Friday, December 31, 2010
2:00 pm Friday Nov 12, 2010 by Leah Taylor
Four years after it was banned from US release for its explicit content, Destricted brings together creative — and graphic — musings on sex and porn by artists including Marilyn Minter, Matthew Barney, and Richard Prince.
Among the DVD’s eight film shorts are Barney’s “Hoist,” a decidedly erotic take on man vs. machine; Minter’s “Green Pink Caviar,” featuring a woman kissing, sucking, and licking in extreme close-up; Prince’s “House Call,” a revision of a voyeuristic 1970s porno; and Larry Clark’s “Impaled,” for which he interviewed Gen Y-ers on their experiences with porn, then presented the reality of their fantasies. Together, the films are sexy, disturbing, and beautiful, all at once.
Visit the film’s official website, meet all of the artists involved, check out the Daily Beast’s coverage of the project, and buy the DVD.
Sunday, December 12, 2010
Wednesday, December 8, 2010
Recently, I have been involved with The Harmony Gardens Community Initiative which is working collectively with mothers and daughters living in high risk Cincinnati neighborhoods. The goal is a collaborative effort where the women come together in their communities to dialogue on the topic, "What makes a Healthy Girl?" The end results of those discussions generated a list of concepts that might be used to answer the initial question. Furthermore, the mothers and daughters were sent out into the community to take pictures to support their ideas.
The next stage of this project involves artists visually responding to those ideas and photographs by producing a visual creative connective thread that continues the dialogue through a finished piece of artwork.
For my art piece I chose to focus on the question "Who Am I" in relation to making choices. One's personal chosen direction leads to answer the question. As young girls search for their self image and explore making healthy choices, the "who they are" and "who they want to be" becomes important to their success.
The lid of the decoupaged box poses the question. The images of natural vines are dormant, with only a hint of promise in the form of a few emerging leaves. The faceless figure with the words 'who am I' stitched on the face stands before an old stone archway referencing a photo of an overpass taken by the women. Once the lid of the box is opened, the promise is revealed. The interior contains the same arch, but now, the arched image is surrounded by flowering vines and butterflies emerging from the archway. The box "contains" the promise of a fullfilling life, if the right path is chosen.
The final step in this process is to spread the message of positive self image beyond the original community nucleus. The artwork, which travels to other venues in other communities, jumpstarts that conversation, bringing the initiative full circle and providing the stimulus for those communities to start a dialogue on "What makes a healthy girl?"
Monday, December 6, 2010
I have been posting about the project on this blog, as it pertains to my idea to highlight Geographic Identity...one thing leads to another and even though I included some studio thoughts along the way, I hope that there are some universal tid-bits that anyone can glean from the project, spark new thought or make new work, too.
The piece included cigarette ash, carbon monoxide blown on the canvas, crushed pine needles, embroidery, CO2 (aerosol)...I literally put aspects of the sky and of airquality on the piece. It was a challenge, but I am happy with the results. Except the piece smells weird. So now, it has literally encroached on your clean-air breathing - you can smell the CO2, like an old house that was inhabited by smokers. I'll see what can be done about that before it goes on display...or not. Maybe that is the irony.
My statement about the process can be found here:
"breathe" about AirQuality
Making art like this made we wonder how in the heck would we be able to portray, communicate or signify AIR in a public art sculpture? Aside from sculpture or mural, but really DO something about the air...like create domes with little forests to sit in, or boxes with herb-scented public access gas masks?? Really, you would not believe that areas are mapped out all over the nation designating the responsibility for regulating the Air in an area/city/region. I find this totally ridiculous on one level, because it must be really difficult for Upland to keep their air clean with the stench from the Ontario Waste Water Treatment Plant fecal smog wafting up on a Santa Ana wind day...
I looked up some female environmental artists and am newly acquainted with Agnes Denes and was glad to see her Wheatfield, created about 25 years before the Lauren Bon Cornfield. Both very industrious projects. Here is another article on land and environmental art on World Changing dot com.
This last month I have also been thinking about sustainability which lead to thoughts about groceries. We have been really slack on getting our food garden this past year....as if we have no motivation to survive. This is unlike me...or it's as if getting papers due, and making work for the some odd 20 exhibitions I have participated in, applying to graduate school and looking for work does not require energy. This also has nothing to do, at least I don't think it does, to the fact that I gained 18 pounds in the last 12 months and none of my pants fit so I am relegated to the same pair of North Face pants that I bought for exercising in.
What in the name of creativity does this have to do with anything for an art blog, you say? Because food for thought comes from anywhere. No, I'm not making art about my weight gain. But I did notice that eating well at least makes me feel better. I have a somewhat secret stash of photos of my food. I post them every now and then to the chagrin of unsolicited advice from people who tell me that I should only post serious stuff about my art if I want to be taken seriously. I don't know, I thought everyone had to eat, but maybe in some art world circles the artists exist on osmosis or something.
Here is some information about getting good food for cheap in the LA and IE areas:
Velas Market East LA
Unity Farm, owned by 2 brothers, organic, near Jurupa State Park, Riverside County Parks. Mini golf, fishing and camping at the park, too.
Amy's Farm, Ontario + Agrarian Solutions
South Central Downtown LA
and everywhere: local harvest. org
or home delivery from farms nation-wide-- these places cost more, though.
And in the spirit of the site and eco art - this tantalizing link:
Need I say that eco-art is big on Trendsetter. That's right appropriators, we are not original, we are mainstream. Cassette tape ribbon, water bottles, junk, trash, cargo containers - Take a look.
Well, have a nice month, 'til the next 6th of it.
In the mean time, live long and prosper.
Sunday, December 5, 2010
Actions - click here to see the work on his site...fucking genius I tell you...
I am currently storyboarding a video that will be/have one long continuous take, two-three minutes. Which, is pretty hard to do well. Here is one of the best scenes that is one take...I hate the little quotes that pop-up, but, the scene is still great.
Tarantino is a master at it as well...
of course the Copacabana Shot is great
Friday, December 3, 2010
Luc Tuyman's first major exhibition in the U.S. is at the MCA right now. He was recently there painting a mural in the atrium (done in a single day, just like the rest of his paintings). I think it's safe to say that it has become fashionable to dislike Tuyman's work. I never understood why he was making paintings, specifically. But my view totally changed after seeing the show like eight times, and then again after listening to him here: http://badatsports.com/2010/episode-273-luc-tuymans/
Thursday, December 2, 2010
Still images from "Dying Oak" currently at SLAM
METAFOIL is both a depiction of a new kind of landscape as well as an attempt to reimagine the heavy metal sculpture as a stage curtain. It is also a contemporary take on the centuries-old tradition of weaving, updated with digital technology.
METAFOIL takes advantages of the captive gaze of the audience, introducing a foil, a false reflection, an illusion of depth, a novel topography that disrupts expectation and challenges perception. Sculptural, seemingly spatial, the stage curtain rejects its inherent flatness.
METAFOIL plays with shifts in scale. Up close, it is a rich texture of overlapping colors; a few feet away, individual threads give way to form, a pattern emerges. From the vantage point of the audience it becomes a view into an otherworldy place, a metallic composition of colors and shapes.