Archive for the ‘art’ Category

Several months ago I started working on a digital painting of the Frankenstein Monster but I ended up setting it aside to work on other projects. A couple days ago I decided I would take a stab at finishing it but discovered that the PSD file was corrupted. The file wouldn’t open! I immediately checked all of my external hard drives hoping that the file was safe and sound on one of my backup drives. To my dismay all of the copies I had were corrupted. I was totally fucked. I didn’t know if I should feel angry or depressed. I’ve lost files before, but this particular piece was showing some real promise and I was really happy with how the digital painting was progressing.

So I decided I would rebuild the Frankenstein Monster and make him bigger and better than before. I had a couple low resolution images of the piece in various stages of completion and I was able to use those images to begin the process of reconstructing the green beast. So far I’m pretty happy with how the second coming of the Frankenstein Monster is heading. It is always easier the second time around.

But this experience brings up a very important question about digital art and photography – How do you archive your digital files to ensure that your work will survive 100+ years of technological evolution? How do you ensure that your files will always be readable? Will you be able to open and edit a JPG file 100 years from now? Will there be a drive that can read a CD-ROM disk 100 years from now? Will digital art survive a nuclear holocaust? or will a single scratch erase all of history. Is the Mona Lisa the only thing that can survive the end of the world? Who knows.

Film and prints processed and stored in proper conditions have demonstrated the ability to remain virtually unchanged for 100+ years. Why not create film negatives / slides or prints of your digital images to help ensure the longevity of your digital artwork? That might be one solution.

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Last Wednesday, Katie and I went to Kansas City to install Katie’s solo exhibition at the Nine Zero Eight Gallery. The Gallery is located in the lobby of Rees Masilionis Turley Architecture at 908 broadway.

The space was perfect. The gallery had brick walls, hardwood floors, high ceilings and a row of large windows that filled the gallery with plenty of natural light. The hanging system was a little tricky and we had to add new hardware to all of Katie’s pieces to accommodate the hanging system. The hanging system was comprised of steel cables that hung from the ceiling, and each cable had a picture hook that could slide up and down the cable to the desired height. The hanging system worked perfectly except they had the cables hanging about 6 inches away from the walls and the photos dangled from the cable rather than resting flush against the wall. At first I was a little dismayed by this but once we finished hanging the show I ended up liking how everything turned out. I think a piece of duct tape would have easily fixed it.

Everything was going smoothly until I broke a piece of glass. I felt horrible. We ended up going to a Home Dept and bought two sheets of plexi glass. Then we went to Kinkos to have a large poster printed for the front window of the gallery. While we were at Kinkos we tried to cut the plexi glass but ended up ruining both pieces of plexi glass because it kept cracking on us. The plexi glass was really poor quality. Plus we didn’t have access to all of the tools we needed to properly cut the plexi glass.

While we were at Kinkos a stranger was kind enough to offer directions to a frame shop that was only a mile away from the Kinkos. He gave us a crude little map he drew on a scrap piece of paper and we quickly darted off to find the frame shop. Unfortunately, we couldn’t find the frame shop that the stranger described to us. The map was completely useless. And the details of his directions were a little hazy in my mind. I started to worry that we would never find a new piece of glass.

Luckily we found a frame shop / gallery and got a piece of glass for $25. At this point they could have charged me $200 and I wouldn’t have flinched. I would have paid anything for a piece of glass.

The gallery owner had two full grown sheba inus that kept us both entertained while we waited for the glass to get cut. I also thumbed through a really awesome retrospective book on James Rosenquist. I’ve never been a huge fan of Rosenquist’s work but this book immediately made me a fan. It included many of his sketches and collages that he created as studies for his paintings, and I thought those works were really incredible and inspiring.

If you happen to live in Kansas City or plan on visiting in the very near future be sure to stop by the Nine Zero Eight Gallery and check out Katie’s work. It is really incredible work.

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Currently before Congress stands the new Orphan Works Bill. If passed, this bill will adversely affect visual artists, as it would drastically affect copyright laws.

Right now, anything you create is protected by copyright, whether you register it or not (although if you don’t register it, you cannot later claim copyright infringement.) Under this new legislation, nothing you create would be protected unless you commercially register it. You would have to pay to own rights to anything you create, commercially or just for your own pleasure, so that other people cannot steal your work.

The idea behind the Orphan Works Bill is to “free up old work” from copyright owners who have passed away (currently copyright laws last through the owners lifetime, plus 70 years.) But what if you’re still alive and making new work? You basically get screwed. In a sense, it will “orphan” anything you’ve ever created.

