Monday, October 13, 2014

P(art)y the Night Away at Museum Mix

William Cullen Hart, Black Foliage.

If you've ever secretly dreamed of a late-night rendezvous in a museum, a la the children's novel From the Mixed-Up Files of Mrs. Basil E. Frankweiler or Ben Stiller film Night at the Museum, look no further than Museum Mix at the Georgia Museum of Art. The thrice-yearly art party, which will be held on Oct. 16 from 8:30 p.m. to midnight, will spotlight the theme of the exhibition "The ... of E6," the Athens-based recording collective Elephant 6.

Attendees can visit the art galleries during these special hours, which follow the museum's Student Night event that takes place from 6:30 to 8:30 p.m. The event will also feature some special guestsJamey Huggins, John Fernandes, Dottie Alexander, and Bryan Poolewho were members of the E6 movement and will serve as DJs. Refreshments will be provided and drinks will be available to guests 21 and up who have valid identification. Earth Fare will provide snacks for Museum Mix.

Attendees can post about Museum Mix on social media using the hashtag #museummix! Search the hashtag to see what other late night art-partiers are up to.

Friday, October 10, 2014

New gallery allows New Yorkers to "buy" street art


New York City is home to some of the world's most unique and impressive street art. Housed on the sides of buildings and in the subway, street art infiltrates the lives of city-dwellers publicly and for free.

However, a new gallery in NYC called Wall(m)-art aims to make these public works privately owned.

For a mere $150, anyone over the age of 18 can browse the online collection and purchase his/her own work or have a customized work made. Instead of taking the work home, the buyer of the art will be rewarded with a beautiful frame, a personalized plaque and a proof of ownership title.


The legality of the operation is fuzzy, but the self-described "gallery and auction house" has already sold a few pieces in Brooklyn.

Whether or not the artists or building owners are awarded a cut of the profit is unclear. However, the website does make careful efforts to explain that once the purchase has been made, no refunds will be offered. Wall(m)-art also states that while they cannot offer any refunds, they are "off the hook" regardless of what happens to the paintings or laws after the purchase is made.


Although this particular "gallery" hints at some sketchy behavior, the idea of buying or selling street art raises questions about art in the public domain that are worth considering.

Auctioning and framing graffiti in New York works off the claim that street art is, indeed, art and not just vandalism.  However, are there any rights of ownership to a work that is inherently breaking the rules through its existence? Does the art belong to the artist, the building owner, the passerby patrons, or does the art belong to a third-party who makes a stake and auctions the piece out?

Creating works to exist in the public domain implies a sense of communal ownership, but this means that the artists often goes unpaid and unrecognized for their efforts. Yet, with Wall(m)-art's tricky fine print and murky business practices, New York may have to consider new legislation outlining ownership of art commissioned illegally in the public domain.

Sources: PSFK, Wall(m)-Art
All images from Wall(m)-Art website.


Wednesday, October 08, 2014

Come to 90 Carlton: Autumn for an Evening at the Museum


It's that time of the year again, time for 90 Carlton: Autumn, one of the Georgia Museum of Art's quarterly receptions. Come out on Friday, October 10 for a night at the museum and enjoy viewing the exhibitions on display this fall.

The event is put on by the Friends of the Georgia Museum of Art and takes place from 5:30 p.m. to 8:30 p.m. Tickets are free for members and $5 for nonmembers.

The galleries that will be featured include An Archaeologist’s Eye: The Parthenon Drawings of Katherine A. Schwab,” “XL,” “The . . . of E6, part of Athens Celebrates Elephant Six,” “Boxers and Backbeats: Tomata du Plenty and the West Coast Punk Scene,” “The Prints of Mary Wallace Kirk” and “Tristan Perich: Mind the Machine.” More information about these exhibitions can be found by following the links to the Georgia Museum of Art website.

The event offers gallery activities and door prizes, light refreshments catered by Epting Events and an "Ask the Experts" panel at 7 p.m. in which guests can ask guides and museum curators questions about the different works on display around the galleries.

