Wednesday, February 8, 2012
Thirteen contemporary artists will be forming “a more perfect union” in the month leading up to the Presidential Election, 2012. The project, “USSSA (united secret society of subversive artists),” will feature a highly diverse group of artists; each of them bringing a unique artistic background and a dynamic range of experience.
The artists of USSSA are all politically invested in the arts. They are educators, activists and organizers. The artists of USSSA will each create an installation around a theme of her or his choice. Through innovations to the curatorial model, this project becomes a venture where each artist presents a personally relevant perspective and engages the project as a space to work toward equal terms of support, respect and resolution.
We are on Indiegogo to raise the start-up funds for our first ever exhibition (i.e. official website, artist interviews, and promotion materials.) In the following months you will find Indiegogo pages for each of our artists but this page “Phase 1” will help us spread the word so that our artists—whom represent a wide array of political issues—can reach their intended audience.
The artists of USSSA seek to dispel the notion of politics in category and the synthesis of artist installations within one larger exhibition will reflect that; exemplifying a truly unified and collective effort as only artists can achieve. Diverse media and art education are integral parts of the USSSA political model—no one person performs as an expert in all matters but, instead, each individual sharing a legitimate voice, an active role, and an appreciation for each other among the group.
Who’s “dream” are we talking about?
The “American Dream” is not as concrete or common as our politicians and media would have you believe. The artists of USSSA will bring form to the intangibles of the “American Dream” because the visions, ideals and values that are often cited by pundits are precisely the forms that artists are trained to bring to life. Artists dream boldly and with care . . . something our nation would be wise to learn. Why are our nation’s art programs suffering? Why are this country’s artists becoming a marginalized population? Who is this “Amerigo Vespucci,” anyway?
In bringing a collective voice to the issues that are most important to us, this group of artists will be calling attention to the dynamics of democratic process, documenting our innovative forms of collaboration, and bringing form to the patterns of real and actual change.
Our exhibiting artists for “USSSA, 2012”
Please enjoy these links from our exhibiting artists:
Julio Cesar Morales
Coming soon . . .
M. Ryan Noble
About your donation
Your donation at this stage is a critical first step. The location of our first exhibition, scheduled for October, 2012, is yet to be determined. We have several proposals around the country and will be relying on our donors to help us generate a wide interest in the exhibition. The shirts were printed in the studio of two “community artists” in their support of this project. Your donation will include domestic shipping and a certificate of authenticity. Please remember to specify your size and mailing address or P.O. Box.
Most importantly, we ask that you share this project with anyone you know whom supports the arts. Please use Indiegogo’s “Share” buttons or just cut and paste our links:
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M. Ryan Noble
Monday, October 10, 2011
The poet, Carl Sandburg once described poetry as being a “journal of sea animal, living on land, wanting to fly the air.” The work that Valérie creates is, in a way, like this. Not content to allow steel to be cold, hard and static, she breathes life into it, to make it appear to something else altogether. Light. Lightweight. Supple. Soft. The metal in her furniture seems pliable, as though it is blowing gently in the breeze.
Valérie refuses to limit herself by media, and uses various techniques to work with silk, porcelain, glass, sculpture, felt, resin and other materials to create her multi-layered, gravity-and-media defying art.Version:1.0 StartHTML:0000000177 EndHTML:0000002530
The Jaguar MK2 is not an actual Jaguar body, but is a substrate that was designed and cut by someone else.
The artist spent a year studying with a steel worker to learn how to cut and weld steel, and is the first woman in France to graduate from the SFPA St. Nazaire in this discipline. When she received funding to make her art full time, she joined a primarily male orgaization working side-by-side with men to create her steel works. She found this physically challenging, but highly rewarding.Blossom & Bill introduced her work by saying: “Valérie Boy, who has a French passion that dissolves in clouds of smoke and jazz.” He work is musical, lyrical, magical.
Despite her formal training in steel working, she is self taught as an artist. Valérie draws inspiration from various aspects of life itself (such as the 7 Deadly Sins) using steel in ways that contrast with the other materials she uses.
Does this steel pillow not look soft enough to sleep on?! Amazing.
In the beginning there was nothing. God said, "Let there be light!" And there was light. There was still nothing, but you could see it a whole lot better.
To see more work by Valérie Boy , please visit her website by clicking HERE.
Sunday, November 7, 2010
It has been awhile! Today's entry is about a young English sculpture named, Chris Gilmour who takes recycling to a whole new level.
Each of the objects pictured below is made of cardboard.
British artist, Chris Gilmour, chooses images and objects that evoke memories and emotions to create his intricately folded and glued cardboard sculptures. He chooses cardboard that “isn’t too clean” because he wants viewers to see what the material really is. Early in his career, he used only new cardboard and people would often think it was the real object that had simply been covered with paper or cardboard and painted.
