La nota final se basa en asistencia, el blog, y la obra final.
El blog lo tienen que imprimir y darmelo el jueves si no lo traen hoy.
La obra final se tiene que presentar hoy o el jueves, si asi lo han arreglado conmigo.
Nos vemos en clase.
Rosina
martes, 7 de octubre de 2008
domingo, 5 de octubre de 2008
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MSNBC.com
Bio-artists bridge gap between art, science
Use of living organisms is attracting attention and controversy
By Jessica M. Pasko
The Associated Press
updated 3:17 p.m. ET, Sun., March. 4, 2007
TROY, N.Y. - Adam Zaretsky once spent 48 hours playing Engelbert Humperdincks's "Greatest Hits" to a dish of E.coli bacteria to determine whether vibrations or sounds influenced bacterial growth. Watching the bacteria's antibiotic production increase, Zaretsky decided that perhaps even cells were annoyed by constant subjection to "loud, really awful lounge music."
This sense of humor is a huge component of Zaretsky's work in the growing field of bio-art, a broad term for the blend of art, technology and science that is attracting artists, scientists and controversy. Having recently taught at the Rensselaer Polytechnic Institute, Zaretsky has become a prominent figure in the realm of bio-art and RPI is becoming a Petri dish for the cultivation of new works.
Bio-artists use live tissues, bacteria, living organisms and life processes to create works of art that blur the traditional distinctions between science and art. Most of these works tend toward social reflection, conveying political and societal criticism through the combination of artistic and scientific processes.
Making biotech more accessible
An exhibit of bio-art works by Kevin H. Jones went on view Feb. 16 at Montserrat College of Art in Beverly, Mass. Jones' work explores how biotechnology and other sciences are changing and being redefined. Almost every piece in it is alive, and the media used includes bioluminescent bacteria and rotting fruit. According to Montserrat College Assistant Curator Shana Dumont, the exhibit seeks to make the achievements and implications of biotechnology more accessible, a goal shared by most bio-artists working today.
Brazilian artist Eduardo Kac, an Art Institute of Chicago professor and a leader in bio-arts, once had a microchip implanted in his body to make people contemplate the relationship humans have with technology.
"(Bio-art) is a way of looking where we interface with ourselves, human culture and the rest of the living world," said Zaretsky.
At RPI, bio-arts is a growing curriculum through its iEAR program (Integrated Electronic Arts at Rensselaer).
"Through iEAR, it's helping us make alliances and build connections as we develop the bio-art program," said Kathy High, an RPI professor and chair of the program. "We're fortunate here because there's so much going on (around us) with nanotechnology and bioengineering."
High said she originally became involved in bio-art through her interest in women's issues and much of her previous work focused on the birthing process and reproductive technologies.
Zaretsky taught his course, "VivoArts: Art and Biology Studio," at RPI in the fall 2006 semester. The course guides a mix of artists, scientists and medical students in the exploration of life sciences through projects that examine the human connection to living systems.
Exposing artists to laboratories
The VivoArts courses are meant to expose artists to laboratories, which he says are often the most "intimidating and foreign sites." In one assignment, a student might "paint" with genetically modified bacteria; in another, a student incorporates his or her self into a work of living art.
Much of the art involves tissue-culturing and transgenics, a catchall term for a variety of genetic engineering processes through which genetic material from one organism is altered by the addition of synthesized or transplanted genetic material from another organism.
One of the original examples of this type of transgenic art was Alba, a living phosphorescent rabbit created by Kac in 2000. By inserting the fluorescent protein gene from a jellyfish into a fertilized rabbit egg cell, Kac eventually produced a rabbit that glows bright green under blue lights.
RPI alum Julia Reodica incorporated her own body as well as animal cells in her 2004 project, "hymeNextTM." Using rat tissue samples and her own vaginal cells, Reodica combined new media and sculpture methods with tissue-cultivating to produce a series of artificial hymens. Reodica's pieces aim to confront modern sexuality, and provoke thought on the female body and the emphasis placed on virginity in our culture.
Reodica, who was originally a medical student, turned to commercial art before later looking for a way to explore science through art while also illustrating social messages and issues.
An exhibit last October at RPI, called "Prototype," detailed the processes that have gone into the development of "hymeNextTM" and her other works, including an enormous replica of muscle cells that allows the viewer to walk around and through the faux tissue. Other projects on which she is working include a series she calls "Living Sculptures," creating a collection of synthetic embryos of mythical creatures.
Moral questions
Not everyone is cheering this blend of art and science.
