art + research + art: February 2011

ART FAG CITY IS A REALLY GOOD BLOG SITE

CLICK HERE

Die Antwoord - Zef Side (Official)

SPACE- TINY APARTMENT ARCHITECTURAL MARVAL

OLEK AND THE CHARGING BULL ON WALL STREET

OLEK AND THE CHARGING BULL ON WALL STREET from olek on Vimeo.

Walrus TV Artist Feature: Swoon Interview from "The Run Up"

3D Printing comes to Coulture

The latest collection from Dutch designer Iris van Herpen exploits rapid prototyping to produce stunningly futuristic high fashion.

The future of fashion has arrived, and it comes straight out of the printer. Exhibit A: The new collection from Dutch fashion designer Iris van Herpen, which throws rapid-prototyping onto the catwalk, with scaly minis and sculptural ruffles that could pass for something Marie Antoinette might’ve worn on the set of Blade Runner.
Van Herpen is a rising star in fashion for marrying high-tech production methods to the old art of couture. (One writer wondered recently whether she’d be the next Alexander McQueen, which is the fashion-world equivalent of nominating her for a Pulitzer Prize.) for more see here

Michael Landy's giant Art Bin at South London Gallery

Art Deco - Treasures of The New York Public Library

drawing machine by Dan Grayber (close up)

Rejected Cartoons by: Don Hertzfeldt

ART IS OPEN SPACE

click here

"Early Abstractions" (1946-57), Pt. 1

"Early Abstractions" (1946-57), Pt. 3

"Early Abstractions" (1946-57), Pt. 4

SELF PORTRAITS - JAMES BARANEY

VIVIAN MAIER - PHOTOGRAPHER

This Blog space (below) was created in dedication to the photographer Vivian Maier, a street photographer from the 1950s - 1990s. Vivian's work was discovered at an auction here in Chicago where she resided most of her life. Her discovered work includes over 100,000 mostly medium format negatives, thousands of prints, and countless undeveloped rolls of film. She was 'unknown' all of her life...
click here

An interview of the guy who found her work, speaking here...

PLOT_PLOT_PLOT

OR...HOW TO FEEL LIKE A 'MISERABLE ARTIST'

MADAME PICKWICK ART AND MEDIA BLOG OF THE UNEXPECTED

Madame Pickwick Art Blog is an art and media blog of the unexpected. The purpose is to entertain,inform and amuse ( or bemuse) on diverse subject matter that is essentially arts related. The blog hopes to encourage the creative side of our readers. The Madame Pickwick approach has been that a society that is creative constitutes the basis for a non-aggresive, just and economically viable civilization!!
click here

ECO ART

click here

and Claire Morgan click here

PERFORMANCE ART

Watch this video on VideoSurf or see more The Other Side (The Videos or The Other Side (Herc Videos

Tiny Tim
Lots of other performance art films click here

REASONABLE CREATURES ART AND THE UNEXPECTED

Martha Rosler. Semiotics of the Kitchen and more click here
"Another example is Martha Rosler demonstrating the function of a juicer as if she were wringing someone’s neck:Rosler’s slashing gesture as she forms the letters of the alphabet in the air with a knife and fork, is a rebel gesture, punching through the “system of harnessed subjectivity” from the inside out.”I was concerned with something like the notion of Ôlanguage speaking the subject,’ and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.”( Martha Rosler )
click here

OPTICAL ART_FILMS

Victor Vasarely click here

SURREALISM _FILMS

click here

FLUXUS ART_FILMS

click here

FOLK ART/OUTSIDER ART_FILMS

click here

CONTEMPORARY ART _FILM

The eyes of "Le Solitaire" by French artist Theo Mercier
click here

FEMINIST ARTISTS _FILM

painting by Artemesia Gentileshi
click here

SOUND ARTISTS_ FILMS

Sound work by Janet Cardiff
click here

LYNDA BENGLIS

Watch this video on VideoSurf or see more Louise Bourgeois Videos or Lynda Benglis Videos

Benglis and Bourgeois film
other films click here
info click here

STRANDBEEST by THEO JANSEN

Animaris Umerus walking - June '09 from Strandbeest on Vimeo.
for more click here

ESOTERIC MASH UP from cento lodigiani on Vimeo.