The only materials he uses are cardboard, glue and an Exact-o knife or scissors.
Chris’ penchant for using recycled cardboard comes from a desire to take control of the waste and objects that surround human beings on a daily basis. He enjoys the immediate accessibility of cardboard and is attracted to his historical void that is associated with sculptures that are made from traditional materials. He says that he does notice packaging when he makes a purchase and attempts not to leave too large a big carbon footprint.
He is influenced by the work of sculptor, Anish Kapoor, Tom Friedman and Andy Goldsworthy who share similar views about the environment.
Chris views his wheelchair piece as his most important because of the ways in which the viewer interacts with it and brings its own story into the piece.
The artist feels that consumerism has shaped even our personalities in ways that cause us to buy things in order to shape our identities. His work is in protestation of that observation.
Chris Gilmore is currently working on a new show that features a life sized Aston Martin automobile. He strives for accuracy even in the interiors of his works that the viewers cannot see. Each detail of the Aston Martin, down to the last spark plug is being recreated.
Saturday, July 17, 2010
It is hard to look at Flair Robinson’s mosaic art without imagining cheerful music playing in the background. Her images seem full of energy, and are quite easy to imagine merrily gyrating and flexing to the beat of some imaginary song. She is a true colorist in every sense of the word. Her color choices are dazzling and her designs sizzle.
Sometimes, she includes texts in her compositions. She is primarily a self-taught mixed media and assemblage artist and educator who has taken college-level design, mixed media and mural-making courses, the latter of which were taught by renown muralist, Tracy Montminy at the University of Missouri (Columbia). For awhile, she lived in New York, where she studied filmmaking . Like myself, Flair has a propensity toward utilizing re-purposed materials in her art. She also uses hand-cut glass and ceramic tile.
Of late, Flair has begun the transformation from creating utilitarian art pieces to works that stand on their own as fine art. She does this in a studio in the small town of Teluride, Colorado, which she shares with a photography studio. She is represented by the Wildcat Studios Gallery conveniently located just downstairs. If you find yourself in the Telluride area, stop in at 224 East Colorado Avenue. (Hours Monday-Saturday 11:00AM -5:00 PM) Her good friends, Tanya and Stacy Smith own the gallery and have utilized Flair’s artistic expertise on a number of projects.
Flair draws inspiration from a variety of sources, all unusual….all fun. She sees a roadside attraction and borrows from that. She looks at advertisements from the 1940’s and ‘50’s and gets ideas there. Even vintage fabrics can inspire her work. Flair collects American and Latin American folk art and Visionary art that she feels greatly influences her own artistic vision.
Flairs love of art is evident in many ways, one of which includes her practice of driving 130 miles, round-trip, to buy the grout and other art supplies that she doesn’t have shipped to her directly. (She has her ceramic tile sent all the way from the Netherlands!)
New York City
Flair Robinson is unstoppable and believes that we can all teach ourselves to do virtually anything….and ya know, I think she’s absolutely right!
Click HERE to hear a podcast featuring Flair herself!
Sunday, June 20, 2010
I am forever searching for simple designs to incorporate into my mosaic or other mixed media work. Of late, I have been attracted to the indigenous art of the Mithila people, one of the ancient traditional arts of North India.
Mathili art was originally practiced by women on the interior walls of their homes. Popular legend dates the beginning of this art form to at least 5,000 years ago when, at the marriage of Sita and Rama, her father King Janak decreed that everyone should paint their homes with gods and goddesses to celebrate the happy occasion. (We should do that here in America!)
In the late 1960s Mathili artists began painting on paper as a means of earning a living. This soon led to experimentation and an expansion of the subject matters. Generally, this type of art captures the everyday lives, the rituals, festivals, social lives of Mathili people. The growing interest in this folk art form also encouraged some men begin to practice what was traditionally considered a women's art. Today, the art flourishes in the villages around the rural town of Madhubani in north India.
Women Mithila painters outnumber men by a large margin. Hindu gods and goddesses are still common subjects, but the repertoire now also includes popular stories, legends, local and even international events, autobiographies, and contemporary social and political issues.
The First Time to Market - and she is nervous
The internet, television and other media that lend a hand in the globalization of art has done much to aid in the popularity of Mithlian folk art. Today, once can find it on hand made Lokta papers and on hand made cotton clothing. Contemporary Mathlia artists have begun to use modern brushes and acrylic paints as opposed to the ancient, home made inks of old. With the new media exposure, market value for Mithili art has been increasing steadily. Fortunately, a growing number of women artists are able to earn decent a income from it, not to mention the rich cultural addition it lends to Northern India.
At the Pond in the Rain
At this time, Norbertallen Gallery in downtown Los Angeles is planning an Mithila Art in an exhibit called, “ An Indian Survey of Mithila Art”. It will run from July 8th through August 31.
Animals in the Forest
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