ANNOUNCING the book signing and release party for David Humphrey’s long-awaited anthology of art writing, Blind Handshake, with introductions by Alexi Worth and Chris Kraus.
530 West 22nd Street
New York, NYWHEN:
Wednesday, December 16th, 6 – 8 PM
Short reading at 7Blind Handshake is published by Periscope Publishing and distributed by Prestel. Available at St. Mark's Books, Amazon and Barnes & Noble.
The art criticism of the painter David Humphrey merits an anthology. But neither Humphrey nor Periscope wanted to present his writing as archival documents from 1990 to 2008. We decided it would be more innovative to treat the texts as the starting point for a book that acknowledges and extends the connections between Humphrey s studio practice and his criticism. The outcome is Blind Handshake. It foregrounds the social life surrounding contemporary art the practices and gestures, the dialogues and monologues that determine its place in the world. Organized thematically, the book considers Coupling Dramas, Unknowable Others, Collective Solitudes, Prosthetic Selves, and Good Liars. Artists drawn into the action include Richard Prince, Chris Ofili, Lucien Freud, Mamma Anderson, Tony Oursler, John Currin, Mary Heilmann, Catherine Murphy, and Amy Sillman. The book's designer Geoff Kaplan employed aspects of graphic novels, magazine layouts, and art monographs in translating the writing and illustrations into a mutant creature. Introductions by Chris Kraus and Alexi Worth provide contexts for understanding the book s presentation of the turbulent intersubjectivity that pervades contemporary art.
DAVID HUMPHREY has exhibited his art throughout the United States and curated several shows in New York City. He is a recipient of the Rome Prize and a Senior Critic at the Yale School of Art. His art criticism has appeared in Art in America, Art issues, among other publications.
GEOFF KAPLAN of General Working Group is a graphic designer who teaches at the California College of the Arts. He is currently writing and designing Power of the People: The Graphic Design of the Radical Press and the Rise of the Counter Culture, 1964-1974.
ALEXI WORTH is an artist and a critic published in Artforum and the New York TImes. His art has been featured at the Elizabeth Harris Gallery and P.P.O.W., both in New York City.
CHRIS KRAUS is a writer and filmmaker. Her publications include I Love Dick, Torpor, and Video Green. She founded Native Agents, an imprint of Semiotext(e), to publish work dealing with theories of subjectivity. In 2008, she was the recipient of the Frank Jewett Mather award in art criticism from the College Art Association.
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Posts categorized "Design"
December 07, 2009
Blind Handshake: artwriting 1990-2008
November 17, 2009
Upping the Socially Networked Museum: Whitney.org Redesign
"To the museum’s credit, the sensibility of openness that leads to the collection concept works on both sides of the site database – content is added and edited using a distributed, wiki-style content management system (CMS) unique to Linked by Air, the design firm responsible for the new Whitney site. [...That ] part of the goal of the new site [... is to allow] a broad range of museum employees to contribute directly to it assures currency, accuracy – and staff ownership."
Philip Bump offers some insight and analysis.
via MEDIAite:
The Whitney’s Re-Design: Web Done (Nearly) Rightby Philip Bump | 10:27 am, November 12th, 2009
July 20, 2009
Manny Garcia: Down on AP, Down on Fairey
via Bloomberg News:
By Erik Larson
July 13 (Bloomberg) -- The Associated Press, which sued artist Shepard Fairey for using an AP photograph as inspiration for a Barack Obama campaign poster, wrongfully copyrighted the image it seeks to protect, the photographer told a judge.
Mannie Garcia, the freelance photographer who took the disputed photograph while on assignment for AP, said the news company’s copyright for the image should be invalidated, according to a July 9 filing in New York federal court.
“The AP is aware -- and was aware at the time of filing its copyright application in the Garcia photo -- that it was not the true owner of the rights to that photo,” the photographer’s lawyer, George Carpinello, said in the filing.
Garcia is challenging both the AP and Fairey by trying to join the pending lawsuit between them. The news company sued Fairey in March, accusing him and his Los Angeles-based company, Obey Giant Art Inc., of copyright infringement for using Garcia’s 2006 photograph of Obama at a National Press Club panel discussion about the humanitarian crisis in Sudan. Garcia also claims Fairey wrongfully copied the photograph.
