A Museum Tweets Its Own Tribute to Pot(s), as Canada Legalizes Weed

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As any child of a Baby Boomer can tell you, nothing goes together like marijuana and dad humor. A bunch of pot-heads at the Royal Ontario Museum (ROM) in Toronto celebrated the official country-wide legalization of marijuana in Canada with a pun-heavy tweet series featuring historic pottery. Talk about a ROM-com!

Pot! Can you dig it? You can if you’re an archeologist! Or a citizen of any 10 Canadian provinces and three Northern territories — although specific regulations around sale, age of access, buying process, and amount one can carry vary from province to province. A handy guide published on CBC outlines these distinctions, noting the one constant across the country: Online sales are available in all provinces and territories, whether via private retailers or through government-run websites.

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Like most Canadian news outlets, CBC offers a wealth of coverage on the topic. As observed on Twitter by US Correspondent to The Globe and Mail, Adrian Morrow (@AdrianMorrow), The Globe has published so many explainers on pot legislation and use that they have now released an explainer of the explainers. This includes an effort by what Morrow describes as “Canada’s very earnest national newspaper,” to explain how to roll a joint with helpful illustrations.

O, Cannabis!

Our home and native strain!

True love for Smarties in all of us command.

With glowing bowls we see smoke rise

The kind bud strong and free!

From far and wide,

O Cannabis, we pass that blunt to thee!

Kidding aside, it’s important to remember that this national legalization is essentially a public health experiment, so toke with care. Canada has the opportunity to “be a very key international generator of knowledge on cannabis risk and harms, but also potentially some of the benefits,” said Dr. Theresa Tam, the country’s chief public health officer, as reported by cbc.ca. Pot has been characterized as a “gateway drug” so it’s important to keep in mind the unofficial motto over in the ROM antiquities department: Pots are cool, but cracks are wack!

The post A Museum Tweets Its Own Tribute to Pot(s), as Canada Legalizes Weed appeared first on Hyperallergic.

Original source: https://hyperallergic.com/466210/a-museum-tweets-its-own-tribute-to-pots-as-canada-legalizes-weed/

A Whirling Porcelain Coral Reef Draws Attention to the Cost of Climate Change

"Confluence (Our Changing Seas V)" (2018), Glazed stoneware + porcelain, 846 x 570 x 50 cm, image by Amanda Brooks

“Confluence (Our Changing Seas V)” (2018), Glazed stoneware + porcelain, 846 x 570 x 50 cm, photograph by Amanda Brooks

The latest installation by ceramicist and ocean advocate Courtney Mattison (previously) is Confluence (Our Changing Seas V), a porcelain coral arrangement produced for the US Embassy in Jakarta, Indonesia. The site-specific work features a vibrant cluster of coral structures at its center which turn stark white the further they are placed from the installation’s core. This shifting gradient references the rapid devastation caused to reefs as temperature levels rise and force corals to lose their colorful algae.

This installation is a celebration of Indonesia’s coral reefs, while also pinpointing the human-caused damage that infects the vibrant systems. “Corals, anemones, sponges and other reef-dwelling invertebrates coalesce into a cyclone-like spiral with colorful healthy corals at the eye of the storm, their tentacles and branches dancing in the current,” explains Mattison. “Toward the edges and tail of the swirling constellation, corals sicken and bleach, exposing their sterile white skeletons—a specter of what could be lost from climate change. Yet at its heart the reef remains healthy, resilient and harmonious.”

"Confluence (Our Changing Seas V)" detail, image by Amanda Brooks

“Confluence (Our Changing Seas V)” detail, image by Amanda Brooks

Indonesia is located at the heart of what is called the “Coral Triangle” or “Amazon of the Sea.” This environment is host to more invertebrate species than can be found anywhere else on the planet, in addition to thousands of species of fish which thrive in the rich ecosystem. Mattison hopes that her handmade constructions of the Coral Triangle’s diverse specimens produces an excitement in viewers while sparking an interest to protect the delicate balance found in Indonesia’s coral systems.