Kac and many others have faced opposition from animal rights groups accusing them of unfairly manipulating living creatures for selfish purposes, and from conservative groups who question the morality of transgenics and tissue-culturing.
"Transgenic manipulation of animals is just a continuum of using animals for human end," regardless of whether it is done to make some sort of sociopolitical critique, said Alka Chandna, a senior researcher with PETA in Norfolk, Va. "The suffering and exacerbation of stress on the animals is very problematic."
Chandna also warned that scientists can't always predict what other health problems the animals will suffer from their alterations. "We're all in support of creativity but we're opposed to all suffering."
For other bio-artists, their work has led to national legal scrutiny.
Steven Kurtz, a professor at SUNY Buffalo, was arrested on federal terrorism charges nearly three years ago after police discovered certain types of bacteria and other biological materials in his home. Kurtz maintains that the specimens were for his bio-arts pieces and that he has been unfairly targeted for his choice of artistic expression. Kurtz's trial is still pending in the federal court system, nearly three years later.
Part of the problem with bio-art, explained RPI faculty member and Kurtz's colleague Rich Pell, is that much of it seems shrouded in secrecy because of the laboratory setting. Pell and Reodica are working to combat this through the creation of the Center for Bio-Media, a gallery, lab and educational facility that will be open to the public.
"With bio-art, rather than just freaking out about it, you can then go into a lab where things are actually happening and then have an 'educated freak-out,'" Pell said.
Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
URL: http://www.msnbc.msn.com/id/17387568/
MSN Privacy . Legal
© 2008 MSNBC.com
MSNBC.com
Bio-artists bridge gap between art, science
Use of living organisms is attracting attention and controversy
By Jessica M. Pasko
The Associated Press
updated 3:17 p.m. ET, Sun., March. 4, 2007
TROY, N.Y. - Adam Zaretsky once spent 48 hours playing Engelbert Humperdincks's "Greatest Hits" to a dish of E.coli bacteria to determine whether vibrations or sounds influenced bacterial growth. Watching the bacteria's antibiotic production increase, Zaretsky decided that perhaps even cells were annoyed by constant subjection to "loud, really awful lounge music."
This sense of humor is a huge component of Zaretsky's work in the growing field of bio-art, a broad term for the blend of art, technology and science that is attracting artists, scientists and controversy. Having recently taught at the Rensselaer Polytechnic Institute, Zaretsky has become a prominent figure in the realm of bio-art and RPI is becoming a Petri dish for the cultivation of new works.
Bio-artists use live tissues, bacteria, living organisms and life processes to create works of art that blur the traditional distinctions between science and art. Most of these works tend toward social reflection, conveying political and societal criticism through the combination of artistic and scientific processes.
Making biotech more accessible
An exhibit of bio-art works by Kevin H. Jones went on view Feb. 16 at Montserrat College of Art in Beverly, Mass. Jones' work explores how biotechnology and other sciences are changing and being redefined. Almost every piece in it is alive, and the media used includes bioluminescent bacteria and rotting fruit. According to Montserrat College Assistant Curator Shana Dumont, the exhibit seeks to make the achievements and implications of biotechnology more accessible, a goal shared by most bio-artists working today.
Brazilian artist Eduardo Kac, an Art Institute of Chicago professor and a leader in bio-arts, once had a microchip implanted in his body to make people contemplate the relationship humans have with technology.
"(Bio-art) is a way of looking where we interface with ourselves, human culture and the rest of the living world," said Zaretsky.
At RPI, bio-arts is a growing curriculum through its iEAR program (Integrated Electronic Arts at Rensselaer).
"Through iEAR, it's helping us make alliances and build connections as we develop the bio-art program," said Kathy High, an RPI professor and chair of the program. "We're fortunate here because there's so much going on (around us) with nanotechnology and bioengineering."
High said she originally became involved in bio-art through her interest in women's issues and much of her previous work focused on the birthing process and reproductive technologies.
Zaretsky taught his course, "VivoArts: Art and Biology Studio," at RPI in the fall 2006 semester. The course guides a mix of artists, scientists and medical students in the exploration of life sciences through projects that examine the human connection to living systems.
Exposing artists to laboratories
The VivoArts courses are meant to expose artists to laboratories, which he says are often the most "intimidating and foreign sites." In one assignment, a student might "paint" with genetically modified bacteria; in another, a student incorporates his or her self into a work of living art.
Much of the art involves tissue-culturing and transgenics, a catchall term for a variety of genetic engineering processes through which genetic material from one organism is altered by the addition of synthesized or transplanted genetic material from another organism.
