Showing 21–30 of 51 notes tagged #art.

Black and white photo of sculpture titled Gomma by Maria Blaisse from 2003
Maria Blaisse, Gomma, 2003, tubes. Image from Augenweide (i.e. Beatrice Oettinger). (image source)

The other evening, a friend introduced me to Maria Blaisse’s work as well as the lovely book The Emergence of Form published by nai010. The dedication evident in her output is incredible, and her canal-side studio in Amsterdam sounds pretty great. Wish I could find one of the images from the book online, it’s a black and white photo possibly taken in the 70s of her working on a woven piece with an enormous knot in the middle that’s easily twice her height. Will just have to buy the book (like I need an excuse).

Sidenote, Augenweide (source for the image) is a very enjoyable browse, glad to have come across it.

Walker blog interview with Maximage

I asked SB about people/studios that push the offset printing process when we were discussing a potential litho print last week, and he mentioned Berlin-based collective Maximage. The 2013 interview in the Walker design/art blog (linked above) sheds light on their interest in intervention.

Photo of the cover of Acid Test by Maximage
The cover of Acid Test, 2010. Image from Swiss Design Awards (image source)
Photo of the entrance to the Alfond-Lunder Family Pavilion at the Colby College Museum of Art
Lobby of the Colby College Museum of Art and the entrance to the Alfond-Lunder Family Pavilion.

Visited the Colby College Museum of Art recently for the fist time in years, the Alfond-Lunder Family Pavilion is a great addition. Wish I brought a proper camera.

Photo of the Colby Museum entrance
Entrance to the museum, including Richard Serra’s “4-5-6” in the courtyard.

Researching the definition/concept of a construct (in science, in philosophy, in art) and came across a listing for On new constructs in art by Ernest Edmonds in the publications section of the compArt | center of excellence digital art database. Need to take a closer look at this database, they’re currently drawing attention to the early phase of digital art (roughly 1950 to 1980).

I’ll be your interface* is a recently-closed (shame!) exhibition organised by Roxana Fabius at the Center for Curatorial Studies at Bard College. The exhibition featured recent work by Dexter Sinister and objects from the Marieluise Hessel Collection.

There was a talk in March at the Judd Foundation (NYC) about work that doesn’t make a “crisp distinction” between function and art, sounded interesting (see more on Dexter Sinister).

Required further reading since I missed the talk: Donald Judd, It’s Hard to Find a Good Lamp, 1993.