Thursday, December 15, 2011

MoMA Courses Online Registration Open for Winter/Spring 2012

PMNYS Fast-Forward Preview (Part 1) by Mab MacMoragh

Registration for Winter/Spring 2012 MoMA Courses Online is now open! Information and registration here.

PMNYS is an independent student project by the Post Millennium New York School painters, a group of artists who met virtually in the Spring 2011 MoMA Online Course, 'Materials and Techniques of Postwar Abstract Painting' taught by Corey D'Augustine.

This is Part 1 of the project, which will eventually include a video of the paintings along with a narrative in a virtual setting.

PMNYS Painters are:

Betsy Ritz (Rhode Island USA)
Bobbie Friedman (Rhode Island USA)
Chris Jeffrey (Vermont USA)
Deborah Rhee (Melbourne, Australia; Dallas, Texas USA)
Doug Brannon (North Carolina USA)
Hilary (USA; Berlin, Germany)
Jackie Mintz (Maryland USA)
Kim Charlton (New York USA)
Mab MacMoragh (Georgia USA)
Mania Row (Essex and London, UK)
Maria Rosa Benso (Turin, Italy)
Marie Louise Eriksen (Denmark)
Maryse Wicker (France, Connecticut USA)
Monica Ridruejo (Spain)
Myriam Kassin (Bogota, Colombia)
Pauline Ginnety (Ireland, France)
Rose Golledge (Brazil, UK, Portugal)
Starr Davis (California USA)
toon den heijer (Amsterdam, Netherlands)

Thank you to MoMA Courses Online!


Friday, October 28, 2011

Field Trip: Gerhard Richter

interviewed by Nicholas Serota, Director of Tate

On the eve of a major retrospective at Tate Modern, Gerhard Richter talks about his life and work with Nicholas Serota, Director of Tate.

Gerhard Richter: Panorama
Tate Modern 6 October 2011 - 8 January 2012

Spanning nearly five decades, and coinciding with the artist’s 80th birthday, Gerhard Richter: Panorama is a major retrospective exhibition that groups together significant moments of his remarkable career. (more)

via Deutsche Welle (Euromaxx)

Gerhard Richter is among Germany's most celebrated contemporary artists. Richter usually shuns the media spotlight, but he granted filmmaker Corinna Belz access to his studio and allowed her to film him at work. The resulting documentary provides a unique insight into the painter's creative process.

October 18 1977 - Baader-Meinhof via Opheliia

About Richter's Baader Meinhof Cycle
Museum of Modern Art

All that is, seems, and is visible to us because we perceive it by the reflected light of semblance. Nothing else is visible. (Gerhard Richter)

Read at TATE ETC: Inescapable Truths John-Paul Stonard on Gerhard Richter

Gerhard Richter web site

Thursday, September 15, 2011

Field Trip: Anthony McCall: solid light

Anthony McCall Between You and I from creativetimenewyork

The spectator is now inside the film, no longer conceived as a circumscribed form within a predefined space but as the very field within which the experience takes shape.

...the point is not to produce the mechanical phenomenon of the shutter’s action but to dramatize it; it is not about the phenomenological reduction of the cinematic projection, but its reconstruction.

-- Philipe-Alain Michaud, "Line Light: The Geometric Cinema of Anthony McCall" October 137
Tr. Annette Michelson

Photograph: Hugo Glendinning; Anthony McCall, Between You and I, 2006, Installation view at Peer/The Round Chapel, London

Sunday, June 12, 2011

construct on Magoo


I think in general when people say "I know," they don't know, they believe. I believe that art is the only form of activity in which man as man shows himself to be a true individual. Only in art is he capable of going beyond the animal state, because art is an outlet toward regions which are not ruled by time and space. To live is to believe; that's my belief, at any rate.

-- Marcel Duchamp, interviewed by James Johnson Sweeney for NBC at the Philadelphia Museum of Art, 1956 (more)

'construct' by Selavy Oh, is now on Magoo (Teleport)

More on construct by Selavy Oh here

construct discussed on Arahan Claveau's Soup Radio here

video by Mab MacMoragh: rough draft for a final version of Selavy Oh's 'construct variations' to be finished later this year

Tuesday, May 17, 2011

MoMA Online Courses- Online Registration now open!