One of the original examples of this type of transgenic art was Alba, a living phosphorescent rabbit created by Kac in 2000. By inserting the fluorescent protein gene from a jellyfish into a fertilized rabbit egg cell, Kac eventually produced a rabbit that glows bright green under blue lights.
RPI alum Julia Reodica incorporated her own body as well as animal cells in her 2004 project, "hymeNextTM." Using rat tissue samples and her own vaginal cells, Reodica combined new media and sculpture methods with tissue-cultivating to produce a series of artificial hymens. Reodica's pieces aim to confront modern sexuality, and provoke thought on the female body and the emphasis placed on virginity in our culture.
Reodica, who was originally a medical student, turned to commercial art before later looking for a way to explore science through art while also illustrating social messages and issues.
An exhibit last October at RPI, called "Prototype," detailed the processes that have gone into the development of "hymeNextTM" and her other works, including an enormous replica of muscle cells that allows the viewer to walk around and through the faux tissue. Other projects on which she is working include a series she calls "Living Sculptures," creating a collection of synthetic embryos of mythical creatures.
Moral questions
Not everyone is cheering this blend of art and science.
Kac and many others have faced opposition from animal rights groups accusing them of unfairly manipulating living creatures for selfish purposes, and from conservative groups who question the morality of transgenics and tissue-culturing.
"Transgenic manipulation of animals is just a continuum of using animals for human end," regardless of whether it is done to make some sort of sociopolitical critique, said Alka Chandna, a senior researcher with PETA in Norfolk, Va. "The suffering and exacerbation of stress on the animals is very problematic."
Chandna also warned that scientists can't always predict what other health problems the animals will suffer from their alterations. "We're all in support of creativity but we're opposed to all suffering."
For other bio-artists, their work has led to national legal scrutiny.
Steven Kurtz, a professor at SUNY Buffalo, was arrested on federal terrorism charges nearly three years ago after police discovered certain types of bacteria and other biological materials in his home. Kurtz maintains that the specimens were for his bio-arts pieces and that he has been unfairly targeted for his choice of artistic expression. Kurtz's trial is still pending in the federal court system, nearly three years later.
Part of the problem with bio-art, explained RPI faculty member and Kurtz's colleague Rich Pell, is that much of it seems shrouded in secrecy because of the laboratory setting. Pell and Reodica are working to combat this through the creation of the Center for Bio-Media, a gallery, lab and educational facility that will be open to the public.
"With bio-art, rather than just freaking out about it, you can then go into a lab where things are actually happening and then have an 'educated freak-out,'" Pell said.
Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
URL: http://www.msnbc.msn.com/id/17387568/
MSN Privacy . Legal
© 2008 MSNBC.com
martes, 30 de septiembre de 2008
sábado, 13 de septiembre de 2008
Historia, sitio y arte
May 27, 1991
Review/Art; Visual Arts Join Spoleto Festival U.S.A.
By MICHAEL BRENSON,
In the days before the opening here of the Spoleto Festival U.S.A.'s "Places With a Past: New Site-Specific Art in Charleston," which may be the most moving and original exhibition of contemporary art in the United States this season, some of the artists seemed to wonder themselves at the force and meaning of what they had brought into being.
Antony Gormley sat alone in silence by the copper tube, dangling from the ceiling like a golden rope or umbilical cord, that he had installed near the top of the old city jail he had just finished turning into an allegory of human transformation.
David Hammons sat on the sidewalk on America Street deliberating upon his "House of the Future," an amazingly eccentric, barely functional two-story edifice, roughly 6 feet wide and 20 feet long, pieced together with found columns, a found door and scraps of wood. Even as he sat there, it was becoming increasingly difficult to tell who the real architect was, Mr. Hammons or the residents of the black neighborhood, although only he could be responsible for such an inspired and unpredictable communal invention.
Joyce Scott -- whose mother, once a sharecropper in South Carolina, contributed to her grandly theatrical installation -- at times just sat on the ground and stared at the rustling beads she had hung like weeping willows branches from the tops of four columns standing at the edge of a park, and at her suspended black tree dangling like a burned, lynched figure rising from the ashes of the painted logs beneath it.
This year the Spoleto Festival decided to treat the visual arts with the same seriousness with which it has treated opera, theater and dance, and it has done so in style. This exhibition, which opened May 24, is unusually concentrated and pure. The artists chose their own sites. There is no evident dealer or collector involvement and no smell of power or money. The art is impermanent. When the exhibition ends on Aug. 4, almost everything will be dismantled.
