on becoming a russian spy

This passport cover, given by my very own agent Marshall, was created by the design group Kikkerland.


As many of you know, I have recently been recruited by the government to work in Russia. Please see the below photo as proof. Real spies hold their passports upside down.


In the meantime my cover story will be that of a typical American student studying abroad in the United Kingdom. Home base is an inconspicuous flat in inner London called Langton Close.



I'm scheduled to depart on Monday, January 4th from Boston. I will use this blog to keep everyone back in the U.S. up to date on my non-confidential activities.

Note: museums in London are free admission... I will continue to post intermittently about contemporary art in much the same format as I have in the past.

anni albers

Anni Albers, wife of Josef Albers, was a student of the Bauhaus in the weaving workshop. She studied ancient weaving techniques and is responsible for some of the most beautiful textiles of the twentieth century. By combining modern technology and materials with traditional weaving she helped to create a place for weaving in the fine arts. Like many of the bauhauslers she was interested in applying mass production to everyday objects in an effort to create affordable products for the masses.

In addition to her textiles she also created jewelry with mass-producible items. She used items like hair pins and washers to create an industrial look that is both affordable and accessible to everyone. Using objects like washers demonstrates the plasticity of objects so common at the Bauhaus - students constantly explored the essence of objects outside of their functional purpose.

Since washers have holes, why not string them on a ribbon to make a pretty necklace?

this may be risky...

My latest argument for the contemporary influence of the Bauhaus: Lady Gaga.

Before you take me seriously, you should probably read this article published by Slate over the summer.

And then, watch the Bad Romance video, paying attention to the beginning and the golden costume about 3:30 minutes in:



The Bauhaus theater workshop was short-lived, but perhaps we are seeing an influence of Oskar Schlemmer's Triadic Ballet?



Or is the 'haus' reference just an attempt at conveying cultural proficiency, right along with her little French interjection... ?

bauhaus

When I tell family members I am taking a class on the Bauhaus and I get the inevitable, 'huh?' I curse myself for taking a class on something so random and then quickly explain to them that it was a German school of design in the interwar period.


That is a gross oversimplification. The Bauhaus was officially an architectural school, but it influenced modern art and design so greatly that it is not easily classified.

After World War I, Germany was searching for an identity in the facing of rising economic crisis and political upheaval. Europe was grappling with many of the same issues, and people felt that industrialization and new technology were partly to blame for the devastation of WWI. A movement had begun before the war emphasizing the return of the handicraft to return the integrity of the object.

In this climate, and with many other international influences, Walter Gropius started the Bauhaus in Weimer.

This woodcut was designed by Lyonel Feininger and exemplified the unity of art and the handicraft.

The curriculum included an introductory course where students were encouraged to learn about the essence of material. After this course they would begin in a workshop which was conducted by a master of form and a master of art. The idea was that until there were people trained in both art and craft, there would need to be teachers for both.

Over time, the Bauhaus, a state-sponsored school, faced political pressure from the growing German right and shifted its focus to technology in order to bring in some revenue. The objects created were from everyday materials.



A new logo was adapted to represent the unity of art and technology.


The Wassily chair created by Marcel Breuer became an iconic figure from the Bauhaus. It was originally created from bent metal from a bicycle with the help of a plumber.


The idea was that it would be an affordable, ergonomic chair for the masses. Now, not so much. But we are surrounded by bent metal furniture, just look around.

I don't know if anything like it could ever exist again without becoming commercial, but the idealist in me has hope. The teachers changed the way that art is taught so that students were engaged with the materials rather than forced into a hierarchy - something that we now take for granted.

Even this long rant is an oversimplification. If you want to find out more check out the MoMA exhibit. I had a chance to visit earlier in the semester, and it is a very well designed exhibition. Herbert Bayer would be proud.

