Posts Tagged ‘arT’
Wednesday, February 17th, 2010
Whether it is an illusionist or sideshow freak, a rock band in an art gallery or a matinee performance of folk music at one of the cafes along the street, the Parkdale Village Business Improvement Area (PVBIA) has amassed quite a schedule of funky and fun west-end talent to draw you out to Fireside Culture Week.
The second annual Fireside Culture Week starts Feb. 22. It’s a weeklong celebration of art, fashion, food, music and theatre that features the best of best of this artistic nook of Toronto.
 Artists bring their unique styles to Fireside Culture Week. This series of live performance will take place at a number of venues along Queen Street West between Dufferin Street and Roncesvalles Avenue.
The BIA has partnered with Heart and Stroke Foundation as part of their Heart Month events. During Fireside 2010, the PVBIA will be fundraising for Heart and Stroke Foundation by asking attendees at the shows to make a donation as they enter.
There are any number of events planned for each day and evening of Fireside culture week. Visit www.firesidecultureweek.com for an updated schedule.
Here are some highlights:
Nymphetamine – The Sideshow Performer
A falling ovation, as it is called when someone passes out during a performance, is the highest form of praise for a sideshow performer, according to Jennifer Booth.
Booth, who goes by the stage name Nymphetamine, is a circus sideshow performer, a dominatrix by day and self-described freak.
“I always joke that I was always called a freak in high school and now I get paid for it,” said the 31-year-old performer.
A sideshow performer for six years, Nymphetamine performs an intense combination of classic stunts such as cinder block breaks, laying on a bed of nails and walking on broken glass as well as modern stunts such as flesh-hook suspensions and lifting objects with her piercing.
Nymphetamine, who also has a degree in philosophy and training as a paramedic, said she has always had some unusual tastes.
Born and raised in Toronto, Nymphetamine was introduced to the art of sideshow performing by a friend from New York City.
“When I saw him do it I immediately went from ‘You’re absolutely crazy,’ to ‘Hey, that looks like a lot of fun’,” she said.
So she started to explore the art form, which she said was relatively easy to learn.
Now a resident of the Dundas Street and Dufferin Street area, Nymphetamine performs all over the city, usually at night clubs.
“You always get the young guys right up at the front of the stage screaming and wanting to see blood and wanting to see something go wrong,” she said. “And then there are the people who are absolutely fascinated, but happy to stand a ways back from the stage.”
The details around Nymphetamine’s Fireside Culture week performance are yet to be announced.
Visit www.myspace.com/nymphetaminesideshow for more on Nymphetamine.
Jef Kearn – The Urban Flautist
Jef Kearn, 33, takes band geek and turns it urban chic with the soulful sounds of his solo flute songs.
“I started playing about 20 years ago,” he said. “I started taking lessons and I just stuck with it. I kind of felt drawn to it.”
He went to school at Humber College and then York University to study music, but his brand of music isn’t what one would traditionally expect from the flute.
Kearns, who now lives in Mimico, grew up in Chatham listening to broadcasts of urban music radio stations out of Detroit. Before he was a teenager, he was transposing hip-hop lines and verse into the rhythms of his flute.
Now he has crafted a unique style of flute-focused R’n'B that cross genres from modern soul to hip-hop to classic Motown.
His CD of original tracks, On The Level, features nine tracks including I Wanna Be the One (Savage Groove Mix), which spent five weeks in the Top 10 of the Canada National House Music Charts.
Kearns is slated to perform on Friday, Feb. 25 at the Local Kitchen from 8 to 9 p.m.
Visit www.myspace.com/jefkearns for more on Kearns.
Brian Byrne and The Flamming Hoops
You may recognize Brian Byrne’s name as the lead singer of I Mother Earth, but since the band took a hiatus, Byrne has released two solo albums, opened a tattoo shop in Parkdale and performs regularly with his hobby band, The Flaming Hoops.
“The thing we do with the Flaming Hoops is just totally silly fun,” he said. “It is all covers and we cover a bunch of old country classics and on the flip side we cover classic rock, but done country.”
“I just wanted to be part of it,” he said of the Fireside Culture Week. “Anything that is going to help bring people around, because I do love this area… it is so eclectic and crazy.”
Byrne, 35, was chosen as the new lead singer of the Canadian alternative rock band I Mother Earth after singer Edwin left the band in 1997.