The AP “remains confident in AP’s ownership of the copyright, because Mr. Garcia was an employee of AP when he took the photo in 2006,” said Paul Colford, an AP spokesman.
Garcia, who works out of Kensington, Maryland, said in his court filing that he can’t be considered an AP employee, because he was on assignment for five weeks and wasn’t eligable to join a union or receive health, vacation or unemployment benefits.
The Smithsonian Institution’s National Portrait Gallery in Washington placed Fairey’s Obama image on display in January and the Institute for Contemporary Art in Boston opened a 20-year retrospective of his work two months later. Fairey’s work, often found in the form of street art, focuses on social and political subjects with media including screen prints and stencil paintings, court papers show.
The case is Fairey v. The Associated Press, 09-cv-01123, U.S. District Court, Southern District of New York (Manhattan).
To contact the reporter on this story: Erik Larson in New York at elarson4@bloomberg.net.
Last Updated: July 13, 2009 18:06 EDTJune 17, 2009
Ahmadinijad sucks at Photoshop
via boingboing:
Ahmadinijad sucks at Photoshop
The crowd in this pro-Ahmadinijad rally appears to have been clone-tool enhanced.
اضافه شدن طرفداران محمود احمدي نژاد با فوتوشاپ روزنامه كيهان
(Thanks, Yishay!)
- Iran: You Suck At Photoshop (updated) - Boing Boing
- "Iranian missile photoshop" photoshoppery - Boing Boing
- Cyberwar guide for Iran elections - Boing Boing
- Iran SMS networks "mysteriously" fail right before elections ...
- Iran: Activists Launch Hack Attacks on Tehran Regime - Boing Boing
- Iranian election uprising: Twitter tracks it real-time, Iranian ...
- Twitter reschedules maintenance to avoid clobbering Iranian ...
- Iran: Tim Shey on Observing Social Unrest Online at 32000 feet ...
June 09, 2009
The High Line Is Ready
via NYTimes Arts Beat:
Librado Romero/The New York Times
Standing on a newly renovated stretch of an elevated promenade that was once a railway line for delivering cattle — surrounded by the community activists, elected officials and architects who made the transformation happen — Mayor Michael R. Bloomberg cut a red ribbon on Monday morning to signify that the first phase of the High Line is finished and ready for strolling. (Panoramic view here and a map here.)
Calling the High Line, which opens to the public on Tuesday, “an extraordinary gift to our city’s future,” Mr. Bloomberg said, “today, we’re about to unwrap that gift.’’ He added, “it really does live up to its highest expectations.”
The first portion of the three-section High Line, which runs along the Hudson River from Gansevoort Street to West 20th Street, will be open daily from 7 a.m. to 10 p.m. There are entrances at Gansevoort Street (steps) and at 16th Street (elevator); exits are located every few blocks.
The second phase of the project, which extends to 30th Street, is
under construction and expected to be completed by the fall of 2010.
The third phase, up to 34th Street, has yet to be approved.
Librado Romero/The New York Times A view along the newly opened High Line public park.
The High Line project is something of a New York fairytale, given that it started with a couple of guys who met at a community board meeting in 1999 — Joshua David, a writer, and Robert Hammond, a painter — and discovered they shared a fervent interest in saving the abandoned railroad trestle, which had been out of commission since 1980 and was slated for demolition. Thus began a decade-long saga that involved rescuing the structure from demolition by the Giuliani administration and enlisting the Bloomberg administration in its preservation and renovation.
Scott M. Stringer, the Manhattan borough president, called the project “a great West Side story.”
City Council speaker Christine C. Quinn described it as “a miracle of perseverance,” and said “the idea could easily have gone into a file, ‘great ideas that will never happen.’”
With all the bureaucratic hurdles the project had to overcome, it was perhaps no wonder that so many representatives of different arms of local government were there for Monday’s celebratory news conference, including Amanda M. Burden, the city planning commissioner; Adrian Benepe, the parks commissioner; and Representative Jerrold Nadler, Democrat of New York. Also present were two couples who have been the project’s major benefactors Diane von Furstenberg, the fashion designer, and her husband, the media mogul Barry Diller, and Philip Falcone, a hedge fund billionaire, and his wife, Lisa Maria Falcone.
