Posts Tagged ‘arT project’
Tuesday, November 24th, 2009
 Szymon (Simon) Klimek, an engineer from Poland has created a line of extraordinary and elegant pieces of miniature metallic architecture, that are believe it or not powered by solar energy. All his creations are made entirely from thin sheet brass. The components of these beautiful and incredibly creative works of art custom made and involves fabrication of smaller parts, that are then glued together to create the entire piece.
Mr. Klimek was born in Poland in the year 1954 into a family with a background in arts. He went on to attain a Masters of Sciences (Engineering) degree and has ever since dedicated his life in designing and developing extremely unique pieces of art. In the year 2004, after realizing his artistic potential, Szymon Klimek decided to invent a locomotive with a coal engine in the year 2004 and further decided to keep the dimensions of his new invention to not more than 80 mm.
Ever since his dedicated interest in these miniaturized pieces of art, Mr. Klimek has created more than 100 of such magnificent pieces of art. So far he has created scaled models of various objects such as gift boxes with floral motifs, cars, stationary steam engines and locomotives.
So far, this awesome artist from Poland has not set any dedicated measurements for his miniaturized pieces of art and he states that, the most complicated step in creating his artistic marvels is the time when he begins his project on the drawing boards.
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Tags: architechure of arT, arT piece, arT project, arThou, metal arT, miniature arT, Poland arT, solar arT, solar energy projects, Szymon Simon Klimek, unusual arT
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Tuesday, October 27th, 2009
It has nearly vanished from the American landscape. Some teenagers have never even seen one before.
But the once ever-present telephone booth has popped up on a street corner in this southwest Ohio village as part of an unusual art project and a statement about private communications in the let-everybody-know-what-I’m-doing age of Twitter and MySpace.
The project is the brainchild of Tokyo-born artist Migiwa Orimo, who had to search high and low for a phone booth before finding one in the Windy City.
“It was really in bad condition,” Orimo said. “The whole thing was black, pitted from Chicago weather on the street.”
Orimo polished up the metal structure, replaced its broken panes of glass and installed a mustard-colored telephone with a black rotary dial.
But it’s not a working phone booth. It’s a living interactive sculpture that will serve as a stage for poetry readings, light shows and dance performances over the next year.
Beginning Saturday, people will be able to walk into the phone booth, pick up the receiver and listen to a recorded rendition of the Spoon River Anthology, a collection of short poems published in 1915 that describe the life of a fictional small town. Seventy actors and others with ties to Yellow Springs were recruited to read the poetry.
“I like the intimate performance space,” said Rani Deighe Crowe, who came up with the poetry project. “You listen to this over the phone, which gives it that extra personal confessional quality.”
Crowe said she rejects the notion of trying to reach the largest possible audience, opting instead for a performance that can only be delivered to one person at a time.
“I’ve been really interested in trying to reach the smallest possible audience,” she said.
Orimo said she is trying to break the traditional boundary between the artist and audience, where people taking in the performance at the phone booth also become part of the art.
Orimo said the project is her reaction to Twitter, MySpace, surveillance cameras and other technologies designed to enable people to view and be viewed by others.
“Knowingly or unknowingly we do that every second of our lives nowadays,” she said. “But it’s all in a different kind of sphere — a virtual sphere. I wanted to sort of bring that question once again to the physical level by letting people see this piece on the street corner, which is not going to move anywhere.”
Kathy Thorne stopped to take a look at the phone booth earlier this week. She acknowledged that she is a bit overwhelmed by high-tech communication and yearns for the past.
“I wish I’d get letters from people from the mail instead of stupid e-mail,” said Thorne, of Sarasota, Fla.
U.S. pay phones — including telephone booths — numbered 2.6 million at their height in 1998, according to AT&T. The decline in pay phone usage was in part due to the growth of other communications channels such as cell phones.
While the Yellow Springs phone booth had a nostalgic effect on people old enough to remember them, it was a mystery to young people who passed by. One teen didn’t know how to open the folding door. Others commented that they remember rotary dials only from visiting their grandparents.
But Orimo has made a concession to the Twitter generation.
Inside the booth above the telephone is a digital clock/calendar. Orimo hopes that those who experience the phone booth art will record their thoughts on a log inside the booth. She plans to document what effect the phone booth has on the community over the next year.
“It redefines the notion of what an art space can be, while appropriating an everyday public facility as a place for intimate contemplation and even inspiration,” said Anne Pasternak, director of Creative Time Inc., a New York City-based organization that commissions and presents public arts projects.
Other artists have used phone booths to make statements.