The Flaming Hoops is comprised Christian Tanna from I Mother Earth, Gerry Finn from David Usher and Chuck Dailey from The Salads.
“I have always been a massive country fan because that is kind of what I grew up on,” said the Newfoundland native. “All the people in the band have been road dogs forever so this was an opportunity to go play for the weekend without any pressure and not be out on the road promoting your next great project that ultimately leaves you broke and wondering why you do it anyway.”
The shows, he said, are simply fun. The Flamming Hoops cover songs like The Trouper by Iron Maiden, Crazy Train by Ozzy Osborne in a country fashion. They also cover songs by the usual country suspects like Hank Williams, Waylon Jennings and Willie Nelson.
“We even do Footloose by Kenny Loggins,” he said with a laugh.
Byrne, who lives in Kingsway Village in the city’s west end, is scheduled to perform on Saturday, Feb. 26. The location is yet to be announced.
Visit www.myspace.com/brianbyrne for more on Byrne.
Winston Spear – The Funny Man
Winston Spear loves to dance and apparently people love to watch him do it. The comedian has a video of a Bollywood-inspired dance, which has gotten more than a million hits.
He’ll be bringing his trademark dance moves as well as a few jokes to Parkdale for the Fireside Culture Week.
Spear, 45, is a Canadian standup comedian and actor from the Bloor West and Dundas area.
A working comedian for more than 20 years, Spear was a member of the cast of the popular CTV sketch comedy show Comedy Inc.
“I’m a pretty clean act,” Spear said. “I only have a few dirty jokes.”
Spear is scheduled to perform on Thursday, Feb. 24 during a comedy night, also featuring Jamie Rallison and Parker Seville, at the Snowball Gallery, 1690 Queen St. W., from 7 to 11 p.m.
You can view videos of Spear’s comedy at www.youtube.com.
ByErin Hatfield
Source: InsideToronto.com
Tags: alternative rock, arT, arT event, arT festival, arT form, arT gallery, arThou, Brian Byrne, Canada arT, fire arT, Fireside, Fireside Culture Week, flautist, flute music, I Mother Earth, Jef Kearn, Jennifer Booth, music, Nymphetamine, performance, sideshow performance, standup comedy, The Flamming Hoops, The Funny Man, Toronto arT, Winston Spear
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Monday, February 15th, 2010
At its most creative and inspired, philanthropy can alter lives, or even a society. That is the message of “A Force for Change: African American Art and the Julius Rosenwald Fund,” a thoughtful show at the Montclair Art Museum.
 “Harriet Tubman,” a 1931 oil painting by Aaron Douglas. The Rosenwald Fund was a philanthropic organization created in 1917 by the Chicago businessman Julius Rosenwald (1862-1932), who made a fortune as the part owner, president and chief executive of Sears, Roebuck & Company. His philanthropy supported the building of more than 5,000 schools for black students in the South and gave stipends to hundreds of black artists, writers, teachers and scholars.
The current exhibition, which originated last year at the Spertus Museum in Chicago, presents around 60 paintings, sculptures, photographs and works on paper by 22 Rosenwald fellows, who included such notable artists as Gordon Parks, Jacob Lawrence and Elizabeth Catlett. Most, but not all, of the artists are black; the program also offered fellowships to white Southerners with an interest in and concern for race relations.
 “I Have Special Reservations,” a linoleum cut from the Negro Woman series done in 1946 and 1947 by Elizabeth Catlett. The art on view dates from roughly the late 1920s to the late 1940s, a period when the fund was active as a grant-making body under the leadership of Edwin Rogers Embree. Mr. Rosenwald, whose philanthropy was influenced by Emil G. Hirsch, a Chicago rabbi, and Booker T. Washington, believed that charities should devote their entire resources to addressing an immediate cause. The fund was devised to spend itself out of existence within 25 years of his death, and it officially closed in 1948.
The show is arranged mostly according to the order in which artists received fellowships, beginning with Augusta Savage, a talented but not particularly well known sculptor, teacher and activist associated with the Harlem Renaissance. She was the first visual artist to get a fellowship, which enabled her to study in Europe. “Gamin” (circa 1929), a realistic, painted plaster portrait of a black street child, was produced shortly before she left for France.
 “Slow Down Freight Train,” which Rose Piper completed in 1947 while on a Julius Rosenwald Fund fellowship in 1946. Many of the artists in this show broach social themes in their work. Charles Alston made evocative pictures of farm life and poverty in the South, like “Farm Boy,” showing here, an affecting portrait done in 1941, during his fellowship. It is painted in a realistic style that owes much to the work of the regionalist artists John Steuart Curry and Thomas Hart Benton.