Finally, keep your eyes open for a Christmas Bauhaus dyi object. I've just got to get through this thing called finals.

sad art

Although the art world has been hit by the economy, it is certainly not as serious as some other markets. There are constantly people arguing that everything in the art world is fine. Maybe true, but the tone of the art has definitely gotten lower.

I would like to call your attention first to Carsten Holler's 2006 installment in the Unilever series. He turned the Turbine Hall into a playful, visually challenging space. Everyone can relate to a slide - it brings up associations with joy and childhood, nostalgia. And these slides are large enough that even as an adult, who could resist the temptation?


Now in comparison I would like to consider the most recent addition to the Unilever series - Miroslaw Balka's 'box of darkness.' It is a massive, interactive steel box that could be considered sculpture or architecture. Visitors can either enter the box and experience total darkness, or they can walk under it and listen the experiences of those above.


It must be a struggle as an artist commissioned to deal with this enormous space, to fill it up or change it. I think it is so interesting that in the past couple of years the art has gotten so much heavier. This piece is related to Polish history and immigration, but it is also a mode of self-reflection. To explore total darkness, visual silence, is to experience heightened input from the other senses in a way that you cannot do out in a city. The emptiness and cold of the steel reflect a different period for art and sculpture where excess and frivolity are replaced by inward contemplation.

better than treasure

I came across a Shepard Fairey in Harvard Square, and was immediately compelled to point, shout, examine, and photograph. A photo by Amelia:


Some interesting observations:

• a scribble exclaiming 'f u fairy' -was the misspelling purposely meant as an insult?
• the work was made of two general areas which looked as though they had been ripped and overlapped - combined with the actual rips and tears it created a wonderful effect
• someone had written 'sell out' on the forehead of the woman in this print
• someone else had crossed it out

I was shocked that so many people walked by without even a passing glance - perhaps because I was beside myself with excitement. How often is it that I can actually touch the works that I study? I love public art.

In my opinion, all art should be this close to people - for them to interact with and observe. Does anyone out there think that Fairey is a sellout? How does being a household name change his message?

cell tango

An exhibit called Cell Tango is currently on view at the Davis Museum and Cultural Center at Wellesley. From artists George Legrady and Angus Forbes, it is a computer program running in real time that takes photos submitted by email (to submit send the photo as an attachment with related tags in the title of the email to pix@celltango.org) from anywhere in the world and pairs them with other photos from the internet with similar tags. They appear in webs and clusters based on the key words.


George Legrady spoke about the project at the opening earlier in the semester. He talked about how he believed it was art because he had created the program that was executing his idea. He also brought up the point that the project is open to the whole world, but generally only people who are involved in the community in some way are interested in submitting their photos. Along those lines, there is no editing or censorship involved - pictures go up within about 2 minutes - and so far 'they've been lucky.'

As I sat there I saw many different clusters of photos rotate through the screen, but I found myself thinking how much more interesting the work would be if there were more photos. Then again it is such a small community that I was directly engaged with many of the images that appeared.

Although technically they are supposed to be photos taken from a cell phone, I decided to submit a couple of my own from last year:

tags: friends, party, high school throwback

tags: holidays, trees, friendship

The implications of this work are very important as our society leans more toward technology. At what point to we draw the line between technology and art? Is designing a computer program enough?

It is also a social experiment - after the opening talk I spoke with one of my professors about how we both had the urge to whip out cameras right there and take a picture of the artist talking about the work to submit to the project. It supports the idea of common associations and the shared human experience. And I love that it is always in flux.

tangential fountain

And in case you weren't convinced about Duchamp's Fountain being fundamentally important in modern art, take a look at this still of a video by Nauman from his early work in minimalist video Self-Portrait as a Fountain:

In the video loop, Nauman recorded himself spewing water out of his mouth over and over as a statement of physical endurance, thereby making himself the art object. The video still exemplifies the effect that Duchamp had on art even decades later by demonstrating an artist's struggle with the meaning of the original work - it shows how much Duchamp was very much a part of the collective unconscious of artists almost 50 years later.

leave the land alone

Bruce Nauman is an internationally recognized artist, who represented the U.S. at the Venice Biennale this year and was furthermore presented with the prestigious Golden Lion award. He has been a presence in the art world since the 1960s, and has been very influential in sculpture and minimalist video.

