Using Social Media to Market your Work


Perhaps, you associate social media with Kim and Kanye, with beer pong videos and thumbs-at-the-ready politicians and gossip that comes with a hashtag, or maybe you just want to remind friends of your existence through uploaded images, Tweets (or retweets) and Likes and texted messages. Shannon Wilkinson, chief executive officer of the New York City-based Reputation Communications, wants you to think of social media as a career-building tool. Continue reading

Shape-Shifting: The Need for Sculpture

Laura Moore Sculpture

Laura Moore, One Man’s Junk (installation photo by Paul Cimoroni)

I want to talk a bit about context – specifically, what sculpture can do to our experiences and expectations of public and private spaces. It’s all about shape-shifting.

I’m drawn back to this because of an exhibition recently opened at the Maclaren Art Centre in the city of Barrie, Ontario, just north of Toronto. Laura Moore’s One Man’s Junk is a seemingly simple and understated installation: essentially a wooden shipping pallet carefully stacked with a number of carved limestone sculptures – 1:1 scale – of old cathode-ray tube computer monitors. The contextual part of this has to do with the work’s placement in a small, interior courtyard at the gallery that is shared with an adjacent café. There are plants in concrete containers, and a few tables and chairs. Moore’s work sits off to one side atop a concrete slab. Continue reading

Into the Woods

Michigan Legacy Art Park Sculpture

Fallen Comrade, 2009. Artist: David Greenwood. Photo courtesy of the Michigan Legacy Art Park

This sculpture park took shape around 14,000 years ago, when a retreating glacier raked out the vistas and hills that now comprise the rugged terrain of the Legacy Art Park, a thirty-acre patch of earth not far from Michigan’s famous Sleeping Bear Dunes National Lakeshore.  But credit certainly also goes to the late David Barr, a visionary sculptor and poet, who had the tenacity to found an art park and educational center in which contemporary sculpture could unobtrusively integrate into nature.  Continue reading

Charles Umlauf’s Studio in the Museum

 Exhibition view. Photo taken by the author.

Exhibition view. Photo taken by the author.

In 1985 the city of Austin received the gift of sculptor Charles Umlauf’s residence, studio and 168 sculptures from the artist after his retirement from the faculty at the University of Texas in Austin in 1981. A land-swap agreement with the state provided six acres adjacent to the original property that became home to the Umlauf Sculpture Garden and Museum in 1991, a project which Umlauf helped design and install. Although the museum is presently located in an important area of Austin, the quiet isolation of the wooded area, purchased in the 1940’s remains an integral element to the grounds located next to Ziker Park and Barton Springs. Continue reading

‘La trahison des objets’

Barbie Sculpture

Barbie’s evolution style (Collectors edition) © Mattel Inc. La storia di Barbie, qui in uno scatto per la linea Collectors, dal modello Teen Age Fashion Model Barbie Doll (1959) fino alla Hard Rock Cafe #2 Barbie. (2004)

I was recently asked to write about an exhibition here in London entitled ‘The Science of Imaginary Solutions’ at a gallery called Breese Little.[1] Central to the work on show was the way that object-led narratives are malleable, prone to the changing modes of thinking across multiple disciplines from science to philosophy, archelogy to sociology and so on. We recognise the power of objects to act as both placeholders and objects in themselves, and the myriad ways in which we can ‘read’ them and extrapolate upon different ideas and conceptions of the world. Continue reading

In the Studio with Katharina Grosse at Rockaway!


Rockaway! featuring site-specific installation by Katharina Grosse. Image courtesy the artist and MoMA PS1. Photo by Pablo Enriquez.

Katharina Grosse’s red bolts of color on white transform an aquatic building hit by Hurricane Sandy into a new art destination on the Rockaway Beach front at Fort Tilden. Grosse’s uses of color “break all the rules” and literally create a new dimension, turning an old ruin into  a dynamic, color-coded space that interacts with people, sky, grasses, sand, and ocean.  People literally danced in, on, and around Grosse’s new art object as deejays added to the festive mood.  The beach has been converted from a sleepy hideaway without lifeguards near an unused U. S. Army coast artillery post into one filled with bikers, beachgoers, and families. The untitled art is on view through November and is part of the Rockaway! National Parks Service and MoMA PS1 hurricane recovery effort for the Rockaway Peninsula. Continue reading

barrangal dyara (skin & bones) – Jonathan Jones, the artist as historian

Jonathan Jones Sculpture

Aboriginal agriculture: Bruce Pascoe and Jonathan Jones during the first Symposium Spot Fire 1: Landscape and Language. Photo: Kaldor Public Art Projects

We are the result of our history, there is no doubt about it, but this very fact also raises many questions that don’t meet an easy answer. Should we forget the past to move forward? Or we’d rather keep it present so that it sways our actions? In this context, the idea of art as a way of historical memory has been inarguable during centuries until the irruption of Abstract art deprived critics and public of any reference to past events. At present, artists collaborate with researchers from other disciplines; historians, archaeologists, sociologists -just to mention humanist disciplines- and adopt the role of a project manager who coordinates and merges all this information as part of the final work. Continue reading