“Farm Boy” won a purchase prize at the first annual Exhibition of Paintings, Sculptures and Prints by Negro Artists of America at Atlanta University in 1942. It is one of the better paintings in the show, along with “Harriet Tubman” (1931), an expansive, sensual mural painted in a flat, simplified style by Aaron Douglas, who got a fellowship in 1937 to travel in the South and in Haiti. The work shows Tubman, the antislavery activist, breaking the shackles of bondage.
Though “Harriet Tubman” predates the fellowship period, it was commissioned by Mr. Rosenwald’s son-in-law, Alfred K. Stern, according to the exhibition catalog, which cites an article in the N.A.A.C.P. magazine The Crisis. Insofar as the mural emphasizes heroes and heroines of black history, it is also typical of a lot of work in this exhibition. Several linoleum cuts from the Negro Woman series by Ms. Catlett depict extraordinary women like Tubman and Phillis Wheatley, one of the first black poets to be published in America.
 “The Drapemaker,” which Haywood Bill Rivers painted in 1947 during his fellowship. Lamar Baker and Robert Gwathmey were two Southern white artists who received fellowships, in 1942 and 1944, respectively. Though neither was very talented, in my opinion, they shared an awareness of and sensitivity toward the cultural and historical roots of the black experience in America; Mr. Gwathmey painted images of black musicians in a style borrowed from Picasso, while Mr. Baker, a painter and printmaker, often dealt with the legacy of slavery.
Three early photographs by Mr. Parks, including perhaps his most famous image, “American Gothic, Washington D.C.” (1942), produced during the year of his fellowship, attest to the importance of Mr. Rosenwald’s bold and creative philanthropy. Produced when the artist was unknown, it shows a black cleaning woman posed before an American flag with a broom and a mop.
There are other interesting things here worth lingering over, including half a dozen Jacob Lawrence prints and some modernist works by Ronald Joseph and Charles Sebree.
Not all these artists went on to have successful careers, but that seems beside the point. Their work promoted new images of black Americans and challenged accepted, often racist notions of black creativity.
“A Force for Change: African American Art and the Julius Rosenwald Fund,” Montclair Art Museum, 3 South Mountain Avenue, Montclair, through July 25. Information: (973) 746-5555 or montclairartmuseum.org.
By Benjamin Genoccio
Source: New York Times
Tags: arT, arT Events, arT exhibition, arT history, arThou, black arTists, Montclair Art Museum, painting, sculpture
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Thursday, November 26th, 2009
 arT and the Subway During the recent Bay Bridge closure, there was much talk about how San Francisco Bay Area residents needed to become less car-dependent. Overlooked was the fact that the region’s many transportation systems collectively provide neither the 24-hour coverage nor geographic breadth to enable people to give up cars. In other words, the Bay Area’s public transit system is not in the same league as New York City’s legendary subway system, whose cultural and artistic significance is the subject of Tracy Fitzpatrick’s recent book, Art and the Subway: New York Underground. Fitzpatrick traces the subway from its opening in 1904 to the present, revealing how artists, writers, photographers and other cultural workers took advantage of the subway’s public and democratic milieu to forge their visions of society. She uncovers many surprising facts, such as the long history of subway graffiti, the use of guards to cram people into packed trains, and the ways in which artists captured the racial contradictions among a subway ridership that confounded traditional assumptions about the Melting Pot.
Although the New York City subway has entranced the public for over 100 years, Tracy Fitzpatrick’s book provides many new insights into its cultural and artistic significance. These insights begin with the fact that the system was originally designed under the elaborate City Beautiful architectural style, but soon took on a much different appearance when the far more simpler Arts and Craft style became dominant. I was also very surprised to learn that much of the subway was constructed underground while street traffic continued; the book contains photos showing how this was done.
The 1920’s and 30’s: The Golden Age of Subway Art
While Fitzpatrick traces subway art through Keith Haring and the graffiti writers of the 1980’s, I found the subway’s cultural contributions in the 1920’s and 1930’s the most compelling. Reginald Marsh, best known for his paintings of working-class visitors to Coney Island, also created cartoons and paintings for a newspaper series, “Subway Sunbeams.” Fitzpatrick reproduces many of Marsh’s cartoons, which address such issues as the extreme crowding which typified subways in the 1920’s – hence the guards to jam people in – and the often suppressed racial dynamic. In an era when immigrants were said to be “melting” their foreign backgrounds and becoming new Americans, Marsh showed that African-Americans stood out from other riders, not being allowed to “assimilate” into the crowd with fellow riders.
