Does anyone have this piece in their collection or in their possession somehow, found on the street or left from an old show? It's the last piece we can't locate for the retrospective at the @cincycac and I would really love to have it. If anyone can lend us this image, let us know! [email protected]
I want to take a moment to acknowledge, with love, everyone who is doing the hard work of countering racist extremism in their culture and in their homes. Here in the U.S. we are seeing that racist extremists have been emboldened by our current administration to step out into the open and attempt to increase their power and influence over our lives. In the midst of this many people are confusing human rights movements like Black Lives Matter with hate organizations, and falsely equating the efforts of the Anti Fascist movement with the violence of the Nazis themselves. Fighting to protect human rights is not the same as fighting to take rights away from others, and understanding this distinction is fundamental to our ability to resist and protect one another. Hats off to everyone who is having difficult conversations with their families and neighbors this week, who is organizing in their communities and protesting in the streets. The link in my bio today is to the Southern Poverty Law Center's handbook "Ten Ways to Fight Hate: A Community Response Guide"
Soooo, I'm lost right now. We've started pre-prep in Cincinnati, and they've got us a studio in the back of the amazing Sign Museum. I went to find a bathroom, and now 20 minutes later, I still can't find my way back to where we're working 😂😂😂. 5 more minutes then I call for help.
The wall paper for the @cincycac show has started printing! I just had the pleasure of visiting this beautiful, 80 plus year old wall paper factory where they hand silk screen yards and yards of wall papers on tables as long as a city block. So amazing to see this craft in action. @efsdesigns @matzarob
I just got this message from a friend that reminds me of why street pasting will always matter to me. She said she was passing by this wall when she met Julius and they struck up a conversation. He explained how he loved meditating next to this piece, how sometimes he sits and holds his hands the way she does, and he kept saying "there's just something about her". I'm reminded of the various conversations I've had over the years with people who have adopted the pieces. People for whom the spirit of the portraits matter, and speak to them, and keep them company. It's the best thing I could ever hope for when creating a work of art. Thanks Julius for seeing my work and in doing so, helping me see it too, and thanks @lindsayskedgell for the picture and sharing the story.
Anyone in this feed who voted for Trump, please listen to me for a second -- you need to be actively and clearly denouncing this rising tide of white-supremacist hate.
Don't kid yourself for one second, you helped to enable what is happening in Charlottesville today, and if you don't start speaking up now, and continue speaking up loudly and clearly, you will be responsible for allowing this to grow. You cannot sit back and be passive while this happens. Your participation in dismantling this is now a requirement.
True this message doesn't only apply to Trump voters, we all need to fight this sickness together -- but I know I have some Trump supporters in my feed to whom I've been meaning to say this for a while, and today is clearly, clearly that day.
This doesn't look like much, but it's the bones of the most difficult artwork I've ever made. I'm working on it as a part of the CAC show right now, and I'm just hanging in by the skin of my teeth. These stories and collected fragments of writings from various sources will get turned into audio recordings, and become part of the final piece on the "time capsule" floor of the @cincycac. Wish me luck, I need it.
When I was about 15, a sort of a vision swept over me where I saw myself as a telephone switchboard. I could feel my body as though it contained a mess of wires. My emotions were one end of a wire, patched in to their correct causes and events. But I had scrambled things. In a flash of clarity I saw that I had deliberately crossed the wires. I had separated reaction from event, emotion from cause, mixing the wires so that emotions would come at random seemingly connected to no root cause, or events which seemed catastrophic would carry no reaction. And, I understood that I had done this to hide a most unbearable truth about how much I feared and in some ways hated the people I also depended on and loved. (Later I would learn that psychological survival for a very small child in a family of addicts takes some tricky coping skills.) A few years ago I decided that one day I would make this very potent image into a sculpture. I knew it would have audio, because it was a switchboard, but I wasn't sure what the audio would be. For the show I'm working on now, I knew I was finally ready to go there. I started planning out the physicality of the sculpture and then I began gathering audio. I gathered pretty randomly at first. Then I started to hone in on a thread that tugged at one of my deepest fears. I gathered clips from psychology text books, from plays and literature, from my own dreams and memories, and I began recording them in little fragments. The fragments got closer together and finally I gathered them into a semblance of chronology, and then I saw that I had a story. The fragments had come together. As I worked on it further, I realized that making this piece was performing some alchemical magic on me. The image of the switchboard was an image of disassociation. Of fracturing and fragmenting one's psyche in order to hide painful truths. Because I started with this fractured image and worked backwards from there, it was as though I, at first only semi consciously, and then with increasing clarity, had worked my way backwards from disassociation, slowly putting the pieces together until I was staring into my own coherent truth. Art as alchemy for the mind.