'Ticking' by Mab MacMoragh
Ticking by Mab MacMoragh
How do the online courses work?

These 10-week classes can be accessed at times that are convenient for you; there is no set time when participants are required to log in. Each week, starting with the first week of class and continuing for nine subsequent weeks, students participate in lively discussion forums with one another and the instructor. The courses provide unique videos, slide shows, and readings.

Read more and register

Artist Deborah Rhee looks back on her experience with MoMA Online Learning as part of the Materials and Techniques studio painting course taught by Corey d'Augustine and comes away with a thumbs-up!

Read Deborah's blog post

Saturday, May 7, 2011

Soup Radio: May 2011 Programming

Image: Carol's Classroom

Via Arahan Claveau:

Soup Radio new schedule begins Saturday May 7th 2011 (12pm PDT, 3pm EDT, 8pm BST)

Amy Freelunch has a conversation with art critic (and husband) Jeff Edwards, regarding the difficulties and rewards of organising artists and academics online.

Arahan Claveau talks to artist Selavy Oh about new work 'Construct' which opened on May 1st at the HUMlab sim in Second Life. Selavy talks about his experiences creating the project and how it will integrate with visitors in the physical gallery space in Sweden.

Raul Crimson and Treat Kanto discuss the new exhibition 'Walking Canvas' at SOMA in Second Life. They also talk about the reduced support for artistic initiatives by Linden Lab, the general lack of diversity on the Grid, and how Second Life has become closer to real life through this process.

Penumbra Carter returns next month.

Visit Soup Radio Blog for listening choices and information

May 2011 Show Notes

Sunday, May 1, 2011

Selavy Oh's construct: opening today

construct by Selavy Oh

a project by Selavy Oh

May 1-18, 2011


curated by Goodwind Seiling / Sachiko Hayashi

space provided by HUMLAB / University of Umea, Sweden

informal opening: Sunday May 1st, 2011, 1pm SLT

CONSTRUCT is a 75-day project performed during Selavy Oh's residency at Yoshikaze/HUMLAB. Selavy Oh was present every day adding one hollow cube representing one day to the installation. The resulting installation consists of 75 white cubes, most of them reacting in various ways to the presence of visitors, and can be conceived as collection of dynamic time capsules, as spatial blog or diary, that transforms time to space and thus breaks up the inevitable causality of its development by folding it to a multidimensional ensemble allowing for novel relations between its constituents. The single days continuously exchange their positions, resulting in an everchanging labyrinth of cubes - some days even becoming inaccessible - which allows the visitor to discover new connections and associations that go beyond formal or semantic similarity.

(Text by Selavy Oh)


See all Soup Blog posts on construct

Selavy Oh's construct: a dream dialogue

day 75
Mab explores day 75 in Selavy Oh's construct

Mab: Selavy Oh's construct is like a beehive. A dynamo hum. No, not that, but a honeycomb. No, it's exactly like seashells. No, it's more like crystallization.

Mab: (upon reflection) It's orthogonal geometry but it's not geometry, it's scaffolding in search of form…..

Mab: (still pondering) It is a mysterious continuous formation, a gathering emergence……

Mab: (back again after a break) It has the appearance of chaotic spontaneity but was built up methodically over the extended time period (and fleeting passage) of 75 days

Mab: (counting on fingers) Its inhabitants are time and events and us, to do with scripted striations, fractures, mirrors, miniatures, concurrences, confluences, whisperings, forces, pleatings, colors, flips ,and systolic soundwaves

(Mab falls asleep and dreams she is joined by others who continue the revery)

Morton Feldman: …we don't know where the passage begins, and where it ends; we don't know we are in a passage… The overall experience of the whole composition becomes the passage.

Mab: If you zoom out, Morton, you can see that the passages interchange

Robert Irwin: It's a psychic build-up, but it's also a pure energy build-up.