Nauman works in a variety of mediums, but his signature pieces are generally executed in neon lighting. He often uses text in his work.


On this past Saturday, September 12, Nauman finally executed a sculpture that he conceived in the late 1960s. Leave the Land Alone 1969/2009 is a commentary on the use of natural resources, but even more than that, a call to action - or inaction, as the case may be. The execution consisted of several planes which flew above the Pasadena, CA area and spelled out the words 'LEAVE THE LAND ALONE' in puffs of smoke. The planes retraced the original path a number of times throughout the execution.


The associations that I immediately make are those of pollution and smoke in the air, and the idea that pollution 'disappears' into the atmosphere and thus out of the minds of many. The dots of smoke are digital looking in a way, and remind me of those ticker signs. Even more so I think of the idea of fleeting support for a cause, and the possibility that if you do not understand the message then the entire event make seem confusing and unsettling. Apparently, some spectators even mistook the event for a protest set by a religious organization against intervening in the CA forest fires.

The sky that day made for a beautiful backdrop, and I like the combination of the playful puffs and the assertive message.

art in the park at woo

I am officially back on campus, and just finished a pretty intense week of leadership training. I have to be honest and say that as much as I would like to keep posting every Wednesday, I'm just not sure I can keep up - but I will do my best.

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I took a quick jaunt to Worcester last night, and on the way to Price Chopper (like the dollar store, but with food: cheap, a little bit sketchy, and quite overwhelming) I was shown Art in the Park by my very adept driver who correctly guessed that it was right up my alley.

Nexus, Brook Mullins

Organized by the Worcester Cultural Commission, the exhibition runs through Sept. 30 in Elm Park and contains work from 14 New England artists.

Pianista Observatorium, Michael Frassinelli

Red Totems, by Susan Champeny, is visible from the street and looks like a series of over-sized heavy plastic toys. They almost reminded me of chess pieces or painted pottery. In reality they are made from disposable plastic plates, cups, and bowls. This part of the exhibition was installed interactively and is based on concepts of reuse and disposal.


The only other piece visible from the street is Toaster by Steven Rolf Kroeger. I consider it an excellent work for attracting visitors, as it is definitely intriguing. The photo that I have is not the best, but it is a vw van-turned-toaster complete with styrofoam toast and lights in the windows made to resemble the heating coils on the inside of a toaster. Kroeger certainly has a sense of humor, and I can't help but love the absurdity. Can you imagine this zooming down the highway?

the elephant in the room

There is a very important work of art that I have not yet mentioned. It changed the course of modern art, and its creator continued to be a quiet presence in the art world. Marcel Duchamp's Fountain (1917) was literally the urinal heard 'round the world. It is a classic work of art, and one that you need to understand in order to analyze much of what came afterward. In a way, it helps to justify conceptual art.

Fountain was entered into the Society of Independent Artists exhibit, which announced that it would show any artist's work. Duchamp signed the urinal "R. Mutt" so that the art world would not recognize the well-known artist. It was hidden from view during the exhibit and caused quite a bit of controversy. At the time, ready-made art was a new concept, and it brings up issues of plagiarism. In addition to the fact that urinals were considered vulgar objects.

In defense of the work an anonymous editorial was published, which stated "Whether Mr. Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object."