The landscaped walkway, designed by Field Operations and Diller Scofidio & Renfro, includes more than 100 species of plants that were inspired by the wild seeded landscape left after the trains stopped running, the Mayor said. He added that the High Line has helped usher in something of a renaissance in the neighborhood; more than 30 new projects are planned or under construction nearby.
These include a new home for the Whitney Museum of American Art, designed by Renzo Piano, which will anchor the base of the High Line at Gansevoort. The Mayor announced on Monday that the city was finalizing a land sale contract with the museum.
The first two sections of the High Line cost $152 million, the Mayor said, $44 million of which was raised by Friends of the High Line, the group that led the project.
All of the speakers’ comments echoed the triumphal — and perhaps somewhat incredulous — subject line of an email put out by Friends of the High Line right after the festivities had concluded: “We did it.”
May 02, 2009
Abe's Penny: a new "micro-publication"
Above: from Vol. 1.1 featuring Tod Seelie and Brandon Johnson. [Link]
I just received my first installment of Abe's Penny, a new "micro-publication" that comes in the mail (yes, print on paper, not electronic), in the form of single postcards with an image and a text. They are in line with one of my favorite projects of all time (which is entirely email-driven): Carol Szymanski's inimitable Cockshut Dummy. The May volume of AP consists of photographs by Peter Bernard Killeen and a story by Eric Ledgin.
via Artnet news, 4-14-09:
ART & LITERATURE, ALL ON A SINGLE POSTCARD
Downtown Manhattan art-scene veteran Anna Knoebel, who labored in the fertile fields of artist Devon Dikeou’s Zingmagazine for several years, has launched a publishing empire of her own. Dubbed Abe’s Penny: A Micro-Magazine, the publication -- helmed by Anna with her sister, Tess Knoebel
-- consists of four postcards that subscribers receive one by one, once
per week, for one month. Each postcard features an image and a few
lines of text. The full set of four postcards is a full story. Volume
1.1 featured photos by Tod Seelie with a poem by Brandon Johnson, and Volume 1:2 had photos by Melanie Flood and a poem by Sam Witt. Subscriptions are $48. For details, see www.abespenny.com
More info, and an interview; via Pacific Standard, 4-21-09:
Print Is Dead / Long Live Print
What's behind the name?
The name, Abe's Penny, came from the penny press,
which we were enamored of because making newspapers inexpensive made
the spread of information affordable. Using the word penny worked
because of what we were saying before about paring down a magazine to
its essence, or smallest form. We decided to call it Abe's Penny because it's self-contained and referential, like the postcards.
[...]
And a cute Q&A with the editors from Evil Monito Magazine, 4-14-09:
EM: Occupation and Position
Anna: Anna Knoebel, Co-Founder, Editor, Abe’s Penny
Tess: Tess Knoebel, Co-Founder, Editor, Abe’s Penny
April 21, 2009
Of Che and Soft Drinks
Josefina Tommasi. A truck advertising the Che soft drink in Vallegrande, Bolivia.
via NYTimes:
Brand Che: Revolutionary as Marketer’s Dream
By MICHIKO KAKUTANI
Published: April 20, 2009
Not just in the hearts of revolutionaries, Marxist insurgents and rebellious teenagers, but on T-shirts, watches, sneakers, key chains, cigarette lighters, coffee mugs, wallets, backpacks, mouse pads, beach towels and condoms. He’s not only been used by politicians like the Venezuelan president, Hugo Chávez, to promote their own agendas, but he’s also been employed by merchants to sell air fresheners in Peru, snowboards in Switzerland and wine in Italy.
The supermodel Gisele Bündchen pranced down a runway in a Che bikini. A men’s wear company brought out a Che action figure, complete with fatigues, a beret, a gun and a cigar. And an Australian company produced a “cherry Guevara” ice cream line, describing the eating experience like this: “The revolutionary struggle of the cherries was squashed as they were trapped between two layers of chocolate. May their memory live on in your mouth!”