"Confluence (Our Changing Seas V)" detail, image by Courtney Mattison

“Confluence (Our Changing Seas V)” detail, image by Courtney Mattison

Mattison is exhibiting another recent installation titled Afterglow (Our Changing Seas VI) in the group show Endangered Species: Artists on the Frontline of Biodiversity, curated by Barbara Matilsky, at the Whatcom Museum in Bellingham, Washington through January 6, 2019. Mattison will travel to Bali at the end of October to unveil a 60-foot-long community-based coral installation she designed for the Coral Triangle Center in Sanur, Bali titled Semesta Terumbu Karang—Coral Universe. The work features over 2000 elements sculpted by a team of over 300 volunteers, coral reef conservationists, and Balinese artisans. You can see further conservation-based projects by Mattison on her website and Instagram.

"Confluence (Our Changing Seas V)" detail, image by Courtney Mattison

“Confluence (Our Changing Seas V)” detail, image by Courtney Mattison

“Afterglow (Our Changing Seas VI)” (2018), Glazed stoneware + porcelain, 230 x 260 x 50 cm

"Confluence (Our Changing Seas V)" detail, image by Courtney Mattison

“Confluence (Our Changing Seas V)” detail, image by Courtney Mattison

"Afterglow (Our Changing Seas VI)" (detail)

“Afterglow (Our Changing Seas VI)” (detail)

"Afterglow (Our Changing Seas VI)" (detail)

“Afterglow (Our Changing Seas VI)” (detail)

"Confluence (Our Changing Seas V)" (2018)

“Confluence (Our Changing Seas V)” (2018)

Original source: https://www.thisiscolossal.com/2018/10/a-site-specific-porcelain-coral-installation-by-courtney-mattison/

Ornate Birds and Sea Creatures Spring to Life With Environmental Embellishments of Flowers and Foliage

Artist Ellen Jewett (previously) continues to create sculptures of animals from the land and sea, crafting realistic depictions with a surreal edge. Each porcelain creature features elaborate elements that connect the animal back to its natural environment—such as green leaves that sprout from the wings of a black cockatoo, or tiny yellow fish that are found along the spines of her ornately patterned seahorses.

After she forms each sea turtle, octopus, or fish from porcelain, Jewett free-models a wire armature by hand and coats the piece in polymer. This addition allows her to connect detailed elements such as flowers and other fauna to the animals fins or claws. Her solo exhibition On Wilderness is on view at the Ottawa School of Art’s Main Gallery in Ontario, Canada through November 18, 2018. Her work is also being exhibited in the group exhibition Nature Imagined at the Wilding Museum of Art and Nature in Solvang, California through January 2019. You can learn more about her process by following her work on Instagram.

Original source: https://www.thisiscolossal.com/2018/10/ornate-birds-and-sea-creatures-by-ellen-jewett/

Air Sea Land: Okuda’s Largest Public Art Project Brings Colorful Sculptures to the Streets of Boston

Seven towering sculptures comprised of brightly colored facets have recently landed on the streets of Boston, courtesy of Okuda San Miguel. The multi-disciplinary Spanish artist, best known for his colorful interventions in and on buildings around the world, installed the series of seven sculptures called Air Sea Land in Boston’s seaport corridor. Okuda’s creations range from eight to twelve feet tall, and include regional wildlife like deer and squirrels, while also integrating mythological elements like a scaly humanoid sea creature and a seagull with arms and legs. Air Sea Land which is Okuda’s largest public art project to date, was curated by Justkids. You can see more from Okuda on Instagram.

 

Original source: https://www.thisiscolossal.com/2018/10/air-sea-land-okuda/

Los Angeles: An Interview with Ant Pearce

Ant Pearce is an emerging British artist, based in London. He attended Central Saint Martins School of Art and Design, after which he studied the MA Visual Arts course at Camberwell College of Arts, graduating with Merit in late 2012. Ahead of his appearance at The Other Art Fair Los Angeles and Brooklyn in Fall of 2018, we had a chat with Ant to gain a deeper insight into his practice.