Fitzpatrick also shows the “Topsy Transit” pamphlets handed out by the Women’s City Club of New York (WCCNY) in 1937 as part of the ultimately successful campaign to unify all of the city’s three transit systems. Topsy Transit was a stereotyped black girl based on an Uncle Tom’s Cabin character described as a “pikaninny;” her wild and unkempt hair was put forth as symbolic of an out of control transit system needing unity. The fact that such strongly racist stereotypes would be openly used in New York City at that time is less surprising than their distribution by an organization that was far ahead of its time in advocating for child labor laws, juvenile justice and women’s rights.
These decades also saw painters like Max Weber, Joseph Stella and the Italian Futurist Fortunato Depero transform the subway into a subject of serious art. This would continue through the Federal Art Project of the New Deal, though a dramatic program for a full-scale subway arts program that emerged in 1936 ultimately failed. Part of the reason was opposition to public art from the precursors of today’s right-wing; one New York City Councilman argued that “the only other city with murals in its subway was Moscow,” while another feared that murals “might be used to plant un-American ideals.”
The “Happenings” of the 1960’s and 70’s
While many only know Yoko Ono as Beatle John Lennon’s wife, she was a key figure in the Fluxus art movement that emerged in the 1960’s and continued in one form or another for decades. Artists associated with Fluxus were the first to engage in performance art in the subway, with Ono holding a thirteen-day event in the Canal Street Station in 1966.
Through such acts as walking through a subway train in flippers, mask and full scuba diving attire, or wearing clothes soaked for a week in vinegar, performance artist pursued their investigations into human behavior. And the fact that the subway was the arena reflects its status as the most public and democratic of spaces in this increasingly privatized age.
The Graffiti of the 1980’
While photos of graffiti-dominated subway cars are common, few may be aware that as far back as the 1930’s there was talk about the “subway Rembrandts” who “paint mustaches on the girls on advertising posters.” Such doctoring of ads was so pervasive that by 1961 the authorities placed posters of blank human heads with instructions to the public, “Please, if you mark something – use these.”
Fitzpatrick does not question that much of the graffiti that often filled every space on the outside of a subway car is art, but she does show how by defacing subway maps, some of these writers undermined public safety and the system’s operation. The ability of writers to deface subways coincided with other increasing system problems in the 1970’s and 1980’s, and it was really not until 1990 that graffiti was eliminated and the subway system became safer and more reliable.
As might be expected from a book with “art” in its title, Fitzpatrick offers readers an extraordinary collection of illustrations to support her text. Many, like the Marsh cartoons, are rarely seen. The book’s visuals more than compensate for its unusual structure, with there being often little connection between chapters. Fitzpatrick chose to proceed thematically rather than chronologically, which left me wondering, for example, why Yiddish plays of the 1920’s set in the subway, or King Vidor’s 1928 film The Crowd were discussed in the book’s next to last chapter. The book’s origins as a dissertation likely explains its discussion of some obscure artists whose minimal contributions to subway culture could have been bypassed.
This is a book for people who love the subway and want to learn more about its cultural legacy. Fitzpatrick has retrieved long missing components of the subway’s historic role, offering even longtime riders a new perspective on their means of getting around.
Source: BeyondChron
Tags: arT, arThou, arTists, historical arT, New Yoork grafitti, New York arTists, NY arT, paintings, subway arT, underground arT, vintage arT, working class arT
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Thursday, November 26th, 2009
1. Get an art calendar and hang it in your home. Make a point to spend time at least once a month discussing what you see in the artwork. Each month you will have a new reminder and a new art print.
2. Take a field trip to an art museum, an art gallery, or even an artist’s studio. Remember that visual art includes pottery, sculpting, drawing, architecture, and printmaking. Don’t limit yourself to paintings. Look in your yellow pages to see what options you have locally.
 Take a field trip 3. Choose a favorite children’s book illustrator. Look through as many of his books as possible. Have your child talk about what makes his style unique. (It may be helpful to compare or contrast his work with another illustrator). Then let your child copy his style as he illustrates his own story.