Last year, Dylan Mortimer installed phone booths in New York City, Jackson, Tenn., and Cedar Rapids, Iowa, that were designed to resemble confessionals. Outfitted with flip-down kneelers, the booths were aimed at sparking dialogue about prayer.
The Yellow Springs phone booth sits on a downtown corner next to an ice cream shop and an array of wooden cafe tables. And even though it’s only been on the street for a few weeks, the phone booth has already made a splash.
Someone put a helium balloon inside the booth. And a cardboard robot appeared there last week and then vanished as quickly as it came.
“People are already finding a relationship with it,” Orimo said.
More at: www.telephoneboothproject.blogspot.com
Written by: James Hannah, The Associated Press
Source: www.daytondailynews.com
Tags: arT project, arThou, arTists, Migiwa Orimo, Ohio arT, phone booth projecT, street arT, Tokyo arTisT, unusual arT
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Friday, September 25th, 2009
 A public-art experiment is taking London’s art scene by storm. The project? Giving 2,400 people each an hour to do whatever they like in the city’s most bustling square. Twenty-three feet above London’s Trafalgar Square, a girl with long blonde hair stands on a platform, dressed as a mermaid. It’s 4:30 a.m. on a chilly Tuesday, and the square is still mostly empty aside from a few stragglers. The mermaid holds up a series of cardboard signs promoting a campaign for vegetarianism by the animal rights organization PETA.
At 5 a.m., a cherry-picker rises from the square, and she steps onto it. A lady from Yorkshire, less scantily clad, steps out with a wooden frame taller than she is. She spends the next hour gluing brightly colored bits of cellophane onto the frame to create a massive piece of art.
An hour later, her time is up, and as the first commuters start to make their way across the square, the cherry-picker makes its trip again. It’s sunny now, and the cellophane artist is replaced by a man in his early thirties, who demonstrates fencing moves with a heavy-looking sword.
All day and night for 100 days this summer and through October 14, the cherry-picker makes its hourly round trip, each time placing someone new onto the platform in London’s busiest square, where they are free to do almost anything they like. This experiment in public art, called One and Other, is the brainchild of sculptor Antony Gormley. Launched on July 6, the project aims to turn everyday people into art, putting them at eye-level with the long-dead generals who look sternly on from their own platforms, at Trafalgar Square’s other three corners. And so far, it’s a huge hit.
Over the course of the project, 2,400 randomly selected volunteers—selected from over 32,000 applicants—will scale what Gormley refers to as “the plinth.” Once they’re up there, they hula-hoop, play guitar, unfurl banners, release balloons, sing, paint, chat to the crowd—basically doing whatever they like. Inevitably, this means a handful of people have publicly stripped (one was politely asked to dress again by police). For others, this has meant dressing as a ninja to spend an hour knitting in the dead of night. Together, they form a sort of living portrait of a city at a time when the world could use a little more art in its life—and a little perspective.
 Future or future? Present, but subtly discuised beneath. Antony Gormley made his name with large-scale public artworks: his Angel of the North—a 66-foot steel sculpture modeled on his own body Event Horizon, — is possibly Britain’s best-known sculpture. His pieces, Another Place and Event Horizon, place eerie, multiple life-size casts of his body along stretches of windswept northern beach, and over 31 London rooftops respectively (Event Horizon was a temporary piece). In its repetition of human forms, One and Other is very much a continuation of his ideas.
Even by his standards, though, it’s ambitious. Launching the project, Gormley said he was aiming to create a “portrait of the U.K. now” that offers “the chance for you and I to have a look at the world from the point of view of art.” (He won’t actually perform, however; he hasn’t been randomly selected.)
Londoners have become addicted to the spectacle, with anywhere from two to 200 passersby gawking at any given time. The project is also streamed live and saved online, where a vocal community of plinth-watchers discuss each person on the site, on Twitter, and on Facebook, coining phrases such as “plichés” (for clichéd plinth behavior) as they go.
Part of the project’s appeal is the unpredictability of what might unfold. Shortly before 11 p.m. on a Monday night, while a lady on the plinth holds up placards giving thanks for her kidney transplant, a white-haired man named Tom tells me he makes the trip to Trafalgar Square from north London a couple of times a week, just to see what’s happening. “I just like it. It’s something different, isn’t it?
Standing nearby, a talkative, compact man called John looks wistfully up at the plinth and relives his moment of glory to anyone who will listen: The previous Saturday afternoon, he dressed in a Union Jack and threw 200 roses to the crowd in memory of Princess Diana.
