Tuesday, August 19, 2014

Artist uses electricity to make shockingly original works

"Blossom and Moon" by Cory Hunter
Miami artist Cory Hunter has found a new way to integrate science, nature and art with his electrifying artwork.

Hunter uses his background in science and chemical engineering to harness the power of electricity. He uses an insulated electrode as a special brush that interacts with a stationary electrode inserted into the canvas. Hunter uses different levels of voltage to create interesting, branching patterns.

Hunter explains on his website:
"Fractal is derived from the Latin word 'fractious,' defined as broken or shattered glass, and is a mathematical articulation of form, chance, and dimension. A pattern is fractal if it is self-similar on different scales, equally rough from near as as from far, and is difficult to measure. My work explores the spontaneous organic form as it occurs in naturally occurring fractal patterns."

Using his interest in classical and oriental art, Hunter wanted to focus on exemplifying the stroke of the electricity.

He uses electricity on a variety of surfaces including cardboard, wood and corrugate panels and to imitate lightning striking any other non-conductor. The resulting patterns, called Lichtenberg figures, resemble a tree struck by lightning. Hunter's Vine account shows close-up looks at how the fractal patterns are formed. He then paints around the electrified etchings to create interesting, mixed-media works that range from Chinese cherry blossoms to depictions of the burning Twin Towers. 

Hunter’s work has been shown around Miami, but he has been performing live paintings for the public. In the future he plans on studying more about the science behind electricity and experimenting with other mediums such as glass.

"Green Tree" by Cory Hunter
"Stripes" by Cory Hunter
Sources: Studio360, WLRN Miami

Monday, August 04, 2014

Artist uses 3D printing to make museum art "touchable"

Museums serve a very important role in housing, caring for and displaying the world's art. Museums make art accessible to the public and provide resources to learn about the works.

Some people, like Dutch art historian and designer Maaike Roozenburg, believe that displaying art so conservatively removes works from their daily functions, isolating the objects from the lives of visitors. Many believe that not being able to touch and interact with the objects on display limits visitors' ability to appreciate those works.

In an effort to remove the distance between object and viewer, Roozenburg set out to create her Smart Replica project, with touchable 3D replicas of fragile teacups that caught her eye during a trip to the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. 

Roozenburg partnered with the Delft University of Technology to build 3D printing models of the objects. Because of the fragile nature of the teacups, Roozenburg and TU Delft used non-contact, medical CT scans, which the university students converted into 3D models.

Then, with the help of Wim van Eck of the Augmented Reality Lab of the Royal Academy of Art and the creative agency LikeFriends, Roozenburg added extra layers to the replicas. By using the smartphone or tablet app Junaio, museum visitors can use their devices to access the augmented reality layers of the objects they are touching.

The extra layers give the visitor access to the ornate design of the original object as well as information on the works.

Roozenburg is continuing the project with her partnering organizations to make more works accessible to viewers, and, with the growing use of 3D printing, we may see this trend applied to museums in the U.S. soon enough.

Sources: PSFK, Core77, Dezeen

Tuesday, July 22, 2014

Down to Basics: Printmaking

Carroll Cloar, "The Making of a Drawing"

Printmaking is one of the oldest forms of technology to help artists produce images, with some types dating back to the 9th century. There are four main categories of printmaking: relief (woodcuts), intaglio (etching), planographic (lithography) and stencil (screen printing).

The Georgia Museum of Art presents great examples of printmaking in two current exhibitions, "The Lithographs of Carroll Cloar" and "The Prints of Mary Wallace Kirk."

The former, on view in the Boone and George-Ann Knox Gallery II, features detailed lithographs depicting a surreal perspective on the stories of people and places from Cloar's childhood, biblical narratives and popular culture.

Lithographs are a type of printmaking developed in the in 18th century based on the fact that water and oil do not mix.

The original process involved drawing an image in oil, fat or wax on a limestone plate. The plate is then treated with acid and gum arabic, which etches the portions of the stone not covered by the image. These etched areas are then wetted. As the etched areas retain the water, oil-based ink is applied. The water on the etched portions of the plate repels the oil-based ink, leaving only the drawn image covered in ink, ready for printing.

Nowadays, printmakers take the same concept of oil and water not mixing, but with a slight upgrade to the technology. Typically, modern printmakers produce lithographs by using acrylic polymer paint to draw the image on a flexible aluminum plate.