To become a member of the Friends of the Georgia Museum of Art or to find our more information about the organization, visit georgiamuseum.org/join or call 706.542.4662.

We hope to see you there!

Monday, October 06, 2014

Athens Celebrates Elephant Six

The city of Athens, Ga., is accustomed to keeping a strong connection with its musical heritage, defined by artists like R.E.M., Lady Antebellum and the B-52s. This year, Athenians can experience a special tributary celebration of a prominent group in the formation of the local music scene with "Athens Celebrates Elephant Six," a series of exhibitions that spotlight the famous collective. Six cultural venues around town, including the Georgia Museum of Art, will be working together in a citywide effort to document different pieces of the Elephant 6 (E6) collective's influence locally and around the art world.

"Carnival Part I" was shown at the University of North Georgia, Oconee Campus until Sept. 24. The exhibition culled a number of paintings from individuals associated with the founders of E6, from classmates to fellow performers. "Carnival Part II" opened at the same location on Sept. 30 and runs for a month through Oct. 30. This exhibition will show a second group of these paintings.
Jill Carnes. Interstellar Rooster.  University of North Georgia, Oconee Campus.
"Reverberations" is on show at the Lyndon House Arts Center until Oct. 11. Visitors can see posters, album covers and their inspirations, photography, stop motion animation, props, costumes, paintings and other works by the musicians involved in E6.
William Cullen Hart, Painted Transistor Radio. On display at Lyndon House Arts Center.


At the Athens Institute of Contemporary Art (ATHICA), "Advice from the Oceans" highlights the alternative nature of Elephant 6. The exhibition incorporates interactive elements, such as "Ocean Telephones" by one of E6's founders Rob Schneider, that allow observers to become participants.
Sculpture by Robert Schneider. ATHICA.



"n[]cturne" is Hotel Indigo's contribution to the E6 theme. On view until Dec. 31 in Indigo's outdoor art area, the installation features a texture-centric collection of various items displayed in a segmented cube. Dana Jo Cooley, the artist behind the installation, has worked on stage and prop designs for bands.

Here at the Georgia Museum of Art, "The ... of E6" will be shown from Oct. 4, 2014 until Jan. 4, 2015. The exhibition includes artwork for album covers and others examples of visual art important to Elephant Six. Information about the museum's related events and more about the exhibition itself can be found on the Georgia Museum of Art's exhibition webpage.
William Cullen Hart,  Black Foliage. 1971. Georgia Museum of Art.


On Oct. 13, Ciné will have a screening of a portion of A Place We Have Been To, a documentary tracing the history of E6. The film, by Chad Stockfleth and Dan Efram, includes behind-the-scenes footage, performances, and interviews. Ciné will also screen a short film entitled Major Organ and the Adding Machine by Joey Foreman and have live performances by Circulatory System and Robert Schneider.
Movie poster for A Place We Have Been To
For more information on Athens Celebrates E6 and the specific events occurring, visit Flagpole's article Athens Celebrates E6 by Jessica Smith and the Athens Celebrates E6 website.

Friday, October 03, 2014

Ai Weiwei's "@Large" exhibition provokes free-thought behind Alcatraz's bars

Photo of Ai Weiwei courtesy of Brooklyn Museum
Ai Weiwei, the Beijing-based artist and activist, paired up with Cheryl Haines and the FOR-SITE Foundation to exercise full creative freedom in an exhibition called "@Large" in historically one of the world's most confining places: Alcatraz.

Now one of the US's most visited national parks, Alcatraz has a dark past as a military fortress, federal penitentiary for the nation's most notorious criminals and a site of Native American protests.

While tasked with creating works expressing the tension between freedom and imprisonment, Ai Weiwei has been confined to Beijing under house arrest, barred from leaving the country. As a result, Weiwei has been working with the curator, Cheryl Haines, and her organization, the FOR-SITE Foundation, to defy distance and restriction to commemorate the individuals who dared to express their ideas and beliefs.