Duchamp shifted the focus of art from technique to intellectual meaning. Now, the artist could elevate any object to art merely by selecting it. These were not random selections, however. The choice of a urinal poses some interesting questions (was it used? answer - no.) and brings to light the idea that something banal and common can be art. In actuality, the plumbing and engineering required for this device makes it quite advanced and in a sense, artistic. Arguments can be made either way, but it is the origination of the idea that "it is art if I say it is."

moonlight in Brazil

Taken by A Scho at Copacabana Beach, for your comparison.

talk about juxtaposition

Jeff Koons currently has an exhibition of recent work running in France at Versailles. He is the first American contemporary artist to have a show at Versailles, but not every one in France was excited about him being invited to show his work in a tourist-ridden cultural monument. Some feel as though it is a sacred place, and furthermore, that visitors will go away with the wrong impression of the palace. This is understandable in way - Koons is know for his kitsch. He recreates objects that are banal and familiar, much like pop artists from the 60s. His art, for this reason, is contested by some art critics. His work presents common objects in a way that forces you to rethink them in order to understand them. On the surface his ideas may seem cheap, but his attention to detail and clever wit are undeniable.


So, this summer visitors to the palace of the great Sun King will be met with images of American kitsch against a rococo backdrop. Both are products of excessive lifestyles and wasteful cultures and for that they are perfectly matched. I can't help thinking that a modern day Louis would love the large outdoor sculptures that appear to be renditions of balloon animals, but are in reality made of steel and many tons. Something so expensive yet whimsical would suit his fancy. While he used Versailles as a way to distract his courtiers from political ambitions, Koons uses his art to call attention to his own ideas, but it is the same kind of flashy diversion. I love how Koons' artwork makes me see Versailles in a different way. I can't help but notice the similarity in hue of the gold leaf and gilded objects and the shiny surface of the balloon dog (proof that all humans like shiny objects), or the general feeling of superfluity gained in the overall effect. I like the pairing of stagnant history and contemporary art. And yes, that last photo is MJ and Bubbles.

bridging the... crack

Doris Salcedo (b. 1958) is an artist from Bogotá, Colombia who focuses her art on overlooked victims and pain. Her commitment to expressing power dynamics and inequality is no surprise when one imagines the violence she must have witnessed growing up in a politically unstable Columbia. The violence decreased in the 1950s and 60s after a political agreement but resumed in 1964 with a civil war and the creation of formal guerrilla groups. Deaths and disappearances were at random, but always the result of someone powerful acting against the powerless.

Her 2007 sculpture, Shibboleth, represents the difficulties of immigration and the pain of segregation. It is a large crack in the floor of the Tate Modern's Turbine Gallery that deepens and widens as it zigzags over the floor. Shibboleth is from a Hebrew word - probably not a coincidence - meaning "any distinguishing practice which is indicative of one's social or regional origin."

The sculpture is a real modification in the floor structure rather than an optical illusion. When the exhibition closed it had to be filled in. However, there is still evidence of the exhibit in the form of a scar on the floor - a metaphor for the psychological effects of violence. Shibboleth actually divided the crowd at the gallery, creating a metaphor for segregation, and also changed the way that you perceive the space. Normally it is seen as a grandiose hall, but will a large crack in the floor no one was looking up. Shibboleth artificially represents pain and separation, and the conscious decision to cross over a boundary.

*Get excited: The Turbine Gallery Unilever series has exhibited some of the most fascinating art in recent years, and will unveil it's next exhibition in October.

in honor of my summer job

I think that because the Vietnam Veterans Memorial is considered a piece of history its importance as art is often overlooked. The design was submitted as part of a competition in 1981 and it was meant to apolitically honor those who had died. The winning design came from Maya Ying Lin, a 21 year old student at Yale University (her original submission is pictured, right).

Ironically, it was originally submitted as a project in her funerary design class, and the selection of this design caused quite a bit of controversy. Some people felt strongly about more traditional approaches. It is important to note that at this time figurative statues were the norm, and Lin's abstract interpretation of public art shifted internationally the way that artists approached memorials (think the Holocaust Memorial in Boston).