The 31 prints featured in the exhibition beautifully show the range of how the medium can contribute to the tone and style of the subject matter.

Mary Wallace Kirk, "Cabin in Shade"

Printmaking is not limited to lithographs. On July 19, the museum opened the exhibition "The Prints of Mary Wallace Kirk" in the Martha Thompson Dinos and Dorothy Alexander Roush Galleries, featuring finely detailed renderings of the countryside of the 1930s and 1940s.

Although etching as a means to decorate metal items dates back to the Middle Ages, the technology was applied to printmaking in the 15th century.

This method of printmaking involves covering a metal plate in an acid-resistant, waxy ground. The artist then takes a pointed etching needle and draws on the metal, scraping off the ground, to form the design in the now exposed metal. The printmaker then dips the metal plate into a bath of acid called an "etchant" that eats away the exposed metal, leaving deep lines. The acid and ground are then cleaned off the plate, and the artist applies ink. As the artist wipes away the ink from the plate, the deep, etched lines retain the ink and are now ready to translate the image.

Kirk studied etching at the Art Students League in New York with Harry Sternberg and ultimately produced around 80 etchings during her career.

"The Lithographs of Carroll Cloar" is on view until Aug. 10, and "The Prints of Mary Wallace Kirk" is on view until Oct. 12.

Tuesday, July 15, 2014

Brazilian artists use World Cup to speak out

For many, the World Cup was the perfect opportunity to celebrate one’s nation, uniting to root for the same team. For others, it was a chance to communicate with the world through art.

The street artists in Brazil took the world’s spotlight to showcase their street art and to communicate globally salient messages. From national pride to political criticism, the street art of Brazil eliminated language barriers and sparked conversation all around the world.

Here are some examples of some notable examples of Brazilian street art during the 2014 World Cup.

This mural by Paulo Ito is probably the most circulated image of street art during Brazil's World Cup. The politically charged image highlights the poverty plaguing Brazilians.

This painting by A.Signl and B.Shanti represents the burden of hosting the World Cup on Brazilian citizens. 

Many hands are shown helping to hold up Brazil and the world in this mural in Sao Paulo. 

This work by Cranio comments on the public money spent frivolously on the World Cup. 

Street artist Jambeiro refers to Brazilian soccer player Givanildo Vieira, "Hulk," in this street mural. 

To see more views of the street art in Brazil, check out this compilation on Google Maps

Thursday, July 10, 2014

Inside Look: Life of a GMOA Registrar

As spectators admire a perfectly placed work of art in the museum's galleries, they often do not think about the tedious and strategic process of shipping, handling, tracking, inspecting and installing that work.

Truth is, every one of the 10,000 works in the museum's collection has been through this meticulous, nerve-wracking process, which is skillfully and patiently coordinated by the museum's team of registrars. The registrars are an invaluable part of the museum, working behind the scenes to rotate works in and out of the galleries seamlessly, without damaging or losing track of a single one.

While some works easily fit into shipping crates, others present our registrars with a bit more of a challenge. Whether dealing with extreme fragility, enormity or odd shapes and forms, the registrars are responsible for flawlessly and efficiently moving the items across the world for our viewing pleasure.

The museum's head registrar, Tricia Miller, took the time to give me an inside look at the exciting and somewhat hectic job of registration at an art museum.

Elizabeth Poland: What exactly does a registrar of an art museum do?

Tricia Miller: A registrar for an art museum is the information and logistics specialist for the care, preservation and management of works of art in the museum, whether in the permanent collection or on loan to the museum. There are three main areas of management for a registrar:

Collections management
Overseeing the care and preservation of the works of art in the museum, from proper storage and handling to proper display. Registrars oversee and manage the environmental conditions to which works of art are exposed in order to best preserve them for future generations.
Exhibition management
Overseeing the logistics for securing and planning for all current and future exhibitions. Museum staff work on exhibitions 1-2 years in advance and the registrars manage the logistical details such as reviewing and securing loan agreements and exhibition contracts and negotiating insurance, packing and crating, and shipping for all incoming temporary exhibitions.
Information management
Overseeing the organization of and access to information about the works of art in the collection and the temporary exhibitions. The registrars office creates and maintains a research file, called a curatorial file, for each object in the museum’s collection of over 10,000 objects. We also create and maintain a file for every temporary exhibition that has been on display at the museum from 1946 to the present. The registrars office also maintains a collections database which tracks all information associated with works of art in the collection.

EP: What is the most challenging part of your job?

