Twitter reminds all to call our mother.
twitter reminds all to call our mother. stop the tweets and get on the phone. via ad age & via washington post [RK]
twitter reminds all to call our mother. stop the tweets and get on the phone. via ad age & via washington post [RK]
frieze vip cars
The eye is more powerful than the ear. So the few works of art for the ear ran a good chance of being overwhelmed by the thousands for the eye filling the huge white tent of the Frieze Art Fair, on Randle’s Island, next to Manhattan. These sound pieces pushed their way to the front of attention by sneaking onto the VIP shuttle service cars offered by BMW.
The trio of projects in Frieze Sounds are shown off on the trip from Manhattan to the tent where the fair is held in the solid studio of black BMW 7 Series. They include a trio of audio works by the artists Trisha Baga, Charles Atlas and New Humans, and Haroon Mirza.
trisha baga [ listen! ]
The artists were chosen by curator Cecilia Alemani, who is also the curator who picks art for the High Line in Manhattan. “Each of the participants has taken a different approach to this brief,” she said before the show. “Trisha Baga will estrange everyday noise; Charles Atlas and New Humans will use their own voices.” The mode of the pieces is auditory collage: Baga’s piece, called Hercules, mixes bits of weather forecasts, movie scores and multiple language phrases.
charles atlas & the new humans [ listen! ]
The artist Charles Atlas worked with the collective New Humans (Mika Tajima and Howie Chen) in “a new aural experience, utilizing electronically fractured vocals by Atlas and Tajima” producing “a poem-like babble of unrelated words.”
haroon mirza [ listen! ]
The work by Haroon Mirza sounds like listening to the fair floor itself—because it is. It is based on sampling actual sounds under the tent. Non VIPs can listen to the works through earphones set up in an area of the fair tent, or [ downloaded ]
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Please don’t miss your chance to visit the stunning exhibition ‘8 Chairs‘ by Clarke & Reilly at Gallery Libby Sellers, closing on Friday, April 26th. The poetic travelogue details the plight and fate of eight specially sourced chairs as they made their way from the designers’ studio, to Peckham then California, and back to London again.
Describing their style as ‘unashamedly romantic and tirelessly imaginative’, Clarke & Reilly are known for applying an original persepctive to ‘lost’ pieces of furniture using narrative, historical knowledge, craftsmanship and a rarified sense of colour to redefine the work. ‘8 Chairs’ exemplifies this reverent attitude towards design as each of the chairs, selected to represent a specific character in the artists’ minds, has been reinvented, often using period and bespoke fabrics. The redefined forms were then installed on the rooftop of a Peckham building to weather the icy winter before being transported to the scorching Californian desert of 99 Palms. The consequences of such extremes, all documented through film and photography, are displayed in the Gallery. On their return, each chair underwent their own final process, informed by their individual response to the whole experience.
Clarke & Reilly – otherwise known as David Grocott and Bridget Dwyer (b. 1964, 1967) – have been collaborating as an artist duo since 2005. Bringing together their backgrounds in fashion (Dwyer) and antique furniture (Grocott), they create unique objects that convey their nostalgic and slightly eccentric aesthetic. Their works are in collections worldwide, and they recently exhibited in Hong Kong for the first time. They currently live between London and Los Angeles.
To complement the experiential nature of the exhibition, and to try to capture the extreme conditions endured by the chairs, Clarke & Reilly have worked with leading perfumer Azzi Glasser to create a signature scent for the exhibition. In researching the base notes for her scent, Glasser drew heavily on the project information given to her by the designers but she also spent time with the chairs on their return to London – getting an understanding of the environments in which they had been placed and the consequences these locations had on the fabric, smell and structure of each chair. Such partnerships and emphasis on the sensorial side of our built environment are essential to Clarke & Reilly. All works are available for sale through Gallery Libby Sellers.
Scent in collaboration with Azzi Glasser
Polaroid images by Laurence Passera
Film by Billy Boyd Cape
Hours: Tuesday > Friday 11 > 6 | Saturday 11 > 4

Gallery Libby Sellers
41-42 berners street | london WlT 3NB
+44 (0)20 3384 8785 | gallery@libbysellers.com
Yoko Ono, the widow of slain Beatle John Lennon, has weighed in on the issue of gun control by tweeting a photo of the blood-spattered eyeglasses worn by the legendary musician when he was fatally shot by a deranged fan more than three decades ago.
Her tweet, on the 44th anniversary of the couple’s marriage: “Over 1,057,000 people have been killed by guns in the USA since John Lennon was shot and killed on 8 Dec 1980.”