CLAUS OLDENBURG - I AM FOR AN ART (1961)

Oldenburg
Floor Cake
Artist web site click here

Click on this to make it larger - easier to read

"ART IS MEANT TO DISTURB - SCIENCE REASSURES" BRAQUE

FOLK ART CANADA

info and stuff click here

CANADIAN COUNCIL OF THE ARTS - GRANTS ETC

click here

BRIAN JUNGEN

... on in Edmonton, for more click here

ART AND SCIENCE

image Stellarc and the elbow ear
Digicult presents:

NECESSITY OR TABOO
HOW TO EVALUATE ART & SCIENCE PROJECTS?
Txt: Silvia Casini

Complete article:
http://www.digicult.it/digimag/article.asp?id=1953

Digimag 60 - January 2011
http://www.digicult.it/digimag_eng/

Scientists and communicators are more and more persuaded that divulgating
science to the public and involving outsiders into it is a duty rather than
a choice. In order to make science is necessary to use a various range of
tools: from a pen and a sheet where to draw sketches, write notes and create
mental maps, to the utilization of the most advanced technology. The
sciences that more evidently and more closely concern the human body, such
as genomics and neurosciences, are searching for more effective ways to
communicate and involve people.

Art entered the scientific field many years before scientists and artists
became aware of it: the focus on the perceptive and aesthetic-functional
aspects has always been a part of scientific experimentation and research,
sensitive to representative procedures utilizing images rather that words.
Many science museums before, and science centres later, like San Francisco
Exploratorium, Dublin Science Gallery and Paris Laboratoire bet on the union
between art, science and technology. Design played a key role in the
modernization of science museums, that were looking for a more and more
advanced, user-friendly and absorbing interaction with the public.

However, art stayed out of it. Art museums remained completely different
from science museums and science centres, most of all because people went to
the science museum with the purpose of learning something. In Italy a
certain snobbery towards the terms "didactic" and "educational" reigned
supreme. Now it seems the situation has reversed though: art, even
contemporary one, can be and must be not only explained, but approached and
treated like an ordinary aspect of everyday life. The educational function
of art is a taboo no more: children get closer to art through a great number
of didactic laboratories, direct experiences, meeting with artists, thematic
paths. The magic formula "hands on" that radically changed the planning and
the setting up in science museums seems to go well with art and design.

The collaborations between artists and scientists are always very useful
occasions indeed, and keep on giving good results. These people work side by
side in the attempt of visualizing invisible-to-the-eye phenomena and
analyzing and using the properties of matter. Thanks to art-science
projects, artists can reach sophisticated instrumentations otherwise
forbidden outside the laboratory, while scientists have the chance to
analyze the studied object through new visualization procedures that take
advantage from the artist's intervention: when observed through the use of
different techniques, some objects seem to become more visible and reveal
new properties. Moreover, in this way the artists who care for science and
technology often ask themselves about ethical, cultural and social
questions, while the scientists rely on new communicative ways to show the
outcomes of their researches and earn the public's assent.

------

Complete article:
http://www.digicult.it/digimag/article.asp?id=1953

HOW ARTISTS WORK

How writers, artists, and other interesting people organize their days...

Gerhard Richter

He sticks to a strict routine, waking at 6:15 every morning. He makes breakfast for his family, takes Ella to school at 7:20 and is in the studio by 8. At 1 o'clock, he crosses the garden from the studio back to the house. The grass in the garden is uncut. Richter proudly points this out, to show that even it is a matter of his choosing, not by chance. At 1 o'clock, he eats lunch in the dining room, alone. A housekeeper lays out the same meal for him each day: yogurt, tomatoes, bread, olive oil and chamomile tea.

After lunch, Richter returns to his studio to work into the evening. ''I have always been structured,'' he explains. ''What has changed is the proportions. Now it is eight hours of paperwork and one of painting.'' He claims to waste time -- on the house, the garden -- although this is hard to believe. ''I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.'' As he talks, I notice a single drop of paint on the floor beneath one of his abstract pictures, the only thing out of place in the studio.

The New York Times Magazine, January 27, 2002

Chris Ofili

He arrives in his studio at 9 or 10 in the morning, he explained. He sets aside a corner for watercolors and drawings "away from center stage," meaning where he paints his big, collaged oil paintings. "I consider that corner of the studio to be my comfort zone," he said. First, he tears a large sheet of paper, always the same size, into eight pieces, all about 6 by 9 inches. Then he loosens up with some pencil marks, "nothing statements, which have no function."

"They're not a guide," he went on, they're just a way to say something and nothing with a physical mark that is nothing except a start."

Watercolor goes on top. He estimated that each head takes 5 to 15 minutes. Occasionally he'll paint while on the phone. He may finish one watercolor or 10 in the course of a day.

