Eyal Weizman’s The Roundabout Revolutions Critical Spatial Practice 6

Eyal Weizman Sculpture

Eyal Weizman, Folly, 2013. Photo by Kyungsub Shin

For the latest edition in the Critical Spatial Practice series from Sternberg Press, Israeli intellectual and architect (and Professor of Spatial and Visual Cultures at Goldsmith’s College in London) Eyal Weizman has turned his attention to protest and revolution. In a perhaps timely (and at this point arguably necessary fashion), he gives particular attention to the Arab Spring Protests that began in Tunisia in December 2010, the ripples of which are still shaping global politics at the moment with Civil Wars in Syria and Libya especially.   Continue reading

Tom Burtonwood’s Twenty-Something Sullivan


In the Makerverse, Tom Burtonwood is a familiar name. Since 2014 he has contributed to Make‘s Ultimate Guide to 3D Printing. Scroll Thingiverse, and you’ll likely cross paths with one of his more than 200 designs (most likely one of his score of scans for the Art Institute of Chicago). On occasion, one of his 3D projects makes a couple of waves on boingboing, 3Ders, and the tech section of other websites. Most recently, he’s produced a 3D-printed book entitled “Twenty-Something Sullivan,” which features nine architectural details created early in Louis Sullivan’s career. The project is a two-year collaboration with his friend, City of Chicago Cultural Historian Tim Samuelson, and will be on view in the exhibition “Transmissions,” at the Cedarhurst Center for the Arts, Mount Vernon IL, Feb 20 – May 1. Continue reading

Three Directions for Sculpture


Among the male sculptors over 70 who have been practicing for half a century, Martin Puryear (born 1941), Frank Stella (born 1936), and Mark di Suvero (born 1933) are quite different in terms of their main themes, media, and processes. One common thread is that each has taken great risks, chosen new directions in sculpture, and created work with universal meanings that have not been explored in depth. Three new monographs each discuss how one artist draws inspiration from a range of subjects; however, only the essays on Puryear discuss craft and process in depth. Another topic that begs to be discussed in this trio’s arts is erotic allusions/tales/allegories. Mark Pascale’s analysis of sensory implications in Puryear’s “The Gates” gave me new ideas about additional sensory references in the artist’s oeuvre. Continue reading

A Languid Wander: a catalog review of A Better Nectar

A Better Nectar Sculpture

Bob and Jessica at his studio working on the score for Resonant Nest. Photograph by Aisha Singleton, 2014

Mid-September saw the publication of A Better Nectar by University Art Museum at the California State University Long Beach: a profusely illustrated 88-page catalog for the exhibition of the same name by Jessica Rath. The exhibition ran from January 27 through April 12, 2015. As the title of the catalog and exhibition might suggest, it has something to do with bees. Continue reading

Code of Best Practices

Code of Best Practices Fair Use Sculpture

Code of Best Practices in Fair Use for the Visual Arts by The College Art Association

The College Art Association’s (CAA) newly published pamphlet, Code of Best Practices in Fair Use for the Visual Arts, is intended as a guide to assist visual arts professionals in understanding the principle of “fair use” first set forth in the 1976 Copyright Law as it relates to current practice in creative and scholarly work. Over the last two years, a series of focus groups made up of a broad spectrum of practitioners including artists and designers, art and architectural historians, curators and museum professionals, editors, educators and scholars gathered in closed meetings in New York, Washington D.C., Dallas, Chicago and Los Angeles to develop commonly shared guidelines and standards in their respected fields. Continue reading

Uncovering Yoko Ono

Yoko Ono Sculpture

Yoko Ono with Apple (1966), at press preview for Yoko Ono: One Woman Show, 1960-1971, on view at MoMA, May 17 – September 7, 2015. Photo: Ryan Muir © Yoko Ono

Yoko Ono One Woman Show 1960-1971
New York: MoMA, 2015. 240 pages.

It is thrilling to see that Yoko Ono’s early contributions to innovative art and world peace are being recognized by MoMA’s Yoko Ono One Woman Show exhibit and catalog and frustrating to think that MoMA is celebrating its own history – by selecting Ono as other women are kept on the margins or excluded.[i] Before I sing the praises of the catalog, it is important to notice its cover – Ono posing in front of MoMA. Her upstage hand shows a two-fingered peace sign and her downstage hand holds a big brown paper shopping bag with a huge F.  Continue reading