Unless you want to digitize all your work, or pay big bucks to register your creativity, you’ll want to check out more on this legislation at http://mag.awn.com/index.php?article_no=3615
and take action with this helpful site – http://capwiz.com/illustratorspartnership/home/

Source – http://www.juxtapoz.com – Saturday, 24 May 2008

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I never knew who Robert Rauschenberg was. Somehow he had gotten by me. Don’t get me wrong though, I know art. Oh yeah. I can nod knowingly when the name Jasper Johns is mentioned, even throw in that I like his flag picture best. And I can claim to have been a big fan of Roy Lichtenstein, beginning when he worked as an illustrator for DC Comics. AND that I am a big fan of his country, even if it is kind of small and basically only produces Nordic alpine skiers that you hear about once every four years as they whiz by to the accompaniment of cowbells and drunk German cowbellists.

But really, the Europeans are like that. They will camp out for two days in sub-zero weather to watch their favorite skier for all of 1.8 seconds as they fly by at 100 kph. Where, but in Europe, can you be a TRACK star? Where but in Europe can you get a group of people to sit still as they listen to Richard Wagner’s “Tristan und Isolde,” an extravaganza that builds tension for five hours, never settling into key until the very end. Actually the whole thing is about sex, so it really kind of makes sense. Obviously Wagner was thinking from a woman’s perspective. If he was thinking like a guy the whole piece would have been the length of a TV jingle and would have just ended in a big explosion. I guess Wagner was thinking of the guys when he invented the Power Painter.

But when it comes to real power painters, I know art. I sat through two semesters of art history.

“You know this won’t count toward your major?” asked my academic advisor.

“Yeah, I know,” I said

She just stared at me, assuming, I am sure, that I surely had a better, or at least more involved, response than that.

“But you still want to take Art History?” she asked in a tone that would have been better suited for the question ‘And you still want to remove your own appendix with a blunt shoehorn?’

“Yes I do” I replied.

I might as well have said, “Oh, and hand me the dull, rusty shoehorn just to make this more interesting!” I am glad she did not ask me why I was a music major. You can only explain “because that is where the money is” so many times and then you begin to sound shallow. (more…)

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The other day I started working on a digital portrait of JFK. I thought I would share a screen grab of the work in progress. As you can clearly see I have very little done at this point. But I probably have a solid 3 hours invested in it thus far.

I’m not exactly sure where this piece is going.

I fucking hate Adobe Illustrator, I’m a Freehand loyalist, but since Adobe has snuffed out their best product I decided I would try to slowly migrate over to Illustrator so I’m not left in the dark ages. I decided I would use Illustrator for a freelance t-shirt design gig. The design turned out pretty decent considering my lack of experience with Illustrator and the rage I was holding back the entire time I was working on it. Freehand is just quicker and easier to use.

Right now it is 5:49. I’ve been up all night working on various freelance projects. Tomorrow I’m going to St. Louis to see Radiohead, but luckily I’m not driving so I can sleep most of the way there. Ha Ha.

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NEW YORK (AFP) — Robert Rauschenberg, 82, one of the towering figures of 20th century art, died at his home in Florida overnight, a spokeswoman for the Pace Wildenstein gallery in New York told AFP Tuesday.
Rauschenberg, perhaps most famous for his “Combines” of the 1950s, was one of the celebrated figures of the Pop-Art scene, often using “found” material in his iconic works.
“I wanted something other than what I could make myself and I wanted to use the surprise and the collectiveness and the generosity of finding surprises,” he said in a 2005 interview with Art Info magazine, in which he discussed the iconic series.
“If it wasn’t a surprise at first, by the time I got through with it, it was,” he explained. “The object itself was changed by its context and therefore it became a new thing.”
Rauschenberg worked across genres, and was known for assemblage, conceptualist methods, printmaking, painting, sculpture and was even active in the field of choreography.
He was the first American artist to win the Grand Prize at the 1964 Venice Biennale, one of the art world’s most prestigious honors.
He shares a place with art giants Andy Warhol and Jasper Johns as a forerunner of American Minimalism and Pop Art, breaking what had until that time been a stranglehold by Abstract Expressionist artists in US galleries and museums.
Rauschenberg was named one of “the Century’s 25 Most Influential Artists” by the influential publication ARTnews in its May 1999 issue. He was also the first living American artist to be featured by Time magazine on its cover, a sign of how deep was his influence in shaping and reshaping the US cultural landscape.
Born Milton Rauschenberg in Texas on October 22, 1925, Rauschenberg was raised in a Christian fundamentalist family and originally wanted to become a minister.
He discovered a talent for drawing when he was 22 and serving in the US navy.
After leaving the military in 1948, he studied art at the private studio school Academie Julian in Paris, but moved to North Carolina less than a year later to continue his studies at Black Mountain College in North Carolina under masters including the Bauhaus movement’s Josef Albers.
After North Carolina, Rauschenberg, like many other Black Mountain alumni, moved to New York, where he took classes at the Art Students League between 1949-1951.
He worked in New York City and on Captiva Island, Florida where he died early Tuesday.



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