evocation of sculptural
possibility, where forms are both shaped by human hands, sometimes with
little conscious thought (the rolled bus ticket), and subject to ‘organic’ growth
(the piece of bread rising and changing shape in the oven). It also freezes its
array of objects at a given moment, before they are discarded, swept or wiped
away, dissolved or eaten... the parameters of ‘sculpture’ are challenged and expanded,
while photography fulfils simultaneous (and potentially contradictory) functions
of auratic reproduction and quasi-scientific documentation."
-Anna Dezeuze and Julia Kelly
Matt Calderwood, The Streets Present Scraps here. Calderwood's website here
According to the Guardian, Matt Calderwood was, "Born in Northern Ireland in 1975, Calderwood studied Fine Art at Newcastle and Sunderland. When not putting his materials through their paces in one of his perilous performances, he builds monumentally unstable sculptures out of plywood that rely on counterbalance to keep them steady. Both sculptures and performances require a steely control in the artist, and it is this paradox, the struggle of power between artist and objects, that makes his artwork so riveting. "
Christine Hill Volksboutique video here
Volksboutique project website here
Chistine Hill biography:
A resident of Berlin since 1991, American artist Christine Hill has spent her artistic career trying out other careers. Referring to these experiments as “organizational ventures,” rather than performance art or installations, she has opened ad-hoc businesses as varied as a tour guide company, a portable office, a massage parlor, and an apothecary. One of her most enduring works is the Volksboutique, which is comprised of a series of small shops that have popped up around the world. The small businesses combine the tradition of East German community shops—stocked by products made in her studio, the Volksboutique Products Division—with optimistic slogans rendered in red, white, and blue text. Like Andy Warhol, she continues the 20th-century tradition of exploring the relationship between art and commerce, with a bit of theater rolled in.