People get hooked on plinth-watching, even from further afield. Anthony, a neuropsychologist, tells me by e-mail that he hasn’t visited the plinth, but, “I try to watch the 2 a.m., 3 a.m., 4 a.m., and 5 a.m. slots online each night,” he says, “with a particular affinity for the 5 a.m. dawn slot.” He explains that he became a regular viewer after watching one lady, who hummed to the square at 3 a.m. “It was without a doubt the best piece of performance art I have ever seen… I got ‘it’—what Gormley was wanting this to be.”
So what does Gromley’s portrait of the U.K. show? Person by person, it picks out a picture of a nation that’s by turns earnest and eccentric, attention-seeking and contemplative. Hundreds of people use their hour to raise money and awareness for good causes, while others take the chance to show the world their singing or juggling, or to spread a little sunshine with bubbles and balloons.
Perhaps inevitably, as the project has gone on, the bar has been raised as people realize that others really are watching. Plinthers from outside London have found they’re the talk of their towns, appearing on local news and in the papers. Particular performances have been keenly discussed in letters pages of London papers and on Twitter, while highlights from each week make it onto a weekly TV show about the project. And over time, the banners have gotten bigger, the weird has gotten wackier, and the plinth has become a platform.
While at first many got up just to be there, now plinthers aim to be seen. These figures are nothing like Gormley’s other sculptures, silent and faceless: They’re noisy, whether for a cause or just for the feeling of an hour in the spotlight.
One and Other is a product of its age. It takes place both live and online; on the one hand it’s intimate — living, breathing and made up of people like you and me — while on the other hand it’s curiously anonymous, scrutinized and commented on through the internet, every hour recorded and watched by people from all over the world. It aims to celebrate ordinary people, but gives them an opportunity to show themselves as anything but ordinary.
As a contemporary art project, it’s been fantastically successful: More than 400,000 people logged onto the site in its first three weeks, while countless more have found themselves stopping to watch as they head through the square.
In some ways, it’s the perfect public monument to our short-attention–span society: if you’re bored or disappointed by a particular performance, not to worry. At the end of each hour of the day and night, the cherry-picker makes its way back up from the square to the edge of the 23-foot platform, a person steps off the plinth, and another steps on, ready to begin their hour as a living work of art.
Photos by (in order) flickr users paulsimpson1976, mittfh, and pikerslanefarm.
From the blogger : Isn’t that unbelievably arThou!
Tags: Anthony Gormley, arT, arT project, arThou, contemporary arT, London arT, Trafalgar Square arT
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Friday, August 28th, 2009
 Amazing Designer's Unusial Perspective It’s often said that there are no unique ideas out there – only unique means of executing those ideas. Swiss artist Felice Varini, however, has been executing his incredibly unique ides in a unique way since 1978. His singular style of geometric painting calls into question our ideas about complex art pieces and the interaction between art and viewer.
 A Vision of Unisial Artist Upon seeing Varini’s work for the first time, most people react by claiming it’s fake. Indeed, when looking at a photograph of a Varini painting from the vantage point, the painted object does appear to float in mid-air, like it’s been overlaid in Photoshop. But once you see the same painting from outside of the vantage point, it’s clear that the piece was created in real life without the use of computer trickery. He paints shapes and geometric patterns in three-dimensional spaces, so that when the viewer sees the piece from a specific vantage point it makes sense, but when viewed from outside of the vantage point the shape appears skewed and distorted.
 arT of infinity Though the technique looks incredibly complicated, Varini insists that “anyone can do it.” He says that his type of painting requires no special talent; rather, it requires thinking and choosing the right spaces. The spaces he tends to choose are wide-open interior spaces, such as museums and hallways, or exterior locations like rooftops or even entire villages. His goal, he says, is to explore aspects of the space that have heretofore been ignored.
 arT of Life  arTist school!
Although you can only see the complete, sensical painting from one specific vantage point, Varini insists that the most important aspect of his paintings is what lies outside of the vantage point. The myriad configurations viewable from every other possible aspect are what keep him inspired to continue creating these complex paintings. While the vantage point offers a predictable view, looking at the piece from any other spot creates an entirely new and unpredictable experience.
 The Unknown of Science  Science understood, World Not Thinking and creating much different than most other artists, Varini has indicated that he never considers the viewer when creating his paintings. He doesn’t consider how the pieces may someday be seen because he doesn’t know how or from where the viewer will see them. He simply creates a piece of art and sets it free to have an independent existence. According to Varini, the viewer can see the piece, be part of the piece, or even walk through it without noticing it or being able to identify it.