Weiwei created seven unique installations throughout Alcatraz to give visitors a thoughtful experience regarding the spectrum between free expression and extreme oppression.

"With Wind" by Ai Weiwei
"With Wind" is an installation that occupies the New Industries Building, which was used for prison labor. Applying a contemporary twist on the traditional Chinese dragon kites, Weiwei constructed floating kites donned with birds and allusions to flight that weave throughout the space, suspended in air. Although the positioning of the work creates the sense of motion and flight, the figure remains frozen and immobile.

The installation colorfully represents the restriction of free expression with obvious comparisons to Chinese culture. Weiwei fearlessly interjected modern references such as this throughout the exhibition to remind visitors that although Alcatraz is now closed, government oppression is a still salient and present issue.

"Trace" by Ai Weiwei
"Trace" occupies the floor of the New Industries Building and consists of over 175 portraits constructed with LEGO bricks. Depicting the faces of some of the world's most famous activists, like Nelson Mandela and Martin Luther King Jr., the installation also pays homage to and highlights the work of lesser-known or more controversial figures. The installation aims to humanize and "put a face" to the confinement of individuals and the issues they represented.

"Refraction" by Ai Weiwei


"Refraction" is a two ton sculpture made with large solar panels and housed in the lower floor of the New Industries Building. Although bolted to the ground, the sculpture evokes the symbol of flight and gives the impression of a giant winged figure about to take flight. The enormity of the figure is viewed by visitors from the gun gallery above. The visitors stand where the armed guards would have been monitoring inmates. Viewing the sculpture through the dusty, broken glass of the building's windows evokes the disparity between the powerful and the powerless.

"Blossom" by Ai Weiwei
"Blossom"takes visitors through the hospital ward cells and medical offices. Focusing on the toilets, tubs and sinks, Weiwei filled the utilitarian fixtures with white, fragile, porcelain flowers. The bold installation is an overt reference to the 1956 Chinese campaign "Hundred Flowers," which represented a period of freedom of expression and was followed by a severe period of oppression.

"Illumination" by Ai Weiwei
"Illumination" also takes place within the hospital ward. The chants of both Tibetan monks and Native Americans resonate and haunt two of the tiled chambers of the ward. The Tibetan chants refer to the detainment suffered by the monks for defying the Chinese government, and the Native American chant refers to the exile and suffering of the people who protested on the island years before. Weiwei placed the hypnotizing chants within the hospital ward where many prisoners were determined mentally ill, stripped of their rights, confined and observed.

"Stay Tuned" by Ai Weiwei
"Stay Tuned" incorporates the 12 consecutive cells in A Block to give an auditory experience to visitors.  People are encouraged to sit in each of the blocks, where audio recordings of spoken word, poetry and music are played on a loop.  These recordings come directly from the individuals who were among those detained for the expression of their beliefs including Tibetan singer Lolo, Chilean singer and poet Victor Jara and Martin Luther King Jr.

"Yours Truly" by Ai Weiwei
Lastly, the installation "Yours Truly" gives visitors the opportunity to write postcards to current political prisoners, many of whom were featured throughout the exhibition. The postcards provided also use the symbol of flight by featuring the national birds of all of the countries where the prisoners are held. Speaking from personal experience, Weiwei uses this installation to highlight and counteract the profound isolation felt from prisoners.

This diverse and original exhibition's ability to communicate the importance of human rights as well as the persistence of governmental oppression reiterates the essential function artists and other creative thinkers pose to our societies. Weiwei uses art as a vehicle to communicate human suffering, empowerment and political issues affecting the whole world.

Details of each installment and high-resolution photographs and audio clips of the exhibition can be found on the FOR-SITE Foundation's website.

All photos are courtesy of the FOR-SITE Foundation.  Sources include: San Francisco Weekly, Design Bloom, W Magazine, and Artsy.net.