TM: Managing multiple and sometimes varied tasks. In one week it is possible that I will work with UGA Legal Affairs on negotiating a contract or loan agreement, discuss the restoration of a work of art with a contract conservator, talk with HVAC engineers about the temperature and humidity in the building, use a pallet jack to move a heavy object in storage, work on data entry in the collections database, meet a truck driver who is delivering a work of art and examine the condition of a 17th-century Dutch etching.

EP: What is the most rewarding part of your job?

TM: Hands-on, intimate work with the objects. When an object comes into or goes out of the museum, a registrar conducts a condition report, which is a very close examination of the object to record its condition at the time of its arrival or departure. Registrars are some of the few people in the museum who are trained and authorized to handle the works of art, so we often have the privilege of being in close contact with important works of art.

EP: What was the most interesting work you saw moved?

TM: One of the more interesting things I’ve watched being moved is a 19th-century copy of an ancient sculpture at the Uffizi Palace called "Wrestlers." It is a marble sculpture on a marble base measuring over 6 feet tall. We hired fine arts moving specialists to coordinate disassembling, palletizing and moving this large, heavy sculpture with riggers.

EP: What advice would you give to a prospective art museum registrar?

TM: Museum studies programs will give you a good basic understanding of how museums operate and then volunteer in a registrars department at a museum. Registrars can always use help with the wide variety of tasks they manage.

Monday, July 07, 2014

When New Meets Old: Lithographs and New Media Technology

This summer, the Georgia Museum of Art is featuring the exhibition "The Lithographs of Caroll Cloar" but is providing new media to juxtapose with Cloar's age-old method of printing. Two iPads are placed in the exhibition and give viewers a chance to interact with the images in a new way.

One iPad contains information about the process of lithography, including a video produced by the Museum of Modern Art in New York City. The second device includes an application that allows visitors to type in their own titles for the exhibition and read the titles others have suggested. This feedback opens up the lines of communication with visitors and lets their thoughts and ideas become an active part of the display.

Responses to the iPads have been extremely positive. Exhibition viewers have been forthcoming with their thoughts about their own names for Cloar's works, with responses ranging from poetic captions such as "The Haunted Pencil" and "Dreamscapes of Memory" to simpler, straight-to-the-point titles like "Old Days" and "Innocence." The spectrum of answers demonstrates how Cloar's hauntingly beautiful works evoke powerful reactions in each individual. In the past, the museum has offered a more traditional way to respond via pen and paper, but the use of the iPads is a compact and nondisruptive way to promote dialogue, not only between the museum and its guests, but among viewers.

Mixing new media technology with art is becoming a more common trend in galleries. The quick and easy access to information, combined with the ability to tailor it to the individual observer, allows for a new way to experience the art. This year, the museum has also featured other new media exhibitions such as "Machine Wall Drawing" by computer programmer and artist Tristan Perich and the work of University of Georgia master of fine arts candidate Lyndey Clayborn, who manipulated iPhones to create technology-inspired art.

"The Lithographs of Carroll Cloar" is on display through Aug. 10. For more information on the exhibition or other new media programs at the museum, visit, www.georgiamuseum.org.

Jack Youngerman: Star II

Jack Youngerman is an American artist who was born in St. Louis in 1926, then moved to Louisville shortly after with his family. He studied art at the University of North Carolina from 1944 to 1946 then later graduated from the University of Missouri. He went to Paris, where he enrolled at L’Ecole des Beaux-Arts on a G.I. scholarship and ended up staying in the city for 10 years. Youngerman studied in Paris during an upsurge of modern art and was very interested in geometric abstraction. He was popular in the circle of artists and actors in Paris at the time and soon became the son-in-law of Henri Seyrig, the director of Musées de France.

When Youngerman moved back to New York, he introduced a new kind of American painting. His distinct style presents bright contrasts of color that explode on the canvas. The sharp, minimal edges and positive-negative schemes make his artwork appear contemporary even today. His earlier work was unrestricted and lacked any objective reference. His more recent work still shows this freedom and abstraction, but with more distinct imagery of bursting blossoms and birds. Youngerman’s “Star II,” on loan from a private collection, is currently displayed in the lobby of the Georgia Museum of Art and is an excellent representation of his style. He completed this painting in 1970 during his experiment with sculpture. For me, the contrast of cool and warm colors and wild shapes represent his abstraction style and the symmetry presents an image of a blossom.