What are the major themes that you pursue in your work? 

Space-Time, the human condition and Women all feature to different degrees but overall perhaps Birth into the System we are part of and the recurring patterns that occur within it. The idea that the Space within the System contains Time which in turn contains smaller pockets/rooms of Time; best thought of as Change. This can be likened to the Greeks notion of time: Chronos, essentially empty without content or meaning; and Kairos a Time charged with promise and significance — Time that saturates Time. The cycle of suddenly entering, passing through and exiting, often abruptly, from these pockets/rooms of Time and the causal/consequential phenomenon of Memory which in turn leads to Fragmentation. The overwhelming sense that everything has already occurred before it happens, and we are just viewing/replaying events within the System.

How did you first get interested in your medium, and what draws you to it specifically? 

Whilst training at various London art schools from The Working Man’s College to Central Saint Martins and finally Camberwell College of Art, I developed a curiosity and the desire to experiment with different materials and techniques. From these experiences, I have been able to layer painting; woodcut print, fabric and hand and machine stitching into works, which are all essentially drawings. The artworks are exercises in mapping and they allow for changes in how something is perceived. These mediums evoke chance and awaken the subconscious which emerges within what is structured space.

How did you first get interested in your medium, and what draws you to it specifically? 

The work has become more layered; communicating more complexed ideas. Increasingly the use of colour has also been introduced from one series to the next. Initially using only black and white, to working with solid colour backgrounds to selections of colours in a variety of materials including paper, cotton fabric, lace and threads. Most recent works have been created using coloured inks and have been more organic, with hand sewn elements incorporated into a few select pieces. Going forward this will no doubt develop in complexity and result in more layered work again.

Can you walk us through your process? Do you begin with a sketch, or do you just jump in? How long do you spend on one work? How do you know when it is finished?

Everything starts with an Idea, often most commonly months or years before the work is made. Then the most important aspect of the creation process — selection of the right images; and then the materials and techniques. Once images have been selected, works are usually visualised during classical music concerts; often piano recitals. For example, work from the three-part series Transcendental Aesthetic, which will be on display at TOAF Santa Monica and Brooklyn, mirror a three-part series of ‘Late Style’ piano curated and performed by American pianist Jonathan Biss during 2016—17 at Milton Court, London. Each series starts with the production of rough experimentation using the chosen materials, sort of prototype scraps, which then develop into small ‘sketch’ work and are then taken into larger pieces. The process can take weeks and more complex layered works take much longer to complete. Once there is enough information to read the work, it is deemed finished; a series is finished when there is no more to say, at least at that time. Images have been revisited and new work created after a year or more.

If you couldn’t be an artist, what would you do?

My background is in Biochemistry and IT having worked as a business consultant in the City of London for some years before starting to create artwork — I am at heart an analyst who creates artwork. Recently I have rekindled an interest in connecting with the body — the organism — and earlier this year I qualified as a Level 1 Coach in the sport of Olympic Weightlifting. Now training at CrossFit Dawn, I have plans to take my Level 2 coaching qualification next year. Perhaps I will mix coaching with creating artwork. Hopefully I’ll have time for a workout at CrossFit Santa Monica and Green Point between fairs!

What are some of your favorite experiences as an artist?

My time at Central Saint Martins was short but so amazing, being able to just play with ideas, materials and techniques, and the energy and emotions at that time and to some extent at Camberwell gave me a solid grounding to move forward from — although this has taken years to realise. And seeing how a work develops from nothing; a description or map of something inside, a vague snippet of an answer coupled with the sense of release, never ceases to elude me.

Ant Pearce will be showing at The Other Art Fair Los Angeles (Barker Hangar, 25-28 October 2018) and The Other Art Fair Brooklyn (Brooklyn Expo Center, 8-11 November 2018)

Original source: https://canvas.saatchiart.com/the-other-art-fair/los-angeles-an-interview-with-ant-pearce

A Day with Christy Powers

Get a glimpse at #TOAFtakeover, a weekly Instagram series that gives you an insight into the work and life of our artists, straight from the source. Like what you see below? Follow along on our Instagram for the full scoop.