All 17 installations are rooted in Charleston and its history. The 19 artists -- black and white, male and female, from Canada, Europe and Australia as well as from the United States -- explore Charleston and slavery, Charleston and the military, Charleston and religion, Charleston and its devotion to a glorified view of its past. A number of installations were conceived for old or dilapidated buildings, some for private homes. Some artists found the stories they needed to tell in a pump house, or in the Customs House, or in a church. Very little of the work is didactic. Almost all the artists came to Charleston to learn from the city, not to tell its citizens what to think.
The exhibition proves that art made for a specific site and shaped by a social or political orientation has no intrinsic limits. The best work belongs to Charleston and its history and yet goes well beyond them in implication and scope. In this rich and complex 300-year-old city, with its almost fanatical commitment to architectural preservation and with its magnificent yet seemingly impenetrable facades, artists in this show found themselves struggling with age-old issues of appearance and reality, memory and transcendence, life and death.
Along the dark corridor of a Confederate widows' home, Liz Magor has hung photographs that look as if they were taken during the Civil War. But they were in fact recently taken at re-enactments of Civil War events, re-enactments whose accuracy was largely determined from Civil War photographs. To experience these static images of men and women posing in the garb of the time, staging heroic battles and acting out moments of camaraderie, sacrifice and death, is to enter a world in which past and present, fact and fiction, truth and delusion collide.
The exhibition is a tribute to Nigel Redden, the festival's general manager, who conceived of an ambitious art event that would use and call attention to the resources of the city. Its cost, paid in part by the National Endowment for the Arts and private foundations, is now estimated at more than $800,000.
But most of all, the exhibition is a tribute to Mary Jane Jacob, a former curator at the Museums of Contemporary Art in Los Angeles and in Chicago, where she is now a freelance curator. She selected the artists, led them through Charleston, negotiated their sites and maintained constant dialogue with residents and officials of a city that had no experience with this kind of art.
The sailing was not always smooth. The exhibition did not appeal to Gian Carlo Menotti, the founder and artistic director of the Spoleto Festival U.S.A., who threatened to resign over it at a board meeting last October. "It was not his idea of art," said Claudia Keenan of the festival's press office. At the same meeting, however, he agreed to go along with what the board wanted. "He has in some ways resigned himself to the show," Ms. Keenan said.
If "Places With a Past" demonstrates the maturation of a new kind of art, it also reflects a new attitude toward history. For the artists in the show, there is not one history but many. Almost all of them have a need -- almost a mission -- to bring into the open histories that remain largely unrecognized or unwritten.
Walking through Ann Hamilton's 14,000-pound tumulus of blue work shirts and pants glowing in the natural light of an abandoned garage on Indigo Street -- with the names of the men who wore the shirts still on the pockets or collars -- it is possible to feel the presence of a mountain of forgotten people. For the duration of the exhibition, someone, sometimes the artist herself, will sit behind the mound and erase the kinds of history books (with blue covers) many Americans grew up with.
Walking through Elizabeth Newman's installation, on the top floor of a four-story house that was once a water works, listening to a recorded lullaby and to the continuous running of hot water in an old bathtub, seeing a photograph of a black nursemaid and a white child, there is a clear sense of the role black nursemaids played, and still play, in Charleston life. And because of the seven little chairs and seven glasses of honey and the overwhelming smell of talcum powder, the installation also bears the full-bodied presence of children.
Walking through Lorna Simpson's installation in five rooms of a former slave quarters, seeing the names of slave ships and looking at black baby dolls suggesting infant mortality and seeing photographs of trees in the garden while listening to Billie Holiday's "Strange Fruit," there is a sense of the passage of of slaves from Africa to Charleston and their lives there.
For people unfamiliar with this kind of work, the first question is likely to be, Is this art?
It certainly is. The best artists in the show think in images and have a strong feeling for materials, and they are determined to use images and materials in a sensuous, physical way. Although the works are first and foremost about content, their formal power can be startling. Ms. Hamilton's glowing blue mound, with its shirts and pants stacked like bodies, is a visual tour de force.
Only a handful of works in the show are unsuccessful. Ian Hamilton Finlay's hive- and medallion-shaped memorial to the 1942 Battle of Midway, citing the names of destroyed Japanese ships as well as of the carrier Yorktown, is so inconsequential that it might as well not exist. James Coleman's slide projection in a parish, based on an inaccurate Currier & Ives print of the Battle of Bull Run, is better suited to a classroom. Cindy Sherman's photographs of body parts, primarily feet, hands and skulls, installed near the entrance to the Gibbes Museum of Art -- the reference point for the exhibition -- would be more at home in a New York gallery.
