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: ...it 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.)