As Michael Casey, the Buenos Aires bureau chief for Dow Jones Newswires, observes in his fascinating new book, “Che’s Afterlife,” the image of Ernesto Guevara most frequently used by politicians, demonstrators and merchants alike is based on the famous 1960 picture of the guerrilla leader taken by the Cuban photographer Alberto Díaz Gutiérrez, known as Korda. It’s the familiar, ubiquitous close-up, often rendered in high-contrast blacks and whites, which features the handsome 31-year-old Argentine-born revolutionary looking off into the distance as if he had his eyes on the future, his gaze — described, variously, as pensive, determined, defiant, meditative or implacable — as difficult, in Mr. Casey’s words, “to put a finger on” as the Mona Lisa’s smile.
In this bracing and keenly observed book, Mr. Casey traces how Korda’s photograph became one of the most widely disseminated images in the world, how Che went from being a symbol of resistance to the capitalist system to one of the most marketable and marketed brands around the globe, how the guerrilla fighter became a logo as recognizable as the Nike swoosh or McDonald’s golden arches.
Although newspaper and magazine articles have traversed this ground before, none have done so with the thoroughness and globe-trotting ardor of “Che’s Afterlife.” Mr. Casey has written a book that is not only a cultural history of an image, but also a sociopolitical study of the mechanisms of fame. It is a book about how ideas travel and mutate in this age of globalization, how concepts of political ideology have increasingly come to be trumped by notions of commerce and cool and chic, and how the historical Che Guevara gave way, post-mortem, to a host of other Ches: St. Che, said to possess the ability to perform miracles; Chesucristo, a Christ-like figure revered for his ideals, not his advocacy of violence; an entrepreneurial Che, promoting the lesson “that individuals should honestly strive to produce their utmost for the good of all”; and the Rock ’n’ Roll Che, more representative of youthful anti-authoritarianism than of any political dogma.
Korda’s famous photograph of Che was taken in 1960, at a state funeral for victims killed by an explosion aboard a freighter docked in Havana’s harbor. By radically cropping the shot, snipping out a palm tree and the profile of another man, Korda gave the portrait an ageless quality, divorced from the specifics of time and place.
This abstract element would be emphasized further in paintings and silk-screen variations on the picture (like those done in the style of Andy Warhol’s Marilyn and Mao), which, Mr. Casey notes, stripped the image of its historical and political roots and created a more mainstream, accessible Che.
Korda, who died in 2001, Mr. Casey writes, would not be able to collect royalties on his wildly ubiquitous image until 1997, when the Castro government signed the Berne Convention for the Protection of Literary and Artistic Works, an international copyright treaty.
Although Korda’s original photograph was not widely distributed for years, Mr. Casey says, Fidel Castro began using the image as a branding symbol for Cuba in 1967, months before Che’s death. It was a clever marketing plan on Mr. Castro’s part: Che’s denunciations of the Soviet Union made him popular among “thinkers and artists of the Western European left, many of whom had lost faith in the Soviet Union,” while his condemnation of imperialism “sat well with young radical students in the United States and Europe, who were impatient for societal change and for whom the very word revolution was inspiring.”
After Che was killed in Bolivia in October 1967 at 39, at the end of a disastrous guerrilla campaign, his fame and popularity — as a martyr now — spread even more rapidly around the world: red and black posters based on Korda’s photograph became symbols of the resistance movement during the 1968 student protests in Paris, and they surfaced, too, in America, where the revolutionary was embraced by both the Black Power movement and by hippies and antiwar activists.
In its May 17, 1968, issue, Time magazine observed that the Che legend had given “rise to a cult of almost religious hero worship among radical intellectuals, workers and students”: there were “Guevara-style beards” and berets in Italy, the magazine reported, and “handkerchiefs, sweatshirts and blouses decorated with his shaggy countenance” in “half a dozen countries” — all making for “a new source of profits for composers, poster makers and book publishers.” It was an article that could have easily run some four decades later, on the occasion of the 40th anniversary of Che’s death.
Clearly, it’s not what Che Guevara had in mind when he declared that “the revolutionary idea should be diffused by means of appropriate media to the greatest depth possible,” but in becoming one of the world’s most iconic brand names, Che has achieved an immortality that even exceeds the predictions of the stranger he meets at the end of his “Motorcycle Diaries,” who tells him “the spirit of the beehive speaks through your mouth and motivates your actions.”
