Tuesday, September 30, 2008

Street Anatomy: The Blog


When looking at the grotesque in art, images of the inner works of the human body often spring to mind. The blog "Street Anatomy" combines the elements of anatomy, art, and design to compile works that are sometimes grotesque, as well as beautiful and fascinating. To see it, go to http://streetanatomy.com/blog

Inflatable Street Art

Pretty awesome idea. I like how he describes the pieces as having a life cycle and that they just look like trash on the street when they aren't inflated.



Monday, September 29, 2008

ZOE BELOFF: THE SOMNAMBULISTS


The Somnambulists is comprised of five hand-painted miniature wooden theaters, into which moving images are projected. The largest of these theaters will house two high-definition 3-D color video projections of vaudevillian musical dramas: A Modern Case of Possession, and History of a Fixed Idea. Shot stereoscopically, the films depict three-dimensional figures, approximately one fifth of human scale, that appear to perform on stage with an effect closer to hallucination than projection. The installation centers on the idea of literally staging the unconscious as a hysterical drama. For these films, Beloff was inspired by several remarkable developments at the end of the 19th century: the discovery of the unconscious by psychotherapists, doctors’ emerging practice of filming their hysterical patients with motion picture cameras, and the public’s fascination with madness which manifested itself in the emotive, hysterical behavior of actors in Parisian cabarets.

Both A Modern Case of Possession and History of a Fixed Idea are based upon 19th century case histories written by the famous French psycho-pathologist Pierre Janet. In each, an actor representing Dr. Janet acts as a kind of narrator, leading us through scenes in which his patients express their delusions through song. Janet realized that his patients’ hysterical attacks provided a window, visual and auditory, into the unconscious working of their minds. Aware that they could neither hear nor speak to him in the throes of their delirium, Janet discovered that he could communicate by entering their imaginary world, as a second actor. It was as if he had walked into their mental theaters and as a master of ceremonies, was able to alleviate the fears that manifested themselves as grotesque, monstrous creatures.

Sunday, September 28, 2008

"Ubu meets Gertrude (Towards A Post-textual Avant-garde)"

recording of a panel at Slought about the (20th century) history of the book (including Drucker & Bök): http://www.slought.org/content/11259/

Saturday, September 27, 2008

You Are Forgiven



Megawords storefront, a "pop-up" gallery organized by the *$&@#% sweet magazine of the same name, closes on Tuesday 9/30 with a book release party for Matt Leines' new book YOU ARE FORGIVEN. Dude makes superhero-, Lucha Libre-, tribal-inspired illustrations of people with intricate hair and cube heads throwing lightning bolts and getting eaten by tigers. Good interview by Swindle magazine.

WPA Posters exhibit; citywide print extravaganza


Design for Social Impact, a local graphic design company, put together an extensive show of posters made by artists under the Works Progress Administration (WPA). It opened yesterday at the Thomas Eakins house (1727-29 Mount Vernon St.) The exhibit also includes screenprinted posters made by kids in the Mural Arts program. More info here. The exhibit was turned into a pretty gorgeous book published by Quirk (another local, in Old City).

Among the upcoming related events is a print extravaganza on Oct. 25 -- artists will teach silkscreening at six locations across the city; anyone who goes can make a poster.

We like to cycle and we like to press



CMYK printing by bicycles. Two Swedish design students printed books with this contraption.