Print in progress. The painstaking stage of proofing, painting tiny corrections onto the proof with white paint, and then carving them backwards on to the block.
In its early stages my work was a mix of drawing friends and anonymous street portraiture. As I began working on longer term projects within communities, I began to draw people who lived in the neighborhoods we were working in, people who were part of the project with us. This is a linoleum block print of a young woman from Braddock named Neenee who worked with us one summer helping to paint the tiles for the scale model of the church, a proposal which eventually launched the @braddocktiles project. For the upcoming retrospective we've created a small edition of portrait close ups from the original linoleum block. They're up on the Archivist's Circle site under 2013. Link in bio
: Andrew Cameron Zahn of @cloudshopstudios, who created the Archivist's Circle and the studio websites is now having his own multimedia solo show, and running a Kickstarter to support it. Here's the link to learn more - https://www.kickstarter.com/projects/38254516/xcambo-a-new-interactive-video-installation
New small paper cut out on the Archivist's Circle site today. We're doing a big fund raising push trying to make sure this retrospective gets realized to its fullest, and to help make that happen we've created a series of art objects and small pieces like this one, so that you don't have to be a massive art collector to be a part of helping this project come to life. This lil' guy, the Caduceus is under 2004, at the link in my bio.
In 2005 I got invited to do my first major installation. I had some ideas in my head about creating an immersive space that functioned as a single artwork, as cohesive as a single drawing, but expanded outward for the viewer to experience by exploring - but I hadn't fully gotten to try these ideas out yet, because their execution was still beyond my reach. Then Jeffrey Deitch asked if there was anything I was hoping to created but hadn't yet tried, and that turned out to be a very transformative question. I set to work building out my first major installation that summer. The front entrance was designed to echo the experience of two train cars passing each other in the tunnels. I just took those original Subway Window prints and translated them into a unique variant series of small works on architectural salvage, and they'll be going up one at a time on the Archivist's Circle website starting today. The link is in my bio.
, the enchanting explorations of @elainesuhui . This is the third in a series of posts highlighting the incredibly talented people who are making this upcoming retrospective possible. Whenever I do a monumental scale project, like the show I'm working on right now, people always ask me how it happened. The answer is that a team of talented people are coming together right now to give a big big push, bringing their problem solving skills, their time, energy, training and talents. Without them I wouldn't be doing any of the things that I'm doing, so I started a series of posts about the super heroes in my midst, and what they're all about. Elaine was the studio's master printer for 7 years, and just finished up her final work week in time to send us off to Cincinnati and continue on with her own explorations. Here's some words about her project Inner Fields @innerfields_nyc "Inner Fields is an art project which you cannot buy and cannot keep. It’s about creating unique, artistic experiences which cultivate stillness and presence of mind, and which emphasize our inseparable, ecological relationship to each other and our environment.
Each month I open my apartment to the community and host gatherings which explore consciousness, ecology and the transitory nature of all phenomena. I often collaborate with diverse artists, musicians and teachers and together we'll create a unique, contemplative experience based in art, ritual, philosophy and meditation. Gatherings are small, intimate and cell phone-free, and sessions are rarely photographed or documented in keeping with a truly ephemeral art project.
Through each session, Inner Fields aims to cultivate meaningful insights through direct experience and true community connection, and hopes to provide a counterpoint to the hyperactivity and materialistic economies of New York life."
New small print edition up on the Archivist's Circle site today, featuring the prep sketch for what would become the Miss Rockaway Armada skeleton mermaid cut paper portrait. Find her under 2006 through the link in my bio.
One more from the unique variant / hand embellished series of Ice Queen prints that's going up one at a time on the Archivist's Circle right now. Link in bio. Find them under 2011.
Just finished, the final piece of the color scale series.
, the amazing world of @lyssden . This is the second in a series of posts highlighting the incredibly talented people who are making this upcoming retrospective possible. Whenever I do a monumental scale project, like the show I'm working on right now, people always ask me how it happened. The answer is that a team of talented people are coming together right now to give a big big push, bringing their problem solving skills, their time, energy, training and talents. Without them I wouldn't be doing any of the things that I'm doing, so I started a series of posts about the super heroes in my midst, and what they're all about. Here's Alyssa Dennis, who also created the Pitchbow House at the Music Box in New Orleans, and has an environmental advocacy project called Common Knowledge which promotes education on wild, edible, medicinal plants found within the urban landscape. @commonknowledgeplants
New series of hand embellished AP's is going up, one at a time on the Archivist's Circle site, starting today. Find them under 2011. Link in bio.