For the last two months artists have been floating around New York City on the Waterpod, a 3,000-square-foot experiment in community living and artistry. Just don’t call it Burning Man – that happens later this month.
Apropos of the recent discussions of right-wing street art, the LA Times opines about KKK quilts, the veritable antithesis of radical cross-stitch.
Trevor Paglen makes the invisible visible and fashionable.
Critical Network is “keen to promote critical and contextual art, events and discussion,” just like we are. Highly recommended – great work!
Teenage Texans crafted an impressive living newspaper on immigration, and Katie Kurtz put forward the first part of her Proposal Toward Visual Eco-Criticism.
Noah Scalin recently designed the logo for alternative marching band The Asphalt Orchestra at Another Limited Rebellion, and writes:
They play songs by Björk, Frank Zappa, and Swedish metal band Meshuggah to name a few composers that you won’t hear on the usual school band roster.
Their first gig was in front of Lincoln Center, and video can be seen here, and here. Their high-profile debut, and mentions in major press, like the New York Times, lead fellow HONK! Festival organizer Trudi Cohen to comment that “producing and funding a band like this” substantiates the notion “that street music has actual cultural credibility!”
Belgium’s Conflict Room was inspired by Polish artist Artur Zmijewski’s video work Them (2007), wherein he invited politically polarized groups to engage their conflicting ideologies through “communally executed paint-and-paper murals.”
Conflict Room image by Srdjan Stancic
Critical Network describes the work further:
His video documents the ensuing exchanges as they deteriorate from considered alterations to the painted banners of opposing groups to frenziedly burning and hurling the remains of the defaced placards through the window.
Borrowing rather heavily from Zmijewski’s format, Conflict Room gathered artists for a three-month period to explore the nature of conflict through visual arts. Projects ranged from documentaries concerning post-conflict societies impacted by natural disaster, to differences in visually realizing a text. Documentation from the 2008 series is online.
Going places and doing stuff with Jeff Stark, image courtesy of ActionDirection.
Flux Factory kicked off the second series of Going Places (Doing Stuff) on August 8th with Jeff Stark’s “Industrial Disasters and Aftermaths.” Like last year, the artist-led tours will lead the public on “adventures as performance art,” exploring the greater New York area aboard a vegetable oil propelled school bus provided by HONK! Festival favorites Rude Mechanical Orchestra.
Among the things that may or may not occur:
The next event will take place this weekend, with Siobhan Rigg and Carolyn Lambert’s “The North Passage,” which explores the geopolitical consequences of global warming:
The warming waters have made the possibility of a long-sought after East/West Shipping passage a reality; not to mention the opening up of oil and gas reserves that is inciting a global scramble for control. For the tour, we will venture through the Ports of New Jersey and New York, and the marshes of Kearney as a means to explore the local connections to this far-way place.
While the Flux Factory website claims a sold-out tour, word on Facebook is that a few seats remain. The tour leaves Saturday, August 15, at 9:30AM and is an all day event. RSVP Flux Factory to reserve a seat.
PosterChild strikes again, and Tactical Stencil Lab lets loose on the Marines.
At SymbioticA they created art concerning the endangerment and disappearance of thrombolites, the oxygen-creating bacteria that, as one of Earth’s first lifeforms, helped create our atmosphere. Meanwhile, the “year’s best anniversary show” takes place in Cambridge, England, themed around art inspired by Darwin.
A sad day for social justice poster artists: we bid farewell to Northland.
Your moment of gentrification, free culture, pornography and Baudrillard.
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