Wednesday, September 24, 2008

interactive books and digital poetry

this site rules: http://www.arras.net/

Tuesday, September 23, 2008

Minnesota Rogue Taxidermy


Much like artists Damien Hirst and Joel Peter Witkin, the creators and members of Minnesota Association of Rogue Taxidermists use unlikely material to craft their pieces-- namely, dead animals. A recent article describing the organization notes that these "'rogue taxidermists' find something awe-inspiring about hunting for mangled roadkill or severed fish pieces in restaurant garbage bags and transforming them into works of art that, they say, give "new life" to dead animals. With over 30 members and an extensive gallery, the ranks of the Minnesota Rogue Taxidermists have swelled considerably. But what distinguishes the "rogue" taxidermists from the normal ones? A recent press article reports that in contrast with traditional taxidermy, "many rogue taxidermists craft new creatures that, in some cases, appear to be in imminent peril. One Web site, put together by Scott Bibus, shows chickens, deer and squirrels with their mouths and eyes pulled wide open, as though they’re in shock. What appears to be blood covers – or drips from – their mouths." The Minnesota Association of Rogue Taxidermists also blurs the line between art and consumerism. On their main site, you can look at their gory works on full display, and with the click of a mouse, you can purchase their taxidermied objects. ( If you click on "Members" and then click on Sarina J. Brewer, you can check out more sculptures like the one featured in the picture)

Immature Poetry

Skeleton Coaster from Manifesto Letterpresses' "Dreade of Death" series. You can see more of the work here: http://www.shopmanifestopress.com/dreade-of-death-coasters.html.

What about skeletons make them grotesque? Is it their reminder of death and rot? The fact that they are often given "life"? Their association with horror stories? Are skeletons always grotesque? In the last year or so, they've become a very popular, almost "pop" fashion symbol. What is appealing about them?

Book Making Workshop w/ Castle Exhibit


Fantastical Volumes: Making Your Own Books
Instructors: Book artists from the Philadelphia Center for the Book
Location: Education Studios I and II
Paid tickets required
$25 ($20 members)
Philadelphia Museum of Art

Artist James Castle made thousands of handmade books, often using found materials such as matchbook covers, cigarette packs, and cereal boxes. Learn to make books with artists from the Philadelphia Center for the Book. Come with your own found materials (packaging of all kinds, leaflets, rubber stamps, etc.) to create your own Castle-inspired books. Participants will also have an opportunity to visit the exhibition James Castle: A Retrospective.

Enrollment limited to 20 participants. Four half-day workshops are offered. Please register for one only.
  • Sunday, October 26, 2008, 10:00 a.m. - 12:30 p.m., and 1:30 p.m. - 4:00 p.m.
  • Sunday, December 7, 2008, 10:00 a.m. - 12:30 p.m., and 1:30 p.m. - 4:00 p.m.

Outsider Art Symposia


This symposium is scheduled to correlate with the James Castle exhibit at the PMA, but will also cover the Gee's Bend and Thomas Chambers' works. NOTE there is a scholarship for students, so you can likely get a reduced or free ticket.

Upcoming Symposia

Alternate American Art Worlds
Saturday, November 15, 2008
10:00 a.m. – 3:30 p.m.
Van Pelt Auditorium

Three major exhibitions at the Philadelphia Museum of Art this fall explore the complex landscape of American art. No longer seen as a tidy narrative with a single “mainstream,” the history of American art might be better understood as a network of interconnected worlds, some the size of the community of Gee’s Bend, Alabama, or as small as the family circle of James Castle, in Garden Valley, Idaho, or as large as the territory between Baltimore and Boston worked by the nineteenth-century marine and landscape painter, Thomas Chambers. All three of these art worlds have existed at some point “under the radar” of conventional art history, or divided into categories such as “folk” or “self-taught” art. Breaking down these divisions and coming to terms with the accomplishment of these artists, a day-long conference will gather to investigate the issues that unite these three exhibitions, discuss recent approaches to such “alternate” art worlds, and map the new landscape of national and international creative interaction. Scholarships are available for students in American art history, American studies, museum studies, and studio art. Sponsored by the Center for American Art at the Philadelphia Museum of Art Registration begins at 9:00 a.m. in the West Entrance.

General public $40; members $30; students $15; box lunch option $10 (served in the East Balcony)
To reserve, please call the Museum’s Ticket Center: 215-235-SHOW (7469).

Banned Book Week at the Rosenbach


Celebrate the many books banned for their "grotesque" themes, characters, or subject matter!

Join the Rosenbach Museum & Library and the
Philadelphia Center for the Book as we mark
Banned Books Week, an annual celebration of
the freedom to read that reminds Americans not to
take that precious democratic freedom for granted.