Some works are worth preserving. The "House of the Future" has brought money and attention to the black section of Charleston. Because of Mr. Hammons, a dirt mound diagonally across from his magically illogical house is to become a little park. Instead of a billboard advertising cigarettes there will be a photograph of black children staring at a black nationalist flag rising out of the mound like the flag out of the sculptural mound of Iwo Jima.
Mr. Gormley's installation unfolds over seven rooms of a worn but seemingly indestructible jail built in 1802 and closed in 1939. All the doors and windows are now open so that wind circulates through the cells and everything is illuminated by natural light. The aim, Mr. Gormley said, was to take this building with its specific history of confinement and "liberate it."
The floor of one room is packed with an army of 20,000 hand-size terra-cotta figures facing the door. A nearby room is empty except for three large rolling iron globes. The floor of a third room is covered with mud from the harbor and water from the sea. In the room directly across from it, five figures, all lead and Fiberglas and made from a mold of the artist's body, are embedded in the ceiling: they could be lynched but the way they defy gravity also makes it seem as if they are walking on a plateau of air.
Two smaller rooms contain giant seeds (made of plaster, oyster shells and mica) that are both massive and light (they suggest clouds) and seem swollen to the point of exploding. Concealed inside each one is a male figure. The mouths and penises of the figures within the eggs are connected by tubes. They face the same wall, like prisoners in different cells trying to communicate.
The culmination of the installation is the golden copper rope or umbilical cord, alone in a room with rusted walls that seem like flayed skin, carrying the journey from mud and water and fertilization to the sky. This visceral, multi-layered and richly textured work carries within it the feeling for the past and the call to consciousness and transformation that is being issued by almost every artist in one of the most visceral, multi-layered and richly textured exhibitions this year.
* Copyright 2008 The New York Times Company
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Review/Art; Visual Arts Join Spoleto Festival U.S.A.
By MICHAEL BRENSON,
In the days before the opening here of the Spoleto Festival U.S.A.'s "Places With a Past: New Site-Specific Art in Charleston," which may be the most moving and original exhibition of contemporary art in the United States this season, some of the artists seemed to wonder themselves at the force and meaning of what they had brought into being.
Antony Gormley sat alone in silence by the copper tube, dangling from the ceiling like a golden rope or umbilical cord, that he had installed near the top of the old city jail he had just finished turning into an allegory of human transformation.
David Hammons sat on the sidewalk on America Street deliberating upon his "House of the Future," an amazingly eccentric, barely functional two-story edifice, roughly 6 feet wide and 20 feet long, pieced together with found columns, a found door and scraps of wood. Even as he sat there, it was becoming increasingly difficult to tell who the real architect was, Mr. Hammons or the residents of the black neighborhood, although only he could be responsible for such an inspired and unpredictable communal invention.
Joyce Scott -- whose mother, once a sharecropper in South Carolina, contributed to her grandly theatrical installation -- at times just sat on the ground and stared at the rustling beads she had hung like weeping willows branches from the tops of four columns standing at the edge of a park, and at her suspended black tree dangling like a burned, lynched figure rising from the ashes of the painted logs beneath it.
This year the Spoleto Festival decided to treat the visual arts with the same seriousness with which it has treated opera, theater and dance, and it has done so in style. This exhibition, which opened May 24, is unusually concentrated and pure. The artists chose their own sites. There is no evident dealer or collector involvement and no smell of power or money. The art is impermanent. When the exhibition ends on Aug. 4, almost everything will be dismantled.
All 17 installations are rooted in Charleston and its history. The 19 artists -- black and white, male and female, from Canada, Europe and Australia as well as from the United States -- explore Charleston and slavery, Charleston and the military, Charleston and religion, Charleston and its devotion to a glorified view of its past. A number of installations were conceived for old or dilapidated buildings, some for private homes. Some artists found the stories they needed to tell in a pump house, or in the Customs House, or in a church. Very little of the work is didactic. Almost all the artists came to Charleston to learn from the city, not to tell its citizens what to think.
The exhibition proves that art made for a specific site and shaped by a social or political orientation has no intrinsic limits. The best work belongs to Charleston and its history and yet goes well beyond them in implication and scope. In this rich and complex 300-year-old city, with its almost fanatical commitment to architectural preservation and with its magnificent yet seemingly impenetrable facades, artists in this show found themselves struggling with age-old issues of appearance and reality, memory and transcendence, life and death.