Wednesday, October 01, 2014

Tomata du Plenty's Art Comes to the East Coast at the Georgia Museum of Art

Joe Louis, painted by Tomata du Plenty. This work can be seen in the Boxers and Backbeats exhibition at the Georgia Museum of Art in Athens, Ga. 

West Coast punk art created by a countercultural musician heavily involved in the drag world and the development of the synth-punk music scene, whose visual artistic career really only began when he found old paint supplies in a Hollywood alleyway, may seem like a strange exhibition choice for an art museum in a Southern community. However, this is exactly one of the upcoming exhibitions at the Georgia Museum of Art because here in Athens, and especially at the museum, originality and innovation is celebrated.

"Boxers and Backbeats: Tomata du Plenty and the West Coast Punk Scene" is on display at the Georgia Museum of Art from Oct. 4-Jan. 4. The exhibition includes portraits of boxers and musicians created by Tomata du Plenty, as well as a number of prints and zines from various other artists influential to the West Coast punk scene, such as Mark Vallen and Ray Pettibon.

Tomata du Plenty (known as David Xavier Harrigan before he adopted his new identity)  helped define the "punk rocker" that became popular in the West Coast in the 1970s. He was a founder of the drag theatre group Ze Whiz Kidz and the singer of the synth-punk band the Screamers. He began to delve into painting in the 80s. He welcomed his "outsider" status due to his lack of training, claiming that he would prefer to sell 100 paintings priced at $25 each than a single painting for $2500. 

This exhibition intimates one of the most unique characteristics of Athens -- its prominence in the music world and its interdisciplinary involvement with the arts. In tandem with the concurrent exhibition, "The … of E6," Boxers and Backbeats demonstrates the trans-American nature of cultural arts and helps contrast two very different but equally vivacious examples of the intersection between music and visual art. The works of art were donated by collector Gordon W. Bailey in honor of R.E.M. members and Athens musicians Michael Stipe, Peter Buck, Mike Mills and Bill Berry.

A number of Georgia Museum of Art events will feature this exhibition:

Monday, September 29, 2014

Parthenon Exhibition Helps Solve Some of Art History's Mysteries


Dr. Katherine A. Schwab is not just a professor, an archaeologist, and an artist- she is also an art history detective. Her work, which combines all three disciplines, reconstructs some of the most damaged parts of the relief sculptures of the famous Greek temple the Parthenon and discovers some of the sculpture's missing pieces.

In the Georgia Museum of Art exhibition "An Archaeologist's Eye: The Parthenon Drawings of Katherine A. Schwab," Schwab's intensely careful drawings have for the first time taken the destroyed parts of the Parthenon's metopes (the large panels of the frieze above the columns) and "filled in the holes." She has used her archeological background to reimagine these metopes, which tell the mythological stories of famous characters like Odysseus and the Greek Gods, and finally display the complexity that they would have shown back in their glory days before they were damaged in the 6th and17th centuries.

Schwab's drawings use a new method of graphite and pastel on paper, a process she began working with in 2005. The multimedia exhibition, which runs from Sept. 13 through Dec. 7, combines these drawings with photographs of the original sculptures by Socratis Mavrommatis and a full size plaster cast of one of the better preserved metopes, allowing visitors to gain a full understanding of how complex these sculptures truly are.

Some museum visitors have already had the opportunity to get up close with the exhibition. On Sept. 13, the museum hosted a Parthenon-themed Family Day for younger visitors. Kids could not only spend some time with their families in the galleries but were also able to try their hand with sculpting tools, take photos dressed up as Greek gods and goddesses and create their own metope drawings.

Future events about the exhibition include the annual Shouky Shaheen Lecture, which Schwab will deliver on Oct. 2 at 5:30 p.m., entitled "The Parthenon Sculptures: Reimagining Lost Narratives." Two tours will also be offered: one on Oct. 29 at 2 p.m. by undergraduate honors classics student Chiara Tondi Resta, and one by Mark Abbe, guest curator of the exhibition, on Nov. 14 at 2 p.m.

