6.17.2011

London, Day #1

I know this is an art blog, but I promise you, even though I am tracking my days in London on my art blog, I will mostly be writing about art.

So "Day #1" is technically a combination of Thursday and Friday of this past week, as I sort of spent a bit over 24 hours getting to London, and then once I arrived here I sort of didn't sleep right away. So the next 48 hours and begin:

First art encounter: Philadelphia airport.

My study of art history has led me to love and understand the need for public art. Usually the scenario consists of a building or public space being built, and the city having a requirement of art in front of or inside of that space. Airports of the world (well at least some of the ones I have seen) have been consistent in revealing incredible works of public art by local artists of the area. As I was taking the electronic walkway to my gate, I came across two very interesting pieces of public art (well there were more, but I only remember the names of two).

The first is a series of sculptural pieces by the art team of Ralph Helmick and Stuart Schechter entitled "Impulse." The piece spans several different spaces, and is made up of many individual sculptures of birds that are suspended in a way so that they create the shape of another bird. The other part of the piece consists of wall labels as you zoom by the work of art that identify each of the individual bird sculptures in the piece. There is an image from below here, and a semi-alright video here (that for some reason halfway through cuts off from looking at the sculpture and zooms in on some women crossing the video-er.

The second piece was really interesting. It was a clock, functional, that was made using the help of some green beer bottles. The clock is made by Rick Stanley and his son, or a team referred to as Stanley Clockworks. The piece is one of a kind and quite extraordinary. You can read about it on their website here. And below are a couple of photos I took.

Once I arrived in London, I was picked up by the family whose home I am staying in while I'm here. I am living in Wimbledon, so we drove a bit of a ways to get there from Heathrow. We had a very lovely lunch which consisted of me trying four kinds of English cheese, all of which I loved very much and am looking forward to eating them all again. (Names to come).

Skip ahead a bit to dinner where I had the pleasure of dining with the artist Ian Southwood, who does incredible photo-realist paintings. His daughter, who I also met, is currently in art school, and apparently has just won a sculpture contest and her work will be displayed in front of the Wimbledon tube station!

So for a first day, it was all very artistic and interesting. Day #2 will consist of exploring more of Wimbledon, buying some groceries, and writing lots of postcards, so I don't have to worry about them for too much longer.

xoxo

6.09.2011

A Letter to Christian Marclay

Dear Mr. Marclay,

In 2006, when I was 16, I traveled to the Tate Modern. I remember being slightly dumbfounded by the space, and also curious of the potential and possibility. In 2006 at the Tate Modern, your work "Video Quartet" was on display. I had never heard of you before then, but what I did hear coming from the other side of a dark wall was a mesmerizing cacophony, and something I will never forget. I always tell people that in the year 2007 I decided to become an art history major, but I am starting to recall my life's events, and I am realizing that this is not the truth. The moment I decided to become an art history major was the moment I watched your video piece.

There is something about the archival qualities of your video work that speak to me and how I perceive art, and of course the fact that I am a lover and appreciator of sound helps as well. The amazing thing about me walking into that piece is that I usually never give video work the time of day (that I should) and this is mainly because I hate walking into dark spaces by myself. I'm being very honest here, because my views have changed somewhat (due to an exhibition of works by William Kentridge) in the past few years. Usually I would never walk into video spaces in museums because they are so dark, but for some reason I was drawn to your video space, and now I respect it and honor it.

The reason I am writing you this letter now is because I am aware of your newest work "The Clock" which is on display at the Los Angeles County Museum of Art at present. If I am not mistaken, the piece spans a 24 hour cycle. This is interesting to me based on my experience with "Video Quartet" in 2006. Once I stumbled upon the piece, I didn't leave until I thought my parents would start to worry. I watched it at least three times through, and I could have stayed longer, but I'm unsure of whether or not I can sit through a 24-hour piece. I want to, believe me... I really want to see it all the way through, but I don't know if I have the time or energy.

I will be at the museum this Sunday, and I will view any part of the piece that is playing when I am there, but I, unfortunately, cannot stay for 24 hours to watch the full cycle. So I am proposing this... In this day and age, many students of art and art history are no longer relying on libraries and slide archives to look at work, instead we use the internet to do our research and learn more about whatever it is we need to know. Why don't you display two cycles of the clock on the internet (48 hours only) so that if we want to watch the entire piece, we can potentially do so from our computers and monitors at home? I know that half the experience of viewing the work is viewing it in a setting that the artist has approved of, but let me at least say this: I'm sure Leonardo da Vinci never thought the Mona Lisa would be the most recognized art piece in the world, plastered on walls and turned into postcards... or framed "prints" so that everyone could have her face on their wall.

I intend to write a review of what I have time to see of "The Clock" on Sunday... here... on my art blog, but I can guarantee you this, my question will remain the same: When are you going to post it all online (even if just for one cycle) so I can watch it in entirety?

Regardless of whether or not I am able to watch the entire 24 hours of your piece, I must say this: You will always remain my true inspiration in wanting to spend so much time looking at art, and I will always respect and love your work, video, music, still or other.

So thank you, Christian Marclay, for being a mentor (of sorts) to me.
And I will see you in just a few days time in the form of The Clock.


Love,
Aves

10.15.2010

Macrame

Okay so this isn't like my normal posts, but this artist makes incredible jewelry pieces.

Her name is Amira, and she's from Oregon (a pretty cool state), and she does Macrame jewelry.

Especially these amazing, beautiful, intricate, affordable rings.

So please check out her shop, because she'll make you a custom order (maybe) and she just seems like a really awesome gal.

Okay there's my capitalist side, and of course my supportive side.

Aves

9.22.2010

Wednesday September 22nd, 2010




Artist: Amrita Sher-Gil
Title: Self Portrait With Scarf
Year: 1932
Medium: Oil on Canvas

She died too young, but I love her small yet diverse body of work.

Wednesday September 22nd, 2010



Artist: Kuroda Seiki
Title: Morning Toilette
Year: 1893



Artist: Kuroda Seiki
Title: Flowering Field
Year: 1907