Mab: and a day build-up too

Robert Henri: ...not only in the pleasure it inspires, but in the comprehension of the new order of construction used in its making.

Evelyn Underhill: is not strange that certain maps, artistic representations or symbolic schemes, should have come into being which describe or suggest the special experiences of the mystical consciousness…

Mab: I'm pretty sure that Selavy Oh would not say that about this construct

Carolyn Forché: ...language breaks, becomes tentative, interrogational, kaleidoscopic. The form of this language bears the trace of extremity, and may be composed of fragments: questions, aphorisms, broken passages of lyric prose or poetry, quotations, dialogue, brief and lucid passages that may or may not resemble what previously had been written.

Mab: That's more like it

Emmanuel Levinas: It is of the essence of art to signify only between the lines–in the intervals of time, between times–like a footprint that would precede the step, or an echo preceding the sound of a voice.

Frank O'Hara: I assume you speak of the age in which great forms
appear, only to be taken apart ten years later…

Mab: Well that was a long time ago, Frank, relatively speaking. And backwards.

(Mab doesn't know of what she speaks, but this is her dream)

Odilon Redon: Each man should be the historian of his own heart.

Paul Valéry: the mollusk exudes its shell

Mab (nods at Odilon and Paul)

Paul Eluard: Quand les cimes de notre ciel se rejoindront
Ma maison aura un toit.

(When the peaks of our sky come together
My house will have a roof.)


Friday, April 22, 2011

Selavy Oh's construct revisited

This is a wonderful unfolding conceptual art piece in the virtual world of Second Life® growing and changing from day to day- with the passage of time its complexity comes to resemble neurons and is never the same experience from visitor to visitor- just as our perceptions of the real world can never be made to mirror one another's except in theory. Outside of theory, our connections are mysterious in nature.

As Horatio exclaims in Shakespeare's Hamlet: 'O day and night, but this is wondrous strange!'

remembering the future
imagining the past

day 62
day 62

Wednesday, March 2, 2011

Monday, February 14, 2011

Field Trip: Tara Donovan

Tara Donovan: Drawings (Pins)
The Pace Gallery 510 W 25th St, NYC
Feb 12, 2011 - Mar 19, 2011

See website for images from this current exhibition: The Pace Gallery

In her latest series, "Drawings (Pins)", on view this month at the Pace Gallery in Chelsea, shimmering metallic "canvases" are composed of dressmaker pins — tens of thousands of them. The cumulative effect is almost painterly. While these works are two-dimensional, they deal with the same issues as her "site-responsive" sculptures, as she calls them: "It’s all about perceiving this material from a distance and close up and how the light interacts with it."

-- Julia Curtin amarcordian (more)

The new series, which in fact arose from a stretch of print-making, is a perceptual delight, with light striking the pins in such a way that some clusters appear as inky black, others as gray, still others as shimmery silver, like a lake glancing in the setting winter sun.

-- ARTINFO (more)

While the majority of the drawings on view are visual fields that radiate from different light sources (determined by the density of pins on the surface area), two of the earliest works in the show depict clusters of circular organic shapes evoking cellular or molecular forms.

-- The Pace Gallery | Pace Press Release (more- pdf)

Tara (Video: PacePrints)

Tara Donovan builds large, labor-intensive, and site-specific installations out of everyday materials such as scotch tape, drinking straws, paper plates, roofing paper and Styrofoam cups. Donovan takes these materials and grows them through accumulation. The results are large-scale abstract floor and wall works suggestive of landscapes, clouds, cellular structures and even mold or fungus. In her words, "it is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow."

-- Pace Prints Tara Donovan Artist Portfolio (more)


What appeared to be a question of object/non-object has turned out to be a question of seeing and not seeing, of how it is we actually perceive or fail to perceive “things” in their real contexts. Now we are presented and challenged with the infinite, everyday richness of “phenomenal” perception (and the potential for a corresponding “phenomenal art,” with none of the customary abstract limitations as to form, place, materials and so forth) – one which seeks to discover and value the potential for experiencing beauty in everything.

-- Robert Irwin, Being and Circumstance: Notes Toward a Confidential Art