Wednesday, September 24, 2014

Georgia Museum of Art Celebrates Elephant 6






On October 4, the Georgia Museum of Art will be opening a new exhibition that, in tandem with other events and exhibitions at various Athens art locales, celebrates and unveils a group central to the heritage of the Athens arts scene. The Georgia Museum of Art's portion of this citywide commemoration, "The . . . of E6, Part of Athens Celebrates Elephant 6," will include art from album covers, works inspired by these individuals and their music, and other pieces influential to the artists honored and the culture they represented and galvanized.

The Elephant 6 Recording Company was formed in the early 1990's by Robert Schneider, Jeff Mangum, Will Hart, and Bill Doss, four friends from Ruston, La. who moved to Athens. The first EP from the recording company came from Schneider's band, the Apples in stereo, and began a new Athens aesthetic that has become ingrained in the town's artistic heritage. Other bands, such as Olivia Tremor Control and Neutral Milk Hotel, were borne out of the movement, with band members often switching between groups. A sub-genre of music can still be traced back to these origins today, with bands such as of Montreal and Elf Power.

Lynn Boland, curator of the exhibition, said in a UGA news article, "For many of us, the scene surrounding the collective defined Athens of the 1990s; not just the music, but the entire creative endeavor and its collaborative spirit. I would say it largely defined my formative years and it has been a great honor and undeniable pleasure to work on this exhibition."

The exhibition will be shown from Oct. 4, 2014 to Jan. 4, 2015. During this period the museum will host a number of events focusing on this topic. On Oct. 8 at 2 p.m., Boland will present a public tour; museum event 90 Carlton: Autumn will feature the exhibition (free for members, $5 for nonmembers) on Oct. 10; Oct. 11's Family Day will be music-themed and children will be able to create their own band posters; at Museum Mix on Oct. 16 DJs will use this collective as inspiration; on Nov. 6 a film screening of "The Past is a Grotesque Animal," a documentary about Kevin Barnes, of Montreal's frontman, will be shown; and the exhibition will also be the theme of Teen Studio on Nov. 6, where teenagers can workshop with a local artist.

Monday, September 22, 2014

"Terra Verte" Exhibition Transforms Nature into Art


Artist Patricia Leighton grew up primed to appreciate the wonders of the natural environment, a quality highlighted in her exhibition "Terra Verte," on display in the Georgia Museum of Art's Jane and Harry Willson Sculpture Garden until May 2015.

Her interest and attachment to the natural environment are indelibly present in her sculptures. "Terra Verte" consists of six steel-framework cubes raised above the ground and filled with plants that transmute in color and texture over time, contrasting the starkly stagnant mechanical with the vibrantly evolving natural.

Leighton explains, "Having grown up surrounded by Scottish hills and mountains of ever-changing color, texture and light; having traveled Britain and Europe viewing ancient sacred sites like the Ring of Brogar in Orkney or Hagar Qim in Malta, I have experienced first-hand a sense of timelessness and hidden mysteries. I seek to capture this sense of presence in my work and the intrinsic echoes of the landscape.”

Leighton's sculptures, which are created with a supporting team of ecologists, engineers, architects and landscape architects, have been installed around the world in places such as Scotland, England, South Korea, Bulgaria and New York City. Her husband, Del Geist, is also an artist, and his sculpture "Stone Levity" is installed in front of the Performing Arts Center in the quad during the same period that "Terra Verte" will be on display.

The Georgia Museum of Art will be hosting a lecture by Leighton on Sept. 25 entitled "Art and Place" at 5:30 p.m. The lecture is free and open to the public.

Friday, September 19, 2014

Art gallery tours led by new guiding voice


Gallery tours are an amazing opportunity for art patrons to learn about and deepen their appreciation of art.  From the context of the piece to the life of the artist, the information given in a gallery tour is often vital to understanding the art. 