4. Find art that matches the period of history you’re studying. Look for paintings that reflect the historical events in your curriculum, for example art of the American Revolution.
 Find arT 5. Stop and appreciate art when you see it no matter where you are. Is there a unique sculpture at the community center? Is there a reproduction of a famous painting hanging in the mall? Take time to pause and discuss it with your children. For discussion starters, try this PDF.
Tags: arT, arThou, arTist, arTwork, drawings, museums, paintingss, pottery, sculpture, unique arT
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Tuesday, November 24th, 2009
Tags: ancient arT, arT, arT history, arT of past, arThou, arTist, arTwork, church arT, Crimean church, dome arT, latin in arT, religious arT, Russian arT, traditions
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Tuesday, October 27th, 2009
There is a widespread attitude today which maintains that art, in all its forms, occupies a privileged position with respect to conventional morality – that it is separate from and superior to that morality, and not subject to its standards. This attitude is completely erroneous.
 Censored! The philosopher Jacques Maritain provides us with a plain and pointed response to this shallow and impoverished way of looking at things simply by calling attention to the common sense truth that the artist is a man before he is an artist. His point is that the artist is first and foremost a rational agent, a human being, and as such he is subject to exactly the same moral obligations as is the rest of humanity. His status as an artist gives him no special moral privileges, and least of all does it place him entirely outside the realm of conventional morality.
There are two immediate implications of this, the first having to do with the artist’s personal life, the second having to do with his professional life as an artist. The artist does not have leave to become a liar, a depraved person, or a thief, no more than does any other man. And as far as his professional life is concerned, the artist has to meet the same basic obligation as does every other human fabricator – that is, he must make sure that the products of his hands reflect the truths of the moral order. Just as no artist has a license to act immorally in his personal life, so too he has no license to produce immoral works of art.
 Banished? The responsibility of the artist in this regard is especially grave, for in many cases he is someone who has been gifted by God with unusual talents, and because of this fact he is able to have a particularly powerful in-fluence on other people. And the greater the talents, the greater the influence, for good or ill. And anyone who thinks he is immune to the deleterious effects of immoral art is only kidding himself or herself.
An artist, if he uses his talents as they were intended to be used, can be a formidable force for good in any society, and indeed, if he is a truly outstanding artist, his influence can extend across many societies and down many centuries. One thinks of the positive impact of poets such as Dante and Shakespeare, of musicians such as Haydn and Mozart. On the negative side, if an artist abuses his God-given talents, he can be the cause of deep and enduring evil. What if an artist should choose not to live up to his moral responsibilities as an artist?
 What If? What if he adopts the attitude described above and claims that art is not bound by the rules of moral law? He decides to use his art as a means of actively undermining the principles of conventional morality. Should the society in which such an artist lives and practices his art consider itself helpless in the face of irresponsibility of this kind, an irresponsibility that often parades itself as ‘artistic integrity’?
 Not All! Not at all! Every society has not only the right, but the solemn duty, to protect itself against influences which, if left unchecked, could conceivably lead to the very dissolution of that society. And few things can prove to be more harmful to the health and well-being of any society than blatantly immoral art.
‘But, my goodness’, you might ask me, ‘you certainly are not talking about censorship, are you’?
I certainly am. We have been so bamboozled by carelessly liberal ways of thinking that we have to come to believe that censorship is the most heinous thing on the face of the earth. This is nonsense. As has been recognized by all sound thinkers since at least the time of Plato, censorship is a perfectly legitimate, and necessary, way by which any society seeks to protect and preserve the moral well-being of its citizens.
 Keep Your Priorities Straight. We are able, with much zeal, to unconditionally outlaw smoking in public places (which is a very strong form of the censorship of behavior), and yet see fit to allow, in the name of ‘freedom of speech’, the rampant proliferation of the most pernicious and soul-polluting kind of pornography.
Talk about not having one’s priorities straight!
Written by: Gabriella
Source: gabriella50.wordpress.com
Tags: arT, arT controlversy, arT philosophy, arThou, censorship, conventional morality, Jaques Maritain, modern thought, moral arT, personal reflections, society
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Friday, October 23rd, 2009
As ℓūfħer mentions on the brand new website at www.assholedrive.com, “We often strive to fight traffic,” and that is what we do. The name Asshole Drive says it all and, while the website has not many options, it’s a start.
ℓūfħer mentions that while it has just been launched and the work is progressing slow, this personal site will gain momentum as a blog and a number of resources for drivers will be added and as relationships are forged with automotive companies.