The minimalist shape of the memorial mimics the rising tide of death during the war. The names are all placed in chronological order so that we can see how the casualties gradually rose, peaked, and declined. Rather than grouping them all together as 'those who perished in service of their country etc.' Lin commemorates each individual. In addition to the shape's metaphoric description of death, the structures minimalism allows people from all over the world to relate to it. The shiny surface of the black granite shows the visitors reflection blended with the names, and its simplicity allows for individual interpretation.

Furthermore, without any instruction certain rituals have sprung up around this object. People from all parts of the world make etchings of the names of deceased soldiers by rubbing pencil over them. It is also a ritual for visitors to leave objects and letters for their loved ones and friends (see left). These objects are treated as part of the artwork - they are collected and stored rather than disposed of.

My job this summer has given me a new appreciation for people who serve or have served in the military. Every day there are stories about men and women of all ages who are struggling to readjust to civilian life or who are succeeding with the invaluable support of family and veterans' organizations. Although I'm sure that working at a hospital I see the more extreme cases on either end. Regardless of where my opinion lies politically, the people who serve gain my utmost respect. And regardless of the turmoil that surrounded the Vietnam War, this is an artful way to commemorate the people who lost their lives.

I know you know him

...even if its just from the Obama Hope poster. I went and saw Shepard Fairey's collection at the ICA in Boston (click here for video), and I was impressed. But also a little saddened that a person so talented, and with such an impressive resume (he has done work for Interpol, Led Zeplin, & the Black Eyed Peas, and graphics for GHII and Walk the Line), could spend so long in near obscurity probably in part because he is a street artist. It is common for him to 'borrow' images from pop culture (my favorite being a portrait of Flavor Flav) and then put them up illegally. Like Andy Warhol said, "Art is what you can get away with." The image on the left is the original Obama poster, before his campaign contacted Fairey and requested that the word at the bottom be changed to hope. Fairey has always used his work to express his opinions, but this poster was the first time he has used his art to support any political figure.

Fairey does quite a bit of street art and has been arrested roughly 14 times in his career. A lot of his art centers around a mythical figure that he created based on the face of Andre the Giant called Obey Giant. If you read his manifesto you will see that he wants to make people rethink what they already know, and he does so by posing questions or flat out confronting the viewer on an issue. Obey Giant is a commentary on advertising and its power in our lives. (By the age of 5, children can recognize and identify more than 100 logos - do not even get me started.) It represents a symbol with no agenda and for some people that is discomforting; you are supposed to be able to recognize labels. There is a certain amount of relief when you discover what the image means, and in turn that makes you think about what symbols mean in your life.

Fairey encourages people to proliferate his work in any way they choose and even offers a few images on his website that can be printed out and used to make stickers, posters, etc. I decided I could use a little Obey Giant in my life, so here goes my first diy art project:

who doesn't like polks dots?

What you are seeing is part of an exhibition called Walking In My Mind: adventure into the artist's imagination at the Hayward Gallery in London. The polka dot trees are by Yayoi Kusama (b. 1929) a Japanese artist who lives, by choice, in a mental institution in Tokyo. She began painting when she was 10 at her therapist's suggestion as a way to channel her hallucinations and obsession with repetition. This is probably an accurate insight into what Kusama sees on a regular basis, as she usually describes herself and her whole environment as being covered in polka dots.



The writing on the artwork is evidence of its interaction with the environment rather than vandalism and proves that it is challenging for many people. Obviously her art has made an impression on people and something about it has compelled them to write on it. I would argue that here the viewers' perception of the art is more important that the material art itself. For anyone that doesn't hallucinate dots, this really challenges the way that you think about your environment. If nothing else, it makes you conscious of your surroundings. She is using her art to comment on how artificial the trees feel in an urban setting and to challenge our expectations. Finally, as a temporary work of art there is an urgency to see it that makes it even more special.