However, even with experts personally walking guests through the museum, particular challenges can limit and inhibit the museum experience.  Whether it’s problems with audio volume, articulation or foot traffic, gallery tours are subject to a variety of factors within the museum on that particular day.

David Behringer, owner of the New York City gallery The Two Percent, decided to use modern technology to combat the limitations of gallery tours.

With the use of the antenna-based audio systems company Antenna International, Behringer has transformed his gallery tours into an audio-led experience. Using the technology, Behringer transmits his voice and other multimedia content directly to the tour participants.

These tours, which Behringer calls “Audio Hops,” allow tour participants to wander freely, taking their time with the art that strikes them. People are allowed to spread out, clearing the gallery of the clumps of people gathered, attempting to hear a single, and often straining, voice.

Whether the gallery is empty or full, Behringer can pre-record the audio tour and adjust volume accordingly. He can not only record himself providing the appropriate context and background for the art; he can also record the artists themselves giving patrons even more details. 

In addition to allowing an easier flow of information between the tour guide and the participants, the technology also enables the use of multimedia to help create an interactive, rich tour experience. When appropriate, Behringer uses music or videos to further contextualize work for the guests.  This helps to highlight the intricacies of a method or influence that would otherwise be lost in a traditional tour.

Behringer still gives Audio Hops primarily through beta-testing; however, he has started to allow up to six patrons to register online to participate in tours. And as many possibilities as this type of tour present, he is still figuring out what works best, attempting to optimize the gallery experience for all guests. 

All images from psfk.

Monday, September 15, 2014

Iron Horse Celebrates 60th Anniversary




Athens and the University of Georgia share a history richly saturated in art and, usually, art appreciation. But, as a notable Athens moment proves, this has not always been the case. This year marks the 60th anniversary of the Iron Horse, one of the most infamous artistic disasters in both UGA and Athens history.

On May 25, 1954, Chicago artist Abbott Pattison's large iron sculpture, depicting an abstracted horse, was revealed on the quad outside of Reed Hall. The sculpture was one of five that the art department had commissioned Pattison to create for the university's campus (the first in this series, "Mother and Child," is still on display behind the Fine Arts building).

The very night the horse was installed, mischievous UGA students immediately began the work of defacing it. They shoved hay in its mouth, dropped manure around it, vandalized it with paint, and eventually lit a fire underneath it. Art, especially modern art, was a new focus at the university at this time, and many thought the delinquent behavior was a response to its introduction on campus. Others attributed it to negativity toward the artist himself. Pattison had written an article in the Red & Black (UGA's student newsaper), shortly before the installation of the Iron Horse, criticizing what he viewed as substandard academics and the student body's lack of appreciation for culture. In either case, the students had a perfect target for some personal expression.

Unsurprisingly, when Pattison found out about the destruction and disrespect he was both insulted and infuriated. He complained to publications such as the Atlanta Journal, saying, "I wanted Athens, Ga., to have a piece of sculpture to look at. And I think the least I could have expected, even if they didn't like it, was a little Southern courtesy." Word about the incident spread quickly, with publications such as Time Magazine reporting the story and interviewing Pattison.

Only a few days after the horse was unveiled, it was quietly taken into hiding. Four years later, in 1958, a university professor of horticulture named L.C. Curtis offered to take the horse to his farm, where it could be viewed by people driving by on the road. The horse would still be considered university property, but it would be out of the way from pranksters until the university decided it wanted it back on campus. Although the idea of returning the sculpture to UGA property has been discussed on occasion over the years, it has remained in Watkinsville with the Curtises.

In honor of this piece of local history, the Georgia Museum of Art and the Walter J. Brown Media Archives will co-host a free screening of the 1980 documentary "Iron Horse," directed by Atlanta filmmaker Bill VanDerKloot. The event, which starts at 4 p.m. and will be held in the Richard B. Russell Building Special Collections Libraries auditorium, as part of UGA's 2014 Spotlight on the Arts, includes interviews with alumni who were involved in the incident and will end with a discussion with VanDerKloot, Lamar Dodd School of Art faculty and Georgia Museum of Art staff.