Her comments came a day after a hotly debated assault weapons ban was officially dropped from Senate gun control legislation prompted by the Newtown, Conn., school shooting. DA comment: john lennon was not put down with an assault weapon but message both loud and clear. very disappointed, and hard to believe, a majority of public officials afraid and incapable of re-crafting a dangerously broad gun control issue. who is protecting the people?
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New renderings released by [ Snøhetta ] and the [ San Francisco Museum of Modern Art ] detail spaces in the 235,000 museum expansion, which is slated to open in 2016. renderings: courtesy of mir and snøhetta
SFMOMA’s new building will include seven levels dedicated to diverse art experiences and programming spaces, along with three housing enhanced support space for the museum’s operations. It will also offer approximately 130,000 square feet of indoor and outdoor gallery space, as well as nearly 15,000 square feet of art-filled free-access public space, more than doubling SFMOMA’s current capacity for the presentation of art while maintaining a sense of intimacy and connection to the museum’s urban surroundings.
Other notable features include:
>A large-scale vertical garden located in a new outdoor sculpture terrace on the third floor, which will be the biggest public living wall of native plants in San Francisco.
>A versatile, double-height “white box” space on the fourth floor equipped with cutting-edge lighting and sound systems that, in tandem with the museum’s upgraded Phyllis
>Wattis Theater, will open new doors for SFMOMA’s program of live art, and also improve services for school-group tours, film screenings, and special events.
>State-of-the-art conservation studios on the seventh and eighth floors that will further SFMOMA’s progressive work in the care and interpretation of its growing collections.
>An environmentally sensitive approach on track to achieve LEED Gold certification, with 15% energy-cost reduction, 30% water-use reduction, and 20% reduction in wastewater generation.
>A new outdoor terrace on the seventh floor with incredible city views, further integrating the urban indoor/outdoor experience that SFMOMA began in 2009 with the opening of its current rooftop sculpture garden on the fifth floor.
[ local firm EHDD assisting snøhetta ] [ sfmoma news ]
memorial on 11 september 2011 | photo ©timothy a. clary-pool/getty images | click > enlarge
in remembrance of the terrorist attack in new york city 11 years ago, the national september 11 memorial & museum will host a live webcast of the commemoration ceremony at the 9/11 memorial, starting at 8:30a est on 11 september 2012. there were 4 million visitors in the first year. the memorial opened 12 september 2011.
rendering by squared design lab | courtesy of the national september 11 memorial & museum
image > christina brodzky
the only structure to reside on the site is the museum designed by architects [ snøhetta ] and scheduled to open 11 september 2012. the design of the structure respects the horizontal character of the memorial design. the reflective treatment of the facade will mirror the changing seasons.
image > christina brodzky
[ 9/11 memorial ] [ snøhetta ] [ christina brodzky ]
what’s in a name, william… wherefore [why] art thou romeo? deny thy father and foreswear thy name…” via washington post [RK]
panera cares. pay what you can. take what you need. leave your fair share. via chicagoist [nOnnIs]
inspired by kafka in the penal colony | click > enlarge
The New Museum has opened “Ghosts in the Machine”, a show that turns out to have quite a lot to do with design. Some of the most interesting ideas about the interaction of people and technology that is such a critical concern of design today had their origins in art in the 1960s.
As laid out by the curators, Massimiliano Gioni, the Associate Director and Director of Exhibitions at the museum and Gary Carrion-Murayari, its Curator, art became obsessed with the machine in the 1960s. Op art and mechanical sculpture were two sides of the obsession. The vision of a future art created by the cooperation of artists and engineers was nourished in such places as the MIT Center for Advanced Visual Studies (CAVS), founded by György Kepes.
The show is a reminder of a time when we associated certain kinds of images with computers—geometric loops and swirls, especially, patterns of the data of physics and astronomy rendered by plotters. Today, when we are accustomed to computers handing images of all sorts and styles, this once common idea seems strange.
While the New Museum has sometimes focused too much on the novel and transient, this show is historical and retrospective. It finds precedents in the past. Today’s multimedia world is anticipated in the crude Cinema dome of the late 1960s. The changing and evolving role of a technology is suggested by the pattern of the Vocoder, included in the show. The Vocoder was a sound recording and manipulating device that was shown as a wonder of the future at the 1939 World’s Fair, then later placed in the service of music making by Kraftwerk and then Afrika Bambaataa. [ ghosts in the machine ]
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