 Vision: Reality or Sense? In the artist’s words, from an interview with Poetic Mind:
“Everyone knows how a circle or a square looks like. My concern is what happens outside the vantage point of view. Where is the painting then? Where is the painter? The painter is obviously out of the work, and so the painting is alone and totally abstract, made of many shapes. The painting exists as a whole, with its complete shape as well as the fragments; it is not born to create specific shapes that need to satisfy the viewer. The paintings are not defined by the understanding of the viewer or what the viewer sees, but rather exist in their own right, and have their own relation to the three-dimensional space in which they were created. I work with the reality itself, with nature.
 Future, present in past. Although he creates his paintings on-site and usually on a large scale, Felice Varini does not consider himself an installation artist. He calls himself a painter, because regardless of where or how his art is realized, it is – at its core – a series of complex and beautiful paintings.
Source: weburbanist.com
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Tags: arT, arT project, arT scene, arThou, paintings
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Thursday, July 16th, 2009
FREE
Thursday 30 July
Storey Creative Industries Centre, Lancaster
FACT is involved in a project called ‘Art of Digital‘ – a series of events aimed at helping arts organisations to better understand and use digital culture and tools. The next event takes place at the Storey Creative Industries Centre in Lancaster and focuses on ‘Organisational’ aspects of digital culture.
The Organisational theme is about digital strategy across business processes, communication & engagement, audience development, arts marketing, curatorial practice, emerging forms of collaborative working, production and distribution. Speakers include Heath Bunting, Anders Mogensen (Seismonaut), James Burke (NARB) and Adrian McEwen.
The last two events have been well oversubscribed, but this time we still have some places available! Click here to find out more about the event or to register for a ticket.
Art of Digital is a partnership project between Arts Council England, FACT (Foundation for Art and Creative Technology) and folly helping to promote the use of digital tools within arts organisations.
For more info, email: stuart.robarts@fact.co.uk
Tags: Art of Digital, arT project, arThou, Folly, Lancaster arT, non-profit organization, The Arts Council, UK arT
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Thursday, July 16th, 2009
 Douglass Parshall (1899–1990), Bathers, date unknown, color lithograph on paper. COLUMBUS, GA.- The Columbus Museum of Art will openthe exhibition The American Scene on Paper: Prints and Drawings from the Schoen Collection on view through September 27. The Georgia Museum of Art developed an exhibition of American works on paper from the Jason Schoen Collection. This exhibition is a compilation of more than 100 prints and drawings from artists that represent the diversity of styles and subjects that encompassed American art from the 1930s through the 1950s.
Often referred to as the “American Scene,” this important period in American art has not had as much exposure and attention as other periods. This exhibition allows for a closer examination of the variety of attitudes and issues that occupied American artists living during those tumultuous years of the Great Depression and World War II. The opportunity to examine first-rate examples of the work of many of America’s most influential artists of those decades is provided through this compilation.
The art on view touches on the very pulse of America with expressions that run the gamut from unrestrained appreciation of the beauty of place to wry commentary on the politics and culture of the time. The diversity of style and subject suggests the energy and creative spirit that defined those years. Enduring the hardships of the Great Depression, these American artists were stimulated by national programs like the Works Progress Administration (WPA), and even when federal funding was not available, their passion for visually relating the many stories that characterized America was undaunted.
Paul Weller’s lithograph movingly captures the lonely and grim reality that Americans faced during the economic disaster of the Depression. Home offers a look at the struggle for survival. The Madonna-like mother and infant huddle beside a “Hoover-town” shack. It is made of a hodgepodge of signboards, corrugated tin and broken timbers and serves as their temporary shelter. Despite the grim circumstances that Weller portrays, the mother figure projects an aura of protectiveness for her child. She displays both dignity and self-worth through her clothing and manner. Weller’s sympathetic picture invites viewers to identify with his subjects and empathize with their troubles.
Douglass Parshall was taught to draw from an early age by his father, the landscape painter De Witt Parshall. He later studied in Boston and Paris. Early on, Douglass traveled with his family to many parts of the world, painting and learning from the varied museums they visited. In the 1930s, he supervised California artists as part of the Federal Art Project of the Works Progress Administration. While Parshall produced lithographs in addition to oil paintings and watercolors, Bathers is unusual in his work. It takes human figures as its subject as opposed to the landscapes that he often painted. The bathers strongly reflect stylized statuary, especially classical Greek sculpture. Frozen in space as though carved from marble, these California sun worshippers contrast interestingly with the stark landscape of abstracted dunes, clouds and water, as if it is all part of a diorama.
Source: http://www.artdaily.org
Tags: arT, arT project, arT scene, arThou, museum, paintings
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