Along the dark corridor of a Confederate widows' home, Liz Magor has hung photographs that look as if they were taken during the Civil War. But they were in fact recently taken at re-enactments of Civil War events, re-enactments whose accuracy was largely determined from Civil War photographs. To experience these static images of men and women posing in the garb of the time, staging heroic battles and acting out moments of camaraderie, sacrifice and death, is to enter a world in which past and present, fact and fiction, truth and delusion collide.
The exhibition is a tribute to Nigel Redden, the festival's general manager, who conceived of an ambitious art event that would use and call attention to the resources of the city. Its cost, paid in part by the National Endowment for the Arts and private foundations, is now estimated at more than $800,000.
But most of all, the exhibition is a tribute to Mary Jane Jacob, a former curator at the Museums of Contemporary Art in Los Angeles and in Chicago, where she is now a freelance curator. She selected the artists, led them through Charleston, negotiated their sites and maintained constant dialogue with residents and officials of a city that had no experience with this kind of art.
The sailing was not always smooth. The exhibition did not appeal to Gian Carlo Menotti, the founder and artistic director of the Spoleto Festival U.S.A., who threatened to resign over it at a board meeting last October. "It was not his idea of art," said Claudia Keenan of the festival's press office. At the same meeting, however, he agreed to go along with what the board wanted. "He has in some ways resigned himself to the show," Ms. Keenan said.
If "Places With a Past" demonstrates the maturation of a new kind of art, it also reflects a new attitude toward history. For the artists in the show, there is not one history but many. Almost all of them have a need -- almost a mission -- to bring into the open histories that remain largely unrecognized or unwritten.
Walking through Ann Hamilton's 14,000-pound tumulus of blue work shirts and pants glowing in the natural light of an abandoned garage on Indigo Street -- with the names of the men who wore the shirts still on the pockets or collars -- it is possible to feel the presence of a mountain of forgotten people. For the duration of the exhibition, someone, sometimes the artist herself, will sit behind the mound and erase the kinds of history books (with blue covers) many Americans grew up with.
Walking through Elizabeth Newman's installation, on the top floor of a four-story house that was once a water works, listening to a recorded lullaby and to the continuous running of hot water in an old bathtub, seeing a photograph of a black nursemaid and a white child, there is a clear sense of the role black nursemaids played, and still play, in Charleston life. And because of the seven little chairs and seven glasses of honey and the overwhelming smell of talcum powder, the installation also bears the full-bodied presence of children.
Walking through Lorna Simpson's installation in five rooms of a former slave quarters, seeing the names of slave ships and looking at black baby dolls suggesting infant mortality and seeing photographs of trees in the garden while listening to Billie Holiday's "Strange Fruit," there is a sense of the passage of of slaves from Africa to Charleston and their lives there.
For people unfamiliar with this kind of work, the first question is likely to be, Is this art?
It certainly is. The best artists in the show think in images and have a strong feeling for materials, and they are determined to use images and materials in a sensuous, physical way. Although the works are first and foremost about content, their formal power can be startling. Ms. Hamilton's glowing blue mound, with its shirts and pants stacked like bodies, is a visual tour de force.
Only a handful of works in the show are unsuccessful. Ian Hamilton Finlay's hive- and medallion-shaped memorial to the 1942 Battle of Midway, citing the names of destroyed Japanese ships as well as of the carrier Yorktown, is so inconsequential that it might as well not exist. James Coleman's slide projection in a parish, based on an inaccurate Currier & Ives print of the Battle of Bull Run, is better suited to a classroom. Cindy Sherman's photographs of body parts, primarily feet, hands and skulls, installed near the entrance to the Gibbes Museum of Art -- the reference point for the exhibition -- would be more at home in a New York gallery.
Some works are worth preserving. The "House of the Future" has brought money and attention to the black section of Charleston. Because of Mr. Hammons, a dirt mound diagonally across from his magically illogical house is to become a little park. Instead of a billboard advertising cigarettes there will be a photograph of black children staring at a black nationalist flag rising out of the mound like the flag out of the sculptural mound of Iwo Jima.
Mr. Gormley's installation unfolds over seven rooms of a worn but seemingly indestructible jail built in 1802 and closed in 1939. All the doors and windows are now open so that wind circulates through the cells and everything is illuminated by natural light. The aim, Mr. Gormley said, was to take this building with its specific history of confinement and "liberate it."
The floor of one room is packed with an army of 20,000 hand-size terra-cotta figures facing the door. A nearby room is empty except for three large rolling iron globes. The floor of a third room is covered with mud from the harbor and water from the sea. In the room directly across from it, five figures, all lead and Fiberglas and made from a mold of the artist's body, are embedded in the ceiling: they could be lynched but the way they defy gravity also makes it seem as if they are walking on a plateau of air.