Monday, June 23, 2014

Summer Art Adventures at the Museum

It's a bird! It's a plane! It's Art Adventures! The time of year is here again when pint-size visitors descend on the Georgia Museum of Art for Art Adventures, the June and July day camp excursion for elementary school-age kids that promotes critical thinking skills through interactive gallery activities.

Every year, this award winning educational program picks a theme to inspire students on vacation to think about art in a different way. This year's theme is "Becoming an Art Museum Superhero" and takes off from the exhibition "Women, Art and Social Change: The Newcomb Pottery Enterprise." When observing these textiles or pieces of pottery, the kids are asked by members of the museum's educational team to engage their other senses, not just sight.

At first, the kids are skeptical: We can't hear art! But then, to fine-tune their superhuman powers of hearing, the team leader plays different instrumental songs while the students observe the works of art. The kids are then asked which song they think fits better with a particular work. The goal is to have the participants think about all the unique ways art impacts their lives by explaining their choices. The Wonderwomen and Supermen in training receive tokens at the end of each of the five stations set up in the exhibition–one each for superhuman touch, sight, hearing time travel and mind reading.

When the group is done in the galleries, they head down to the Michael and Mary Erlanger Studio Classroom to create their own works of art with their newly sharpened superhero skills. As this year's activity is inspired by the Newcomb Pottery exhibition, kids paint ceramic plates with their own superhero emblems, even though recreating Batman's logo is inevitably a crowd favorite.

Regardless of theme, Art Adventures focuses on fostering critical thinking skills in a fun and creative manner. This summer's Art Adventures is booked to capacity, but if you're interested in learning more about this activity, other museum educational programs or reserving a spot for next year, visit www.georgiamuseum.org

Friday, April 25, 2014

Behind the Scenes: Newcomb Pottery

As “Art Interrupted” is being packed away, don’t fret because the Georgia Museum of Art is making way for an exhibition of Newcomb Pottery, opening May 17. Newcomb Pottery is one of the most significant styles of American art pottery produced in the 20th century. These objects balance form and decoration as they highlight the nature found in the Gulf Shore region where the pottery was located. The objects in this exhibition come from the Newcomb Art Gallery, private collections and the Smithsonian Institute, but the museum is working to create a unique experience for its patrons.

The exhibition, titled “Women, Art and Social Change: The Newcomb Pottery Enterprise,” is the largest presentation of Newcomb arts and crafts in more than 25 years. It emphasizes women in the arts and their impact in post-Civil War society. The women who worked at the Newcomb Pottery helped advance their economy, and their art made a lasting impact on American history.

At the Georgia Museum of Art, the preparation department is working on layout for the exhibition. The preps will create special mounts for the pottery along with handcrafted pedestals. The museum’s main goal is to create an exhibition and color scheme that is aesthetically pleasing. “We are currently trying to create a layout that works with the flow of our galleries and is pleasing to the eye, said Todd Rivers, chief preparator at the museum.

The exhibition is on view May 17 through August 31, 2014, with numerous associated events that can be seen on the side of its page here.

Organized by the Newcomb Art Gallery and the Smithsonian Institution Traveling Exhibition Service, it is sponsored nationally by the Henry Luce Foundation and the National Endowment for the Arts, Art Works, and locally by Dr. and Mrs. George Rives Cary, Ceramic Circle of Atlanta, Inc., the Piedmont Charitable Foundation, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.

Friday, April 11, 2014

Artist Blends Media, Technology and Art

Lyndey Clayborn was born in an isolated Lousiana town 4 hours away on all sides from any significant stimulation. Her family remedied this void by connecting to the Internet in 1996. As she has aged, her web has become integral to her waking life as well as her art practice.

Clayborn says that "inspiration awakens whenever I notice a pattern or system manifesting itself within a digital context. Whenever a 'low brow' application such as snapchat or tumblr gains popularity, I have to wonder why."

These investigations into contemporary culture drive her art practice.  The gaze exchange between device and user penetrates and reveals.​ Clayborn attempts to blend her installations seamlessly into the public consciousness by using her constant companions, the iPhone and Macbook.

The “Master of Fine Arts Degree Candidates Exhibition” is on view at the Georgia Museum of Art from April 12 to May 4, 2014, with a free preview opening reception Friday, April 11, from 6 to 9 p.m. MFA Speaks is scheduled for Thursday, April 17, at 5:30 p.m. and will feature the artists discussing their work.