Though anti-Castro Cubans continue to denounce him as a murderer with a cold capacity for violence, Che is embraced in Latin America and the Middle East and by antiglobalization protestors as “a die-hard foe of yanqui imperialism”; in Hong Kong as a symbol of rebellion against the authoritarianism of the Beijing government; and in the United States by immigrant activists, demanding “the right to inclusion, to be considered part of the American Dream.”
October 01, 2008
Signs of Change @ Exit Art
Exit Art announces major new exhibition chronicling over forty years of political
graphics, media and social protest movements:SIGNS OF CHANGE
Social Movement Cultures 1960s to Now
Curated by Dara Greenwald and Josh MacPhee
Inaugurating Exit Art’s Curatorial Incubator Program
Curatorial Incubator Director: Mary Anne Staniszewski
September 20 – November 22, 2008January 23 – March 8, 2009
Miller Gallery at Carnegie Mellon University, Pittsburgh, PA
In Signs of Change: Social Movement Cultures 1960s to Now, hundreds of posters, photographs, moving images, audio clips, and ephemera bring to life over forty years of activism, political protest, and campaigns for social justice. Curated by Dara Greenwald and Josh MacPhee as part of Exit Art's Curatorial Incubator, this important and timely exhibition surveys the creative work of dozens of international social movements.
Organized thematically, the exhibition presents the creative outpourings of social movements, such as those for Civil Rights and Black Power in the United States; democracy in China; anti-apartheid in Africa; squatting in Europe; environmental activism and women's rights internationally; and the global AIDS crisis, as well as uprisings and protests, such as those for indigenous control of lands; against airport construction in Japan; and student and worker revolution in France. The exhibition also explores the development of powerful counter-cultures that evolve beyond traditional politics and create distinct aesthetics, life-styles, and social organization.
Although histories of political groups and counter-cultures have been written, and political and activist shows have been held, this exhibition is a groundbreaking attempt to chronicle the artistic and cultural production of these movements. Signs of Change offers a chance to see relatively unknown or rarely seen works, and is intended to not only provide a historical framework for contemporary activism, but also to serve as an inspiration for the present and the future.During the exhibition, there will be ongoing screenprinting workshops with guest artists and activists in collaboration with the Lower East Side Printshop as well as the following programs and events. [click to view]
COUNTRIES REPRESENTED
Argentina, Australia, Austria, Bosnia, Brazil, Myanmar (formerly Burma), Canada, Chile, China, Colombia, Croatia, Czech Republic (formerly Czechoslovakia), Denmark, El Salvador, France, Germany, Greece, Indonesia, Iran, Israel, Italy, Japan, Mexico, Mozambique, Northern Ireland, Netherlands, Nicaragua, Palestine, Poland, Portugal, Puerto Rico, Romania, Serbia, Slovenia, South Africa, South Korea, Spain, Switzerland, United Kingdom, United States and others.WEEKLY SCREENING SERIES
(schedule and program is subject to change)
Tuesday, Wednesday, Thursday at 3:30pm
Friday and Saturday at 5:30pm
September 10, 2008
Conflux Festival Hits NYC!
via Conflux2008:
Conflux Countdown
Conflux CountdownStarting September 11th, over one hundred local and international artists will transform New York City streets into a laboratory for exploring the urban environment at the Conflux Festival. Located in Greenwich Village at the Center for Architecture (a.k.a. Conflux HQ), the four-day event includes art installations, street art interventions, interactive performance, walking tours, bicycle and public-transit expeditions, DIY media workshops, lectures, films and music.
Hosted by Christina Ray (founder of New York art space Glowlab) and a team of New York-based curators, the 5th anniversary of the festival will feature projects including the “$1k Giveaway” by the Federation of Students and Nominally Unemployed Artists; botanical walking tours of Manhattan “narrated” by plants; an iPod video and cell-phone-instructed scavenger hunt through the East Village; an expedition to discover the underground rivers and streams of New York; an interactive installation of New York City trash; solar-powered Morse Code workshops; and London-based collective CutUp, returning for a second year to create fresh work throughout the city. The festival’s keynote speaker is Chris Carlsson, author of the recently-published book: ‘Nowtopia: How pirate programmers, outlaw bicyclists, and vacant-lot gardeners are inventing the future today.’ Be sure to check out all the projects, and see you at Conflux!