Two smaller rooms contain giant seeds (made of plaster, oyster shells and mica) that are both massive and light (they suggest clouds) and seem swollen to the point of exploding. Concealed inside each one is a male figure. The mouths and penises of the figures within the eggs are connected by tubes. They face the same wall, like prisoners in different cells trying to communicate.
The culmination of the installation is the golden copper rope or umbilical cord, alone in a room with rusted walls that seem like flayed skin, carrying the journey from mud and water and fertilization to the sky. This visceral, multi-layered and richly textured work carries within it the feeling for the past and the call to consciousness and transformation that is being issued by almost every artist in one of the most visceral, multi-layered and richly textured exhibitions this year.
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jueves, 11 de septiembre de 2008
Nuevo programa de Residencias
Arizona State University (ASU) has established F.A.R. @ ASU, a groundbreaking program for engaging artists with the university and greater community. Based in downtown Phoenix, F.A.R. (Future Arts Research) will host 20–24 leading national and international artists, critics and scholars each year who will conduct research in collaboration with university departments and the surrounding community. F.A.R. artists will spend periods of time in Phoenix using the city’s physical, social and intellectual landscape to conceptualize and present new research and, in some cases, produce new art work.
F.A.R. artists will follow an applied research method, focusing on three areas important to Phoenix: new technologies in the arts; desert aesthetics; and issues of justice and human rights. Artists may explore new modes of expression through technology, or examine society’s use of—or resistance to—new technologies. The second area of focus examines manifold understandings of the “desert” through the study of desert aesthetics, cultural sustainability and human interaction. F.A.R. will collaborate with other desert arts communities in this emerging field, and has already begun a residency exchange program with the Townhouse Gallery in Cairo, Egypt. F.A.R’s third field of study will focus on the examination of human rights and social action issues. Drawing inspiration from multiple academic disciplines, F.A.R. artists will map the evolving cultural anthropology of Phoenix.
F.A.R.’s inaugural residents include Max Dean, Dick Hebdige, Sandra Antelo Suarez, Natalie Jeremijenko, Rafael Lozano-Hemmer, Ken Lum, Ahmet Öğüt, William Wells, Joanna Berzowska, James Yamada, Richard Andrews, David Elliott, Peter Sellars, Syvie Fortin, Josiah McElheny / David Weinberg, Greyworld / Andrew Shoben, Subhankar Banerjee, Ferran Berenblit Scheinin, Peter Eleey, Mats Stjernstedt, Maria Nordman, Dana Claxton, Bernard Khoury and Walid Raad.
Director: Bruce W. Ferguson
Associate Director: Marilu Knode
F.A.R’s Inaugural Commission
F.A.R. has commissioned a new work from award-winning playwright and performer Anna Deavere Smith exploring women’s relationships to justice and the law. Debuting November 5, 2008, The Arizona Project is a one-woman play inspired by the 2006 naming of ASU’s College of Law for Supreme Court Justice Sandra Day O’Connor, a native of Arizona.
As in Smith’s well-known previous works, The Arizona Project is comprised of several interwoven monologues drawn verbatim from a series of interviews. The work presents the stories of Justice O’Connor, as well as those of prison system employees, incarcerated women, female lawyers, activists and others with complex relationships to the American judicial system. The Arizona Project addresses several contemporary issues through these diverse stories, including immigration, domestic violence, and the challenges faced by women living on Native American reservations.
Tickets will go on sale September 29, 2008 for performances November 5 and 7, 2008 at the Herberger Theater in Phoenix. 602.254.7399 or http://www.herbergertheater.org
F.A.R.’s Inaugural Symposium: F.A.R. Xchange 1
November 20-22, 2008
F.A.R. Xchange 1: The Desert Between Us is F.A.R.@ ASU’s first in a series of exchanges featuring lectures, performances and film screenings that will link the audiences in the Sonoran desert to deserts globally. The Desert Between Us will explore the various metaphorical meanings surrounding, shrouding and illuminating the desert as a site for meditation, activation and exchange. The ideas and events that will be presented will give equal weight to the social and metaphoric knowledge generated when using forms of artistic and intellectual analysis to frame a relationship to the desert.