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Hi everyone, @christy_powers here! Excited to be taking over #theotherartfair page today. I’m currently getting ready for the fair in LA next week. I’ll give you a sneak peek of what I’ll be showing and a behind the scenes look at how I work. #toaftakeover #theotherartfairla #contemporaryart #saatchiart #brooklynartist #paintings

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Excited to be taking part in ‘31 Women’ a mini salon show within The Other Art Fair curated by @katebryan_art a tribute to the 75th anniversary of Peggy Guggenheim’s ‘exhibition by 31 women’ I often see my work narratively, like scenes or stills from a movie and often the focus is telling the stories of women. #theotherartfair #31women #femaleartist #theotherartfairla #saatchiart #painting #christypowers

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More paintings and the photos they’re based on. One day I hope to make a book with these paired images… #theotherartfair #tuesdaytakeover #christypowers #paintings #familyphotos #saatchiart

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Follow The Other Art Fair and catch #TOAFtakeover every other Tuesday on Instagram at @TheOtherArtFair

Follow Christy Powers on Instagram at @christy_powers

Original source: https://canvas.saatchiart.com/the-other-art-fair/a-day-with-christy-powers

Chicago: An Interview with Artist Will Cares

Following the Chicago edition of The Other Art Fair in September, we interviewed a few artists who exhibited to get to know them better.

Meet Will Cares, a Michigan based artist who believes art is a journey without a destination.

Can you walk us through your process?

In my realist work, I use photographs – photographs that I have taken of places that have meant something special to me. Although I use photography to keep from straying too far from the real place, my aim to is interpret the scene, not reproduce the photographic image exactly. It is a strange act to paint from a photograph. What results never quite matches up to the detail and specificity of the real.

Instead, I am exploring and operating in the gap between the painted image and the reality, constantly navigating through and translating from the representation offered by the camera, to that allowed by the brush.

How do you know when it is finished?

I must decide when “enough is enough”, or when “more” effort or exactitude would, in an artistic sense, actually be “less”. I know that for the viewer, the art is the finished work, but for the artist it is truly the process. To me, the painting is simply an artifact that is the result of a journey.

Tell us about your more recent work.

In my recent work I am exploring new methods and materials. These artworks focus on process and often cross the boundary between painting and sculpture. The main “subject” of these works is the dialectic of seeming opposites. Some of these oppositions include 2D / 3D, white / black (with all that those words convey about opposition and race as well), clockwise / counterclockwise, life/death, Western linear time / Eastern cyclical time, and future-focused / present focused.

Original source: https://canvas.saatchiart.com/the-other-art-fair/chicago-an-interview-with-artist-will-cares

Portrait of a Girl in Blue and Pink by Telmo Miel in Haarlem, NL

Dutch art duo Telmo Miel recently spent a couple of days in Haarlem working on a pretty much 1st large mural in this historic city just outside Amsterdam. Invited by the local initiative that is hoping to bring more color and public pieces into the streets, the artists completed this vibrant mixture of classic and modern aesthetic titled Portrait of a Girl in Blue and Pink, or Mona Gaga, as titled by the locals.

While researching for this project Telmo Miel visited the local Frans Hals Museum where they found out about this important work by Haarlem-born artist Johannes Verspronck. Originally titled Girl in Blue Dress this classic portrait from the middle of the 17th century shows a young girl wearing an extravagant adult dress. Since the original piece is nowadays in the collection of the Rijksmuseum in Amsterdam, the artists wanted to bring it back to its hometown, but also add some contemporary elements to it. Along with meticulously reproducing the delicate dress painted by the Dutch master, they added an outspoken look of the modern times in the shape of an oversized pink bow and exaggerated sunglasses. The mixture