For now, however, lets get in and shame those who are being shameless.
Tags: arT, bad driver, bad driving, driving, driving violations, traffic
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Sunday, October 18th, 2009
 Tom Deininger's incredible recycled art First impressions aren’t always what they seem. Take this cute little bunny. It looks like a cuddly companion for a small child, but closer inspection reveals that this furry friend might be more appropriate for the smoker in your life instead. In fact, those who smoke may be the only ones who can appreciate both the rabbit’s appearance and its distinct perfume, a tobacco stench made possible by fur made from old cigarette filters.
Artist Tom Deininger collected discarded smokes from beach parking lots to create the above rabbit – which his website says “reeks of tobacco”.
 Tom Deininger’s incredible recycled art Perhaps the most incredible piece is this portrait created from recycled materials. It may look photoshopped in to place. But you’re in for a shock when you watch the following video.
Source: derrenbrown.co.uk
Tags: arT, arThou, arTists, controversial arT, meaningful arT, unusual arT
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Sunday, September 27th, 2009
 Man and beast, the connection was made physical by Charles Darwin in his theory of evolution in the mid-19th century.
Since then zoologists and wildlife documentaries have further drawn our relationship to animals, and a slew of artists have been pondering the same; and an exhibition at the UC Riverside’s Sweeney Art Gallery, “Intelligent Design: Interspecies Art” (through 28), has gathered some provocative of their projects. “In the past, art dealing with animals usually addressed issues of representation,” says Tyler Stallings, gallery director. “I wanted to expand beyond that.” And so, he points out, this being the bicentennial of Darwin’s birth made it seemed especially timely for such a show.
Stallings invited Rachel Mayeri, an associate professor of media studies at Harvey Mudd College who is well known for her interest in “soft science” and is an artist, herself to help co-curate the show. “I’m interested in art as a way of exploring science,” says Mayeri, also an artist. “Artists can think about biological issues through their work and make them more concrete.” Eventually, they selected 20 artists, mostly from California, encompassing video, photography, painting and sculpture. “We were looking for artists with a long-term commitment to trying to understand a different mentality, to appreciating what it means to be human,” Mayeri says.
Sam Easterson focuses on the animal’s point of view quite literally, by attaching minicams to creatures ranging from including armadillos, to falcons, from scorpions to and sheep, and letting them go on their way. The resulting clips end when the cam falls off, and are shown without narrative. Other artists get that subjectivity more obliquely, such as Catherine Chalmers’ video simulation of a cockroach moving through fauna and flora in “Safari” or Alison Ruttan’s video of a man mimicking a prowling cat in “Impersonator.”
The most controversial work in the show may be the reworked taxidermy of Carl Fernandez. Ten years ago, when considering additional uses for dead animals, she visited taxidermy shops and bought seven former-animals bodies. She re-created each as a piece of luggage, with openings and cavities. On exhibit will be two — “7100-Goat” is a goat reworked into a wheeled bag, its two horns projecting from the sides, and “7200-Buffalo” is a buffalo whose woolly head has been split open, presenting itself for packing one’s belongings. “Some people find the work disgusting,” Fernandez says, “but then they go out and have a steak dinner.”
For more images and details click here.
Tags: animals, arT, arT gallery, arThou, arTists, nature arT, soft science
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Sunday, September 27th, 2009
 When is a door not a door? When it’s ajar … or perhaps when it is shattered like glass. This piece is all the more surreal for being situated in a minimalist modern white room in what could well be the interior of a conventional contemporary house. Though artists might recognize this unusual frame job as artwork, this is doubtless not what carpenters mean when they refer to rough framing a wooden door.
 Puns and plays on words aside (or perhaps inside), artist Leandro Elrich has quite an elegant way of shattering our expectations (so to speak) in works like this one, where the properties of one material are experimentally applied to a familiar object made from another substance. The last thing a viewer expects is for an almost boringly ordinary door to crack and crumble like a sheet of glass.
 Knobs away! What appears to be a large door knob rests on the floor in front of the broken shards (still sitting loosely in their frame). Other works by Elrich likewise take typical settings, household furnishings and home fixtures like windows, ladders and curtains and add twists that turn these common situations and objects into visually and conceptually challenging works of art.
Source: dornob.com
Tags: arT, arT projects, arThou, arTwork, contemporary arT, elegant arT, wood arT, wooden arT
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