F.A.R. artists will follow an applied research method, focusing on three areas important to Phoenix: new technologies in the arts; desert aesthetics; and issues of justice and human rights. Artists may explore new modes of expression through technology, or examine society’s use of—or resistance to—new technologies. The second area of focus examines manifold understandings of the “desert” through the study of desert aesthetics, cultural sustainability and human interaction. F.A.R. will collaborate with other desert arts communities in this emerging field, and has already begun a residency exchange program with the Townhouse Gallery in Cairo, Egypt. F.A.R’s third field of study will focus on the examination of human rights and social action issues. Drawing inspiration from multiple academic disciplines, F.A.R. artists will map the evolving cultural anthropology of Phoenix.
F.A.R.’s inaugural residents include Max Dean, Dick Hebdige, Sandra Antelo Suarez, Natalie Jeremijenko, Rafael Lozano-Hemmer, Ken Lum, Ahmet Öğüt, William Wells, Joanna Berzowska, James Yamada, Richard Andrews, David Elliott, Peter Sellars, Syvie Fortin, Josiah McElheny / David Weinberg, Greyworld / Andrew Shoben, Subhankar Banerjee, Ferran Berenblit Scheinin, Peter Eleey, Mats Stjernstedt, Maria Nordman, Dana Claxton, Bernard Khoury and Walid Raad.
Director: Bruce W. Ferguson
Associate Director: Marilu Knode
F.A.R’s Inaugural Commission
F.A.R. has commissioned a new work from award-winning playwright and performer Anna Deavere Smith exploring women’s relationships to justice and the law. Debuting November 5, 2008, The Arizona Project is a one-woman play inspired by the 2006 naming of ASU’s College of Law for Supreme Court Justice Sandra Day O’Connor, a native of Arizona.
As in Smith’s well-known previous works, The Arizona Project is comprised of several interwoven monologues drawn verbatim from a series of interviews. The work presents the stories of Justice O’Connor, as well as those of prison system employees, incarcerated women, female lawyers, activists and others with complex relationships to the American judicial system. The Arizona Project addresses several contemporary issues through these diverse stories, including immigration, domestic violence, and the challenges faced by women living on Native American reservations.
Tickets will go on sale September 29, 2008 for performances November 5 and 7, 2008 at the Herberger Theater in Phoenix. 602.254.7399 or http://www.herbergertheater.org
F.A.R.’s Inaugural Symposium: F.A.R. Xchange 1
November 20-22, 2008
F.A.R. Xchange 1: The Desert Between Us is F.A.R.@ ASU’s first in a series of exchanges featuring lectures, performances and film screenings that will link the audiences in the Sonoran desert to deserts globally. The Desert Between Us will explore the various metaphorical meanings surrounding, shrouding and illuminating the desert as a site for meditation, activation and exchange. The ideas and events that will be presented will give equal weight to the social and metaphoric knowledge generated when using forms of artistic and intellectual analysis to frame a relationship to the desert.
Busquen a estos artistas...
Max Dean, Dick Hebdige, Sandra Antelo Suarez, Natalie Jeremijenko, Rafael Lozano-Hemmer, Ken Lum, Ahmet Öğüt, William Wells, Joanna Berzowska, James Yamada, Richard Andrews, David Elliott, Peter Sellars, Syvie Fortin, Josiah McElheny / David Weinberg, Greyworld / Andrew Shoben, Subhankar Banerjee, Ferran Berenblit Scheinin, Peter Eleey, Mats Stjernstedt, Maria Nordman, Dana Claxton, Bernard Khoury and Walid Raad.
Rebecca Solnit, Dr. Lawrence Culver, Rebecca Belmore / Osvaldo Yero, Colin Boyd, Jananne Al-Ani, John Meunier, Dr. Armando José Prats, Christian Bumbarra Thompson and Joe Baker. Xchange Partners: Phoenix Film Festival, Valley Art Theater and Herberger College of the Arts, ASU.
3 cada uno y informan el próximo martes. Pongan en su blog a quien van a presentar
para que no se repitan unos con otros.
Rebecca Solnit, Dr. Lawrence Culver, Rebecca Belmore / Osvaldo Yero, Colin Boyd, Jananne Al-Ani, John Meunier, Dr. Armando José Prats, Christian Bumbarra Thompson and Joe Baker. Xchange Partners: Phoenix Film Festival, Valley Art Theater and Herberger College of the Arts, ASU.
3 cada uno y informan el próximo martes. Pongan en su blog a quien van a presentar
para que no se repitan unos con otros.
chulo...
http://news.bbc.co.uk/1/hi/sci/tech/7607145.stm
y esto:
que quiere decir que estamos al borde de probar mas de 4 dimensiones...
y esto:
que quiere decir que estamos al borde de probar mas de 4 dimensiones...
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