"There have been days I have not made them," he added. "Sometimes it felt absolutely necessary to do pencil drawings instead. It was cleansing. There's a beautiful sound that pencil makes when it's scratching on paper. Very soothing. Watercolor is like waving a conductor's baton. It's very quick. I almost don't even have to think."

"Sometimes," he added, "I will return to the watercolors in the evening. And that's a completely different atmosphere. If things haven't gone well during the day, I can calm down. The big paintings are like a performance -- me looking at me. It's self-conscious. There's a lot of getting up close to the canvas, then stepping back, reflecting on decisions, thinking about gestures. I try to take on all sorts of issues and ideas. So my mind is busy. With watercolor, it's just about the colors and the faces. They're free to go any way they want to go. I may tell myself, 'This will be the last one I do.' Then I'll do another. That's liberating."

The New York Times, May 8, 2005

Willem de Kooning

If Elaine [Fried, whom de Kooning married in 1943] found it strange to return directly to work on her wedding day, she never said so. That was the way of life on Twenty-second Street: every woman in de Kooning's life from Nini onward could attest that he was already married to his work. During the time when Elaine was commuting back and forth to Brooklyn, de Kooning's days were devoted to art, and they continued to be so after she moved in permanently. Typically, the couple rose late in the morning. Breakfast consisted mostly of very strong coffee, cut with the milk they kept in winter on a window ledge; they did not have a refrigerator, an appliance that in the early forties was still a luxury. (So was a private phone, which de Kooning would not have until the early sixties.) Then the day's routine began with de Kooning moving to his end of the studio and Elaine to hers. Work was punctuated by more cups of strong coffee, which de Kooning made by boiling the coffee as he had learned to do in Holland, and by many cigarettes. The two stayed at their easels until fairly late, taking a break only to go out for something to eat or to walk up to Times Square to see a movie. Often, however, de Kooning, who hated to stop working, began again after supper and pushed far into the night, leaving Elaine to go to a party or concert. "I remember very often walking by and seeing the lights on and going up," said Marjorie Luyckx. "In those studios, the heat used to go off after five o'clock because they were commercial buildings. Bill would be painting with his hat and coat on. Painting away, and whistling."
Mark Stevens and Annalyn Swan, de Kooning: An American Master

Jasper Johns

The self-imposed solitude at the core of Johns's life is more apparent in St. Martin. James Meyer, his studio assistant in Connecticut, comes down at the start of Johns's stay each year, which usually lasts from just before Christmas to March; he helps Johns set up the studio, stretch canvases, and so forth, but then he leaves, and Johns is alone in the house. Friends come for brief visits--he has a guest house--but you sense that he is perfectly comfortable with no one around. Although he keeps to no regular schedule, he gets up early and usually works for several hours every day. For recreation, he swims in his pool, or he gardens. The round, slatted-wood table in the living room is piled with books that people have sent him: "Kafka on the Shore," by Haruki Murakami; "The Liberal Imagination," by Lionel Trilling; "The Complete Poems of Ted Berrigan"; "Cézanne and the Eternal Feminine," by Wayne Anderson. He often wakes during the night and reads.
The New Yorker, December 11, 2006

Ben Katchor

9:20 a.m. Awoke in an air-conditioned bedroom; forgot it was July.

1:15 p.m. Under the agonizing pressure of a deadline, I finish this week's strip. As a reward, I take a delightful subway ride to the offices of the Forward to deliver the job in person. For several hours, I am in a state of euphoria which accompanies the completion of my strip each week. Walking along 33rd Street from 7th Avenue to Broadway, I stop to look at the vacant lot that was, until recently, the mysterious 34th Street Arcade.

2:30 p.m. Continue by subway downtown to resume packing the books in my soon-to-be-relinquished "old" studio. Books I haven't seen for ten years: The Mountaineers, a play in three acts by George Colman, the younger, London 1803; a bound volume of The Penny Magazine of the Society for the Diffusion of Useful Knowledge, London, 1832; East of Fifth, the Story of an Apartment House, by Alan Dunn, New York, 1948.

5:15 p.m. Outside of a health-food store on Broadway, a familiar scene. A black man rummages through the day's garbage neatly packed in plastic bags at the curbside. The Mexican employee, who just set the garbage out, opens the door and tells him to stop. The black man is angered and says, "This is garbage." (Implying that it now belongs to no one.) "Come out and fight me for it!" The health-food store employee curses and goes back into the store. We have here, in microcosm, the cause of all human conflict.

8:45 p.m. Ran across the street to the "Associated" for cottage cheese. Waiting on line at the check-out counter, I have two profound revelations:

1) The price of all purchases in all stores should be rounded off to the nearest dollar amount. By this general agreement, we would recoup the time wasted making change and be spared the destructive force of loose coins on the fabric of our pockets.