Authors of Mischief
A juried exhibition of contemporary artist books on themes related to banned
books, censorship, and control, co-presented by the Rosenbach Museum &
Library and the Philadelphia Center for the Book. This exhibition will be
displayed in the Orientation Gallery at the Rosenbach from September 23 -
October 5, and viewed on self-guided tour.

Reception: Authors of Mischief
Join us on October 3, at 5:30pm, as we celebrate Banned Books Week with
an artists' reception of Authors of Mischief and a public reading of passages
from the many banned and censored books in the collections of the
Rosenbach Museum & Library.
Special Opportunity for members of the Philadelphia Center for the Book
and the Rosenbach Museum & Library: October 3, from 5:00pm - 5:30pm,
meet-and-greet the artists and be the first to see their work! Refreshments
will be served.

Banned Books in the Rosenbach Collection
From the Canterbury Tales to Ulysses, the Rosenbach's collection is full of
books that have been banned, challenged, or censored. The library will
feature a selection of such controversial works that you can see on an
intimate tour of the historic house, on display through October 12.
Please RSVP for the reception: fdawson@rosenbach.org
ROSENBACH MUSEUM & LIBRARY
2008-2010 DELANCEY PLACE · PHILADELPHIA
215.732.1600
Image: Jean de Boschère, drawing

Monday, September 22, 2008

Sunday, September 21, 2008

Tom Phillips- Helping to Understand the Vague Definition of "Auratic"

Okay, so this is a link to probably one of the coolest things I've ever seen. Drucker brings this artist up in Chapter 5, which I will be presenting tomorrow, as an example of the "transformed auratic/rare book." The artist's name is Tom Phillips, and although I will talk about him in the context of the chapter tomorrow, I really won't have time to talk enough about how interesting this one piece is. It's a book that entitled "A Humument" (a combination of the words of the original title of the book, "A Human Document," by William H. Mallock, which he found in a bookbin for less than threepence- I'm not sure if that's cheap, but it's noteworthy according to Drucker). In the project, he painted over words in the existing book to create an entirely new narrative/book object. The paintings on the pages around the text he chooses to keep are a wide variety of different subject matter. They also encompass a wide aesthetic array. I think this would be a really interesting way to keep a sketch book or journal if you're like me and have a hard time keeping either of those things. Drucker talks about the way that Phillips has "let free the responsibility of making a new invention," which is something you can see when looking at the images. They are clearly the result of a labor of love and genuine interest versus the execution of an idea. There is a subtle difference between the two, and Drucker's ambiguous definition of auratic books was more defined in my mind after reading about this book and its process.

http://humument.com/gallery/index.html

http://www.tomphillips.co.uk/works.html

Wednesday, September 17, 2008

Moss Graffiti



Listening to the conversation today about graffiti, stealing from Kinkos, and deviant art got me thinking about some friends from high school who enjoy defacing public property in creative ways. One of their more interesting experiments was putting up moss graffiti. While this new form of graffiti doesn't qualify as classically grotesque (at least not to me, I think its actually beautiful) it is definitely shocking. Apparently, its catching on in London where an artist named Anna Garforth creating a poem on a brick wall. Click the word "Mossenger" for more pictures of her first line. Here's a recipe if anyone is interested or just wondering.

Tuesday, September 16, 2008

Monday, September 15, 2008

Visit from Patrick Rosenkranz!!!!

Today Patrick Rosenkranz will be visiting our class!
He will be talking to our class today... September 15th
He is also giving a lecture on Wednesday night at the ICA
Here is some info...