So the next time you are walking down a crowded street imagine that everything is covered in dots, and see if you notice anything new.

peace event for john lennon

This is going to need a little bit of background, so bear with me. It was created by Yoko Ono, a fluxist artist who, regardless of what she may have destroyed, is a very talented artist. The Fluxus movement, which began in 1963, is generally simple, diy, and anti-art. Much of it relates to the idea that the viewer completes the art through some form of participation, thus the art is not complete without some kind of interaction.


If you have had the misfortune of living near me during this last semester then you have probably heard me talk about Cut Piece excessively. Ono sat on stage in her best clothes and invited the audience to cut them off. Ironically, at the beginning audience members were hesitant and uncomfortable while approaching her but by the end, when there was very little cloth left, people came right up to her and cut off large sections of her clothing. One man even jokingly threatened her with the scissors, but Ono did not move the entire time. Cut Piece demonstrates the role of aggression and sacrifice in the relationship between audience and artist.


Ono recently reenacted Cut Piece in the name of world peace. She has always used her art to advocate for peace - she is afterall a product of the 60s. This work is something that can be done by anyone, anywhere. It is easy, free, and simple. Rather than producing an object that can be bought and sold, she produced instructions that anyone can carry out:

Peace Event for John Lennon

This is a call for all countries and their people who wish for World Peace. You, the carrier of good tidings, be proud, swift and wise. By being in peace, you are already part of the peaceful world.

A: VIP (Visit In Peace) Event

Visit:
Visit the Middle East.
Visit Asia.
Visit Africa.
Visit countries in the Southern Hemisphere.
Visit countries in the Northern Hemisphere.

Take:
Take photos of your friends who wish to make the trip but cannot.
Take music and/or an instrument from your country.
Take one thing you wear often and give it to somebody
you meet there.
What you give could be
As small as a handkerchief.
As useful as a T-shirt.
As pretty as a necklace.

Watch:
a) Watch the sunrise and compare it with the ones at home.
b) Watch the sunset and compare it with the ones at home.
c) Watch the moonlight and compare it with the ones at home.

Stay:
a) Stay until you find a friend to talk to.
b) Stay until you start to appreciate the country.
c) Stay until you start to feel love for their children.

Wish:
Make a wish and hold it in your heart.
Deliver a wish and see it unfold.
Send a wish and ask it to be shared.

Bring:
Bring back something you bought there.
Bring back memories.
Bring back a smile.

B: HIP (Home In Peace) Event
For those who cannot make the trip:

Visit:
In your mind
In your heart
In your dream

Pen pal:
Make pen pals in countries you've never been to.
Ask your friends to do the same.
Make pen pals in troubled countries.
Ask your friends to do the same.
Make pen pals with people of different religion and beliefs from you.
Ask your friends to do the same.


Map:
Pin a world map on your wall.
Start putting flags on the countries you have pen pals in.
Take a photo of your map every month to record the increase of the numbers of flags.

Imagine:
Imagine all the people holding hands.
Imagine all the people hugging each other.
Imagine all the people living life in peace.

Listen:
Listen to the heartbeat:
a) your own
b) your mate's
c) your child's
Listen to people.
Listen to animals.
Listen to the planet.
Listen to the Universe.
Listen to the Earth turning.

C: DIP (Dance In Peace) Event

When you are feeling bad
Do one thing a day
To make your heart dance.
It could be a simple thing like looking up at the sky.
If you can't manage even that
Do something for somebody
To make his/her heart dance.
It could be a simple thing like giving a call.
Do this for awhile and
Your life will change in a big way.
One day we'll all dance together.
Alright? y.o.

Reading through it makes me smile. Ono says that we can make a difference just by "being in peace" and then she uses her words to lighten your day. It makes me wish that creating peace were that simple. I would like to believe that if we all followed these instructions the world would be a little bit better off, or at least a little less ignorant. What I find so captivating is that it only exists when you do it. There is no room for commercialism or aggression.

I hope that as many of you travel to other parts of the world you will share your peace events with me. I absolutely want to know how the moonlight here compares to the rest of the world.