Monthly Archive for November, 2010

Arts Journal, Volume 5, Number 3 now available

Published on November 29, 2010 in Journal and Newsletter. 0 Comments

arts_front The third issue of Volume 5 of The International Journal of the Arts in Society is available.

Volume 5, Number 3 contains:

Contribution of Egyptian Handicrafts: Confirming Cultural Identity and Reinforcing the Dialogue among Civilizations by Mona Hussein.
Transforming Viewpoints: To Mix Metaphors in the Field of Painting by Ann Schilo and Anna Sabadini.
Mallakhamb: An Investigation into the Indian Physical Practice of Rope and Pole Mallakhamb by Jon Burtt.
Delight in Disorder: Palladio, Boyle, and the Evolution of an Aesthetic by Aaron Brown.
Vast Vicinity or Dense Garden Carpets: Learning from Essential Settlings and Dwellings by Hansjorg Goritz.
The Painting Room: A Painterly Approach to Research by Bridget Grady.
Pixelating Architecture by Deniz Balik.
Drumming Up Community: A Sociological Analysis of Contemporary Drum Circles by Tanice G. Foltz.
Narrative as Accretive Co-construction by Astrid Vicas.
Cohesiveness as Ideoculture: An Ethnography of a Soccer Team by Bobi Ivanov, Kimberly A. Parker, Cheryl L. Nicholas and Todd L. Sandel.
Engaging Delight: A Case Study of Site-specific Dance in Public City Gardens by Karen Nicole Barbour.
An Application of Tessellated Clay Brick Design for Pedestrian Pavement by Norhayati Ayob.
Architectrures’ Innovative Designing in Methods, Tools and Advertising Spaces by Golzar Younesi and Shiva Yaghmaeian.

Continue reading ‘Arts Journal, Volume 5, Number 3 now available’

We Three Things | Follow the Grid

Published on November 23, 2010 in News and Newsletter. 1 Comment

From The New York TImes Style Magazine…

Grids might be the musical scales of the visual arts, the underlying metric by which space is paced, measured and intuited. We are confronted by grids every day, in design, science and nature. No surprise, then, that grids are a support system and an inspiration to many artists and craftspeople.

Snuggled up next to Brice Marden’s latest show of paintings at the Matthew Marks Gallery is a small group of six early pieces by the artist, done between 1961 and 1964. There is a sense of them being pulled out of storage, dusted off, and scrutinized lovingly — their palette and surfaces betraying their vintage. My favorite is an untitled grid of layered rectangles in muted grays and blacks painted in 1963. Seeing Marden’s earliest work next to the show of his most recent gives a telescoping sense of the artist’s habits, and an eloquent glance at the artist as a young man. More…

Street Art Way Below the Street

Published on November 7, 2010 in News and Newsletter. 0 Comments

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From Jasper Rees at The New York Times…

A vast new exhibition space opened in New York City this summer, with a show 18 months in the making. On view are works by 103 street artists from around the world, mostly big murals painted directly onto the gallery’s walls.

It is one of the largest shows of such pieces ever mounted in one place, and many of the contributors are significant figures in both the street-art world and the commercial trade that now revolves around it. Its debut might have been expected to draw critics, art dealers and auction-house representatives, not to mention hordes of young fans. But none of them were invited.

In the weeks since, almost no one has seen the show. The gallery, whose existence has been a closely guarded secret, closed on the same night it opened.

Known to its creators and participating artists as the Underbelly Project, the space, where all the show’s artworks remain, defies every norm of the gallery scene. Collectors can’t buy the art. The public can’t see it. And the only people with a chance of stumbling across it are the urban explorers who prowl the city’s hidden infrastructure or employees of the Metropolitan Transportation Authority. More…

New York Photographs 1968–1978

Published on November 5, 2010 in News and Newsletter. 1 Comment

From the Paris Review…

What turned me away from painting was a realization that the streets and parks of Boston provided me with subject matter that I could not conjure up in my studio. At that point, a blank canvas drew nothing but a blank stare. So, with a newly purchased 35mm Leica loaded with tri-x film, I began my forays into downtown Boston to photograph. The kind of photographs I took then related to my art school days, when I would amble around the city making quick pencil sketches of people on park benches and subways.

After roaming around Vermont in the summer of 1964, I decided to move to Cambridge, MA where I took a full-time job in a commercial art studio. I was by this time married to my first wife and our plan was to save up enough to live for a year in Europe. Instead we wound up in New York, arriving by U-Haul in the summer of 1967. Rents were cheap, and we could now get by on my part-time work in advertising studios. I had abundant free time, and I took full advantage of it. More…