Sources: OnlineAthens, Roadside America, Brown's Guides

Saturday, September 13, 2014

NY Fashion Week nods to Pucci's bold designs

With New York Fashion week upon us, there are plenty of notable looks on and off the runway. The Spring 2015 collections flaunt bold floral prints, dreamy pastels and strong lines for days. The colorful, fun garments combine the conceptual with the conventional as we ooo and ahh at the creative, theatrical runway shows.

Here are some of our favorite looks from 2014 NY Fashion Week:

 
Zero + Maria Cornejo Spring 2015

Cushnie et Ochs Spring 2015
 
Jason Wu Spring 2015
Victoria Beckham Spring 2015
Carolina Herrera Spring 2015
These inspiring looks from Fashion Week resemble the sleek designs and bold patterns of Emilio Pucci, whose designs will be featured in an upcoming exhibition at the Georgia Museum of Art.

"Emilio Pucci in America" will be on view Oct. 18, 2014 - Feb. 1, 2015, in the museum's Charles B. Presley Family and Lamar Dodd galleries. The exhibition celebrates of Pucci's short tenure at the University of Georgia as well as his 100th birthday.

The Italian designer's easy-to-wear, comfortable fashion may be a few decades old, but his designs still retain relevancy in the fashion world.


Friday, September 05, 2014

"Machine Wall Drawing" Exhibition Combines Order and Chaos


Tristan Perichs “Machine Wall Drawings” are one of the first exhibitions visitors to the Georgia Museum of Art encounter, on display on the Patsy Dudley Pate Balcony from March 20 to Nov. 18, 2014. Repeat visitors may notice something particularly unusual about these works of art: they change over time. The New York-based contemporary composer and artist has created a uniquely self-directed work of art that combines the control of a coded machine and the randomness of the influence of physical elements to highlight the role of both in visual compositions.

The drawings take up a 60-foot wall, on which they are completing themselves over the course of six months, using a machine designed and coded by Perich to introduce the impact of a carefully planned system while allowing physical elements to interfere at random and alter the final creation.

Perich explains on his website: “Varying levels of randomness — the probability the pen will change directions — produces the difference between straight lines or dense frenetic motion. While the motors’ movements are the result of the code executed precisely by machine, the final drawings come from the motion of pen on surface, and are wedded to the effects of the physical world: the ripple of the string connecting pen to motor, the gradual depletion of ink, the texture of the paper.”

This month, on Sept. 17, the museum is offering a Tour at Two focusing on “Machine Wall Drawings” for visitors interested in learning more about this exhibition. The museum is also hosting a special event the following day at 5:30 p.m. to premiere director Russell Oliver’s documentary about the drawings. The screening will conclude with a live Q & A with Perich.

Thursday, September 04, 2014

Ancient statues fall victim to selfie trend


Living in a time of technology and social media, the selfie craze is nearly impossible to escape. From young to old, anyone with access to a front-facing camera has dabbled in the art of selfies —including art itself.

At least it would appear that way after Reddit user Jazus_ur_lookin_well took four pictures of statues at Ireland’s Crawford Art Gallery at some particularly interesting angles.

The clever Reddit user strategically placed the camera to look as if the statues were taking selfies, and the expressions on the faces of the statues only add more humor. 

The statue selfie became so beloved, other Reddit users hit the museum to take similar shots, and an entire subreddit dedicated to the trend was born. 

Now, the original user has launched a website and a crowd-funding campaign to raise money to travel, visit more museums and create more selfie masterpieces. The cheeky pictures have successfully brought ancient artifacts into the modern age, and the trend has encouraged hundreds of people to visit museums and take a closer look — at some unique angles  at art.