2) An arrangement should be made so that the buying of groceries can be done in private. No one's purchases should be subject to the humiliating scrutiny of the person who happens to be next on line. The situation, as it now exists, will someday in the future be looked back upon as an inhumane condition of 20th-century life.

10:00 p.m. Tonight, while waiting outside of a video rental store on 105th Street, I saw two diminutive, middle-aged Puerto Rican men who seemed to have been cast by circumstance into a state of perpetual childhood. One carried a piece of a fishing rod, the other, a small portable radio; both wore short pants. They were walking east, enraptured by the evening, distracted by everything they saw, probably drunk. Were their parents still alive, or were they wards of the State?

2:10 a.m. At this hour, people are inspired by the relative quiet of Broadway to begin screaming. They scream in anger at a companion, or to the public in general.

Slate, July 8, 1997

Gary Panter

Get up at 7:30 in the morning -- feed cats, drive daughter to school, read the NY Times and drink chocolate milk. Do chores and tasks and try to get time to make art. Make art. Take naps. Before each 5 minute nap I read a page or two. Right now I'm reading Thomas Pynchon's Against the Day. Make art. Go to sleep at 3:00 in the morning.
Readersvoice.com, March 2007

William Wegman

Morning routine: In Maine, I get up around 7:30 or so. First you have to feed four dogs four different things. They all have their diets, their own pills that they're taking. Batty's on all kinds of medication, Rimadyl for arthritis and Pepcid AC and Benadryl.
Workout: Every morning the dogs and I take a bike ride, about five miles uphill. In the afternoon I usually take them on a 20-mile ride. That's why I'm so fit [Laughs].
The New York Times Magazine, September 14, 2003

more here

DIGITAL AND SOCIAL MEDIA TOOLS - A GUIDE FOR RESEARCHERS

'Social media is an important technological trend that has big implications for how researchers (and people in general) communicate and collaborate. Researchers have a huge amount to gain from engaging with social media in various aspects of their work.

This guide has been produced by the International Centre for Guidance Studies, and aims to provide the information needed to make an informed decision about using social media and select from the vast range of tools that are available.
One of the most important things that researchers do is to ﬁnd, use and disseminate information, and social media offers a range of tools which can facilitate this. The guide discusses the use of social media for research and academic purposes and will not be examining the many other uses that social media is put to across society.

Social media can change the way in which you undertake research, and can also open up new forms of communication and dissemination. It has the power to enable researchers to engage in a wide range of dissemination in a highly efﬁcient way.

Audio and Video tools

Flickr - www.ﬂickr.com
Justin tv - www.justin.tv
Livestream - www.livestream.com
Picasa - http://picasa.google.com
SmugMug - www.smugmug.com
Ustream - www.ustream.tv
Viddler - www.viddler.com
Vimeo - http://vimeo.com
YouTube - www.youtube.com

Blogging and Microblogging tools

Blogger - www.blogger.com
LiveJournal - www.livejournal.com
Google buzz - www.google.com/buzz
Plurk - www.plurk.com
Posterous - www.posterous.com
Tumblr - www.tumblr.com
Twitter - www.twitter.com
Typepad - www.typepad.com
Wordpress - www.wordpress.org
Yammer - www.yammer.com

Examples of academic and research blogs

Academic blog portal - http://www.academicblogs.org
Adventures in Career Development - http://adventuresincareerdevelopment.posterous.com
alunsalt.com - http://alunsalt.com
Finds and Features - http://ﬁndsandfeatures.wordpress.com
Fresh and Crispy - http://blog.cpjobling.org
Love of History - http://constantinakatsari.wordpress.com
MicrobiologyBytes - http://www.microbiologybytes.com/blog
My exciting PhD journey! - http://elenaphd.wordpress.com
PhD Blog (dot) Net - http://phdblog.net
Research blogging - http://www.researchblogging.org
Science in the Open - http://cameronneylon.net
Science of the Invisible - http://scienceoftheinvisible.blogspot.com
Stanford blog directory - http://blog.stanford.edu
Starting out in Science - http://begsci.wordpress.com

Social networking services

Academia.edu - www.academia.edu
Facebook - www.facebook.com
Friendfeed - http://friendfeed.com
Graduate Junction - www.graduatejunction.net
LinkedIn - www.linkedin.com
MethodSpace - www.methodspace.com
MySpace - www.myspace.com
Nature Network - http://network.nature.com
ResearchGate - www.researchgate.net

Location based tools

Foursquare - http://foursquare.com
Gowalla - http://gowalla.com
Facebook Places - www.facebook.com/places

Social bookmarking, news and social citation tools

BibSonomy - www.bibsonomy.org
CiteULike - www.citeulike.com
delicious - www.delicious.com
Digg - http://digg.com/news
diigo - www.diigo.com
Mendeley - www.mendeley.com
Newsvine - www.newsvine.com
Reddit - www.reddit.com
Zotero - www.zotero.org

Research and writing collaboration tools

Dropbox - www.dropbox.com
Google Docs - http://docs.google.com
PBworks - http://pbworks.com
Wetpaint - www.wetpaint.com
Wikia - www.wikia.com
Wikispaces - www.wikispaces.com
Zoho Ofﬁce Suite - www.zoho.com

Presentation sharing tools

Scribd - www.scribd.com
SlideShare - www.slideshare.net
Sliderocket - www.sliderocket.com

Project management, meeting and collaboration tools

Adobe Connect - www.adobe.com
Bamboo - www.bamboosolutions.com
Basecamp - http://basecamphq.com
BigBlueButton - http://bigbluebutton.org
Citrix GotoMeeting - www.gotomeeting.com
DimDim - www.dimdim.com
Elluminate - www.elluminate.com
Huddle - www.huddle.com
Skype - www.skype.com

Information management tools

Google Reader - www.google.com/reader
iGoogle - www.google.com/ig
Netvibes - www.netvibes.com
Pageﬂakes - www.pageﬂakes.com

Virtual worlds

Second Life - http://secondlife.com
OpenSim - http://opensimulator.org
World of Warcraft - http://eu.battle.net/wow

The main project page for Social media: A guide for researchers is here.

'CRYING PAINTINGS' OLD AND NEW- JILL GREENBERG

For odd article on crying and the odd click here

Photo below by Jill Greenberg for more see google page here her webpage here good example of paraphrasing- reworking an idea

ECOLOGY

Pierre Huyghe

"Streamside Day," production still
2003
Film and video transfers, 26 minutes, color, sound. Photo by Aaron S. Davidson.

art21 ecology slides...video...artists click here

10 RULES FROR THE ARTIST BY SISTER CORITA

from here (thanks Tiffany)

PIPPILOTTI RIST

click here
for UBU webs song piece click here

OTHERNESS

professor Corey Anton.... for more talks re ideas click onto his site here

THE OTHER Convincing Other Cultures to Change

Convincing Other Cultures to Change | Kwame Anthony Appiah | Big Think

MALE GAZE-WOMEN IN ART

FEMINIST ARTICLES- READINGS ETC

'...HOW MIGHT WE ASSESS FEMINISM'S INITIAL IMPACTS ON
ART, ITS SUBSEQUENT HISTORICIZATION, AND ITS
CONTINUING INFLUENCE? ARTFORUM ASKED LINDA
NOCHLIN, ANDREA FRASER, AMELIA JONES, DAN
CAMERON, COLLIER SCHORR, JAN AVGIKOS, CATHERINE
DE ZEGHER, ADRIAN PIPER, AND PEGGY PHELAN TO
CONSIDER THIS QUESTION IN AN ONLINE ROUNDTABLE
ASSEMBLED IN AUGUST. THEIR RESPONSES-REFINED BY
THE PARTICIPANTS AND PRESENTED IN THE FOLLOWING
PAGES-SUGGEST THAT FEMINISM AND FEMINIST
DISCOURSES AS THEY HAVE FOUND EXPRESSION IN
CONTEMPORARY ART ARE AMBIVALENT ("IN THE FULLEST
SENSE OF THAT TERM," AS PHELAN PUTS IT),
MULTIFACETED, AND EVER EVOLVING....'
From an Art Forum ... article.
For the rest of it click here

FEMINISM OVERVIEW click here

FEMINIST THEORY click here

FEMINIST CRITICISM click here

NOTES ON THE GAZE click here

GUERRILLA GIRLS click here

RADICAL PHILOSOPHY click here

CRITICAL THEORY click here

FEMINIST EZINE click here

FEMINIST ART SITE click here

THINKING AGAIN FEMINIST WRITERS click here

WOMEN AND PERFORMANCE click here

FEMINIST THEORY KEY WORDS click here

FEMINISTING click here

BITCH MEDIA click here

BUST MAGAZINE click here

THE F Word click here

FEMINIST LISTS AND GROUPS click here

FEMINIST WEBSITES click here

HARAWAY CYBORG MANIFESTO click here

FEMINISM 101 SITE click here