Patrick Rosenkranz, comix historian and the author of the comprehensive tome Rebel Visions: The Underground Comix Revolution 1963–1975, talks about R. Crumb’s work and the trangressive movement that it helped define

Here is a link to an online post about Patrick and his book Rebel Visions:
http://www.rambles.net/rosenkranz_rvisions02.html

See you later today,
Matt

Sunday, September 14, 2008

Degenerate Art

This article, on the Philadelphia Museum site, is a good overview of Hitler's "Degenerate Art" campaign in which thousands of paintings were seized, artists were fired from teaching positions and prohibited from art-making, and Goebbels attempted to whip the German public into a frenzy about the dangers on incomprehensible, modern, art. The "degenerate" artists were considered destroyed, so "corrupted and enfeebled by modern life that they have lost the self-control needed to produce coherent works."The actual 1937 Degenerate Art exhibition must have been an amazing show, and its hard not to feel a bit ill about the thousands of painting that were burned (when they couldn't be sold). Looking at this work today, its difficult to imagine the reactions it elicited, but they were certainly violent. What did this classification of "degeneracy" mean for the careers of these artists? Do we still equate the "incomprehensible" with the ugly, degenerate, or grotesque?

Fetishes

In honor of our discussion about reality TV on Wednesday, I watched a few minutes of Jerry Springer. It was surprisingly tame. A guy was stammering about his foot fetish (“these are my foot notes” he said of a foot scrapbook he had with him) while weird puppets in the background re-enacting…. Something. Then the woman who he was cheating on his wife with came out and he sucked her toes. They tried to be outrageous, and ended up being forcefully sassy.
Then I watched the BBC clip on YouTube and thought about fetishes that celebrate distortions.... there are an awful lot of them. I think fetishes are interesting because to an outsider, they can appear grotesque rather than fabulously erotic.
This is a list of fetishes on wikipedia. There are more than I could have ever imagined.

http://en.wikipedia.org/wiki/List_of_paraphilias

Tuesday, September 9, 2008

Links To Artists' Websites


Here are some links to artists' websites whose work follows in the grotesque vein. The first one is a link to view some more of Joel-Peter Witkin's work. The second one is a link to my own website where I have my most current work on display. I explore many grotesque themes, including abuse, death/decay, and humor. The last one is my friend's website. He is an accomplish caricature artist. I wouldn't have thought to post this, but the reading we did this week did mention caricatures as grotesque.

www.edelmangallery.com/witkin.htm

www.jennhallart.com

www.zitmanart.com

Enjoy!

Monday, September 8, 2008

The Grotesque in Literature: The Lottery

Another classic example of a short story that uses laconic yet haunting prose to convey an air of the grotesque appears in the tale "The Lottery" by popular American author Shirley Jackson . Jackson sets her story in a typical American small town and contrasts a matter of fact tone with shocking content in order to create a brutally raw effect. Her depiction of an almost primordial sacrifical custom was done, as she noted, in order to "shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives." Since it's publication in 1948, "The Lottery" has been the subject of much condemnation and abuse in some circles, yet has also enjoyed praise and exultation as a quintessential American short story.

To read the story, follow the link below:
http://www.americanliterature.com/Jackson/SS/TheLottery.html

The Grotesque in Pop Culture

The collage I made for today's class is best explained with this video in mind; I tried to find the grotesque in pop culture, and it only took one youtube search and one maxim magazine.

Friday, September 5, 2008

Ron Mueck Life Castings



Ron Mueck's Life Casting series: these larger-than-life castings have always seemed bizarre to me, a small gallery of them found here. I imagine walking through his gallery and locking eyes with giant figures only to get a sickening feeling in my stomach that I've done something completely wrong. This is not to say that I don't enjoy the pieces, but as I continue to define the grotesque, these images of naked people, patronizing looks and all, repeatedly come to mind.

Wednesday, September 3, 2008

Our organisms are genetically mature and dislike being called children. They wear sneakers so that they can run fast like super- powered nomads.


Interview with Jake and Dinos Chapman
Published in Journal of Contemporary Art. Link Here

Keys:

The uncanny - "when the terrifying the familiar overlap"
clones - the "horrible standardization"
The bodily creation as an "organism"
what is the "rude" aesthetic?
efflorescence, excess

note: after their initial introduction, Jake and Dino Chapman are attributed as simply "Chapman." Have they morphed into an art making/speaking creature? Who is speaking? The artists, their artistic philosphy? Their cheekiness?