Tag Archive "creative-time"

Katharina Grosse's "psychylustro," by now a familiar sight. Photo credit: Philebrity.com.

News post – A Candy Coated Eakins Oval, ART21 2014 stars Katharina Grosse, Pine Barrens on film, opportunities and more!

News Magic Carpet, a total environment created by Candy Coated that the Association for Public Art commissioned for The Oval, kicks off tomorrow and is on view until August 17. It’s much as you’d expect for a work served up by Candy Coated; representatives from the City and Fairmount Park Conservancy, artists and an interpretative dance team are cutting the ribbon on the “Magic Carpet” theme and 3-D illusion public art display. Plus, let’s see who can turn down a beer garden! Big old list ahead: The 2014 Grantees of the Stockton Rush Bartol Foundation have been chosen, and some super-deserving organizations have gotten a boost. ... More » »


From the vault – Public art in New York and Philadelphia raise questions about ownership and maintenance

In celebration of artblog’s 10-year anniversary, we are bringing you posts from past years. In January, 2004, we were viewing different instances of public art in Philadelphia and New York. Libby took issue with Penn’s commissioned work by Jenny Holzer, a far cry from her controversial ‘Truisms,’ while Roberta visited an out-of-order Creative Time installation. Century 21 even had some ‘word art’! ——————————- Corporation makes “art” By libby January 8, 2004 The University of Pennsylvania bought itself a Jenny Holzer. No, that’s not right. The University of Pennsylvania paid Jenny Holzer and put her name on a walkway with benches where ... More » »

John Maeda, Fireball.  Image from Thinking in Practice

News post – Knitting with the PAA, Bartol grants, Thwing & Mosely, Musson, opportunities and more!

News Two on technology – 1. President of RISD John Maeda, featured in a Q&A in Thinking In Practice, the online magazine, says some interesting things about artists and the future. “Technologies are raw forms of enablement; art and design take those technologies and bring commercial and cultural relevance to them. Whether those technologies are an oil-based pigment that dries glossy, or a tubular form of steel that bends easily, or a mechanical platform with 4 tires, or a TV screen that lets you change more than the broadcasting channel, artists and designers are the ones who see the potential in these materials ... More » »


Nato Thompson at Temple – How can art compete with corporate image making?

In his wide-ranging talk at Temple Gallery Feb 23, Nato Thompson threw down the gauntlet: Make the arts relevant or they will be pathetic and irrelevant. He asked rhetorically, how can art be relevant when it has to compete daily with the 3000 advertising and other corporate images we are bombarded with.  All those ads, logos, and stuff in our visual field, he said, — they have taken over. They own the cultural discussion. “I love Karl Marx,” Thompson threw out there while pacing back and forth in front of his projected slides. While his talk, titled Seeing Power: Art ... More » »

Ward Shelley

News – FLASHFLooD, Kutztown, Ward Shelley at Pierogi, and lots of opportunities!

News Lectures and discussions Temple Gallery is offering a lecture with Philadelphia resident and Creative Time curator Nato Thompson on Thursday, Feb. 23 at 7:00 PM. Thompson will speak about his latest book Seeing Power: Art and Activism in the Age of Cultural Production. We at artblog would love a Creative Time organization in Philly, and as it turns out we have the curator right here! Reserve a seat for Nato Thompson’s lecture at http://www.eventbrite.com/event/2826019701 or call 215 777 9138.  And in West Philly, artist and independent curator Matheiu Copeland speaks at Kelly Writers House Thursday, Feb. 16, 6pm, about his efforts at subverting ... More » »

PSJM ‘USA Population by Race,’ ‘USA Poverty Rate by Race,’ ‘USA Prison Population by Race’

Two Recent Books on Socially-Engaged Art

A number of books and catalogs have come out which concern art with a social and/or political focus. This post looks at two which were recently published in Berlin: Art and Agenda; Political Art and Activism, Robert Klanten et al, eds. ( Berlin: Gestalten, 2011) ISBN 978-3-89955-342-0 visible; where art leaves its own field and becomes visible as part of something else, a project by Cittadellarte-Fondazione Pistoletto and Fondazione Zegna (Berlin: Sternberg Press, 2010) ISBN 978–1-934105-0

Nick Paparone at Fleisher-Ollman.  Lamps made from a stack of molded pineapple shapes

Shout out to a show that closes tomorrow – Nick Paparone and Dan Murphy at Fleisher-Ollman

This is a particularly good exhibit to look at as Occupy Philadelphia and Occupy Wall Street continue.  There’s little love for corporations in either Murphy’s or Paparone’s works, and yet, and yet, there’s a clear love of production; of doing it yourself; of personal empowerment that’s very 99 percent and quite a bit like what the founding fathers had in mind when they set up personal freedoms for individuals. Nick Paparone – Accents for the Self-Made Man

Tania Brugera’s ‘Immigrant Movement International’ site in Corona, Queens (2011) funded by Creative Time

‘Living as Form'; Creative Time’s Summit and Exhibition in the old Essex St. Market

  Creative Time has been one of the most challenging and exciting visual art presenters in the country over its 37-year history, with a record of commissioned projects that have been novel, imaginative and remarkably artistically successful. That’s saying a great deal for an organization that has asked artists to do things they likely haven’t done before, or haven’t done in the proposed circumstances. Furthermore, it has taken art out of its designated venues and presented it to unfiltered, urban audiences. The organization has ferreted out unlikely venues. Some took opportunistic advantage of real estate in transition, such as the ... More » »

New York summer, Part 1 – rooftop tiki bar and bells

Last Friday night Steve, Cate and I ran in to the Whitney Museum to see the Christian Marclay Festival — part exhibition, part performance space and part graffitti-friendly hangout (well, chalk-on-blackboard grafitti anyway). We missed the 7 pm performance but the place was still pretty packed till closing at 9 pm. The museum’s pay what you wish policy on Friday nights is obviously a draw.

Manon, The Salmon-Colored Boudoir, installation view, 1974/2006

The Feminine Imaginary: Manon, Unica Zürn and Marilyn Minter in NYC

Recent art history that describes the 1970s as entirely Minimalist leaves out a lot; the same can be said for the predominantly U.S.-centric view. The Swiss Institute is showing the first solo exhibition of Manon’s, a survey from the 1970s to recent work (through June 30), and it’s an eye-opener.

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