August 28, 2008
Jorge the Obscure (or how to upstage without actually breaking new ground)
Yikes: poor Jorge Pardo, and poor major collection of Precolumbian objects.... Who at LACMA was on crack and agreed to fund this? Holland Cotter hits the nail on the head regarding what must be one of the worst curatorial design decisions of the century (note the dig at Paris's Quai Branly). Here are the key ideas, buried mid-way through the article. In brief, we are (still) possessed of a cross-cultural blindness (but when it comes to our own culture and chattels, we tend to get all over-sensitive).
via NYTimes:
But the logic of her [Virginia Fields, LACMA curator of pre-Columbian art] arrangement becomes hard to follow because the art itself is hard to see. The stripes and curves distract from objects; the colors suddenly change their look. The green in particular leaches visually into terra-cotta sculptures, giving them a liverish cast. And why this green anyway? To evoke a primal jungle setting à la Quai Branly in Paris? If so, bad idea.
These days, design is a mainstream art-world hobbyhorse and political correctness is seriously uncool. (It always has been; people are just more relaxed about dissing it now.) So we’re probably not supposed to ask questions like: How come self-aggrandizing designs like Mr. Pardo’s, which obscure rather than enhance objects and their meanings, end up being applied to non-Western objects but only rarely to their Western counterparts?
Would the museum hang, say, Rembrandt or Degas or its stunningly yawnsome Broad collection in Mr. Pardo’s clamorous setting? If the answer is yes, great. By all means do it. Truly break some museological ground. But if the answer is no, or if there’s even a hesitation, the problem becomes obvious.
[from Ancient Art, Served on a Present-Day Platter, 8/28/08]
» 1 comment
I don’t envy those who have to redesign the website for a museum – balancing institutional structure and needs with the requirement that it reflect the appropriate aesthetic. Moreover, the process of transitioning a sensibility to the web in itself requires decisions about what the organization represents – a staid, classical collection would justifiably be nervous about embracing an open engagement of the general public.
The Metropolitan Museum, for example, probably won’t be holding a contest on YouTube any time soon. Its website, which looks like it was created by a medium sized corporation in 2002, is staid, muted, and tucked behind a splash screen. The Museum of Modern Art’s website, by contrast, is, well, modern, with a palette and structure that would bore Mies van der Rohe. It’s the Obama of websites – so cool, it’s dull.
Late last night, the Whitney Museum of American Art, known for its modern and contemporary exhibitions and its Biennial, unveiled the latest example from this world. It’s a great improvement over what was there yesterday, though that’s a low hurdle to conquer. Yesterday, the site was a card catalog. Today, it’s a website.
What establishes the Whitney’s new site as a success is not the aesthetic revamping with which, frankly, I’m not impressed. Various elements are laid in a casual grid, anchored by the logo, nice and big, at the top. The navigation is awkward, with elements jumping to the head of the line to show additional options once clicked. The background is either black or white, in order to accommodate a conceptually interesting feature in which it changes when the sun in New York rises or sets. (That would be at 4:41 this afternoon or 6:40 tomorrow morning for those wanting to witness it.) As I said – conceptually interesting. In practice, though, it tends to make the site feel a bit flat, and perusing the collection is negatively impacted by the black background. (White borders would do wonders.)
That’s particularly a shame, because said perusal and its accompanying tools are the real hook to the site. The collection itself is easy to navigate and well indexed. Every page, one notices, has at the bottom a small dot which, when clicked, adds an item to your “custom collection” (assuming you take advantage of the free registration, which you ought to do). This is not unique – the afore-mentioned MoMA site has a similar function – but the Whitney takes it further. When, above, I said every page, I meant every page. In addition to works of art, you can add artists, site elements, upcoming exhibits, even the contact page. Collections are an opportunity to interact with more than the art – you can in essence create your own museum website.
[read full article]