Conversation with Norwood Viviano

Global Cities sculpture

Global Cities (2015-2016) Hand-blown glass and vinyl cut drawings Photo Credit: Tim Thayer/Robert Hensleigh

I had the chance to work with Norwood Viviano for two weeks during his workshop Digital Foundry at Anderson Ranch Arts Center which focused on digital design and 3D printing with a finished object in cast aluminum or bronze. Technology has begun to revolutionize the already complex sculpture processes in the past 20 years and Viviano has explored the possibilities during this time as a student and now as educator and professional artist who is busy with projects in large museums and institutions. The more we talked, the more it became apparent that the approach to his art making was a value of craft traditions and aesthetics that tempered the highly conceptual, data based information that drives the work. This approach adds a greater complexity to the reading of visual information and facts met with a humanistic understanding to how art, industry, technology, environment and community interact. Continue reading

Get it in Writing

Don’t get Harriete Estel Berman started on the subject of artists having contracts with the galleries that represent their work. The San Mateo, California sculptor doesn’t converse on the subject; she proselytizes. “In no other field than art do people regularly work without a written contract,” she said. “If I agree to work with a gallery and they don’t hand me a contract, then I provide them with mine, and we go from there. If they say no to a contract, end of story. I’ll work with some other gallery.” Continue reading

Nushi Muntaabski-Mundos de Ensueño

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sculpture

Industria Argentina ( transitable) Año: 2011. Materiales: se usaron todos materiales que se fabrican en el país : aluminio, hierro, plástico, madera, goma, microtop, vidrio. Medidas: 1200 M2

Objetos, video, pintura, performance, fotografía e instalaciones; no hay límite para el trabajo creativo de Nushi Muntaabski. Escribió el libro “La novia de Duchamp”, dirigió la Revista de arte Canecalón, participó como columnista en la radio Rock and Pop durante 8 años juntos a Elizabeth Vernaci y Humberto Tortonese y creó el proyecto “Las Piedras Preciosas” (desde 2011 conocida como nushimuntaabski.com) donde integra su labor artística a la arquitectura, realizando murales, site-specifics y encargos privados para coleccionistas, arquitectos y diseñadores industriales, y aún le queda tiempo para los trabajos sociales focalizados en integrar los oficios y la sustentabilidad con el lenguaje artístico. Becada y premiada en varias ocasiones, se destaca el Primer premio Fundación Klemm, BA (2010) y el Salón Nacional de escultura BA (2014). Desde fines de los años 90, expone en forma colectiva e individual en galerías, espacios culturales y museos nacionales e internacionales tales como el Museo MALBA, BA;  Eñ Museo MAR, Mar del Plata, La Colección Amalia Lacroze de Fortabat, Galería Vasari, BA, entre otros. Se destacan sus participaciones en sites specifics en espacios públicos en el Museo de la Vid y el Vino Cafayate, la Estación San Martin, Línea “C” de Subte de Buenos Aires, La Bienal de Arquitectura de BA, 2015 en el Centro Cultural Recoleta en BA, Industria Argentina en Tecnópolis, BA y la intervención junto a Cristina Schiavi en la explanada del Museo MALBA en 2011. Continue reading

Why Ai Weiwei Addresses Human Rights

Ai Weiwei sculpture

Ai Weiwei Circle Fence, 2017 Powder coated mild steel, polypropylene netting Courtesy of the artist Photo: Timothy Schenck, Courtesy Public Art Fund, NY On view as part of the citywide exhibition Good Fences Make Good Neighbors, presented by Public Art Fund October 12, 2017-February 11, 2018

Ai Weiwei’s Public Art Fund exhibit employs fences as an extended metaphor for increasing barriers around the world. Three large shapes and over 300 smaller art works — bus station shelters, wall art, and lamp post banners — span the five boroughs. One large work, Gilded Cage, is a dome-shaped bird-cage-like soaring structure with about five subway turnstile mini-structures inside. The cage door faces Central Park as its see-through silhouette displays the Plaza Hotel and luxury Fifth Avenue businesses. As we know, even high end companies in Manhattan have entry level jobs for sales clerks and cleaning people. It’s unlikely the lower-paid employees can afford to live in Manhattan. This cage’s transparency reminds us that street vendors and entry-level employees daily work alongside executives and well-heeled customers and clients. Continue reading

Rodin at the Met: A Century of the Sublime

Sculpture

Auguste Rodin (French, Paris 1840–1917 Meudon) The Thinker Founder: Cast by Alexis Rudier (French) Modeled ca. 1880, cast ca. 1910 Bronze Overall (wt. confirmed): 27 5/8 in., 185 lb. (70.2 cm, 83.9 kg) The Metropolitan Museum of Art, Gift of Thomas F. Ryan, 1910

In 1877 at the Paris Salon, Rodin’s Age of Bronze was considered so lifelike that skeptical artists and viewers alike circulated the defamatory rumor that Rodin had simply submitted a bronze made directly from a cast of his model, and the sculpture was ignominiously removed from the show.  After the artist subsequently furnished proof that he had indeed modeled the sculpture by hand, it was displayed again the following year, and the work, originally titled The Vanquished, became Rodin’s breakout triumph.  Continue reading

Architectural Pavilions: Experiments and Artifacts

sculpture

Courtesy of the Museum of Craft and Design, San Francisco. Photography by Henrik Kam.

Guest curator Mariah Nielson is no stranger to the San Francisco Museum of Craft and Design in the Dogpatch District. Her knowledge of the intimate, two room space has enabled the exhibit to offer a substantial source of insight towards the creative practice of architecture and design studios. Nielson selected studios that offer a cohesive pragmatism and exciting diversity by individualized processes for a global impact. Continue reading