Panel discussing a public art project along Broadway in Sacremento, California which will be created and disseminated using augmented reality. The panel took place at the Center for Contemporary Art, Sacremento, California. with Rachel Clarke, Shelly Willis, Jose Carlos Casado, and Sabrina Ratte.
Panel discussing a public art project along Broadway in Sacremento, California which will be created and disseminated using augmented reality. The panel took place at the Center for Contemporary Art, Sacremento, California.
Hi James! I heard you are collecting online guides to art critiques. Here is one recently released by Q-Art in the UK. It's called 'Art Crits: 20 Questions. A Commissioned Artist's Video' and it is on vimeo. I hope you enjoy it!
Thanks! I didn’t see your message — I won’t be working on this until January — but someone else sent it and I just posted it. More on that soon.
Florida State University, Fine Arts Building Room 249
Michael Rees, formLab’s inaugural Project Fellow, will be visiting FAR to work on a sculptural project relating to augmented reality. Rees is an artist working in themes of figuration, language, technology, and the social to weave a sculptural mélange. He is the recipient of numerous honors and grants, and his works are in the collections of the Whitney Museum of American Art, the Kemper Museum of Contemporary Art and numerous private collections. Rees is Associate Professor of Sculpture and Digital Media, and Director of the Center for New Art at William Paterson University. For more information about his work, visit www.michaelrees.com.
FAR Exchanges: Interactions with SCAP and formLab
Opening Reception: November 22, 5-6:30PM
3216 Sessions Road
FAR Exchanges: Interactions with SCAP and formLab, is an exhibition featuring the creative output of the College of Visual Arts Theatre & Dance’s Facility for Arts Research (FAR) in 2013. Over the past year, FAR’s internal units—Small Craft Advisory Press (SCAP) and formLab—have hosted several local and national visiting artists, held numerous class interactions led by FAR Faculty in Residence, and organized our first FAR Listening Post sound art installation. Please join us for the opening reception on November 22, 5-6:30PM to view the work produced during these exciting interactions at our facility. Light refreshments will be served.
Driving Directions to FAR:
Sessions Road is approximately 0.7 miles north of I-10 Exit 199 (Monroe St). From North Monroe St, take a left on Sessions Road and continue 0.25 miles. FAR will be on the right. See it on google maps.
Here’s an AR sample from one of my experiments. You’ll need a smart phone or tablet and the junaio app to read it. (using a regular qr tag reader will help you download junaio only works on ios or android) click here
In Review of Out of Hand, the New Yorker covers Intervening Phenomena.
A Canadian-born artist, Robert Gero, pointed to a contraption he built with Michael Rees, which they call “Intervening Phenomena.” It looked a bit like a white umbrella that had been destroyed by a barreling gust of wind, and then positioned upright on a platform. Gero said that he and Rees are working with “tactical play exchange.” The white geometric umbrella top was actually the floor plan of a gallery, manipulated into a different shape, and made into a sculpture. “In a network, things get twisted, modified,” Gero explained. On one side were projected images from the opening scene of the 1961 film “Last Year at Marienbad.” Gero said, “It’s all about iteration.”
This project was my concept and execution collaborating with artist Alex Vicenzi and University Galleries Director Kristen Evangelista and Program Assistant Emily Johnsen. We worked with a Rhino workflow designed by Prem Makeig.
Here’s a great opportunity for emerging to mid career artists to work in a university lab with CNC milling, rapid prototyping, scanning and manufacture. The work will end with an exhibition at the University Galleries at William Paterson University. Deadline for application is Sunday December 1.
The grotesque is often used as a synonym for all that is dark, obscene, bizarre, and even gruesome. That is a rather lazy definition for an aesthetic that robs us momentarily of our ability to rationalize and categorize things. The truly grotesque moves us more into a sense of mystery — into the world of things that are now given life and essence. We encounter such movement in the 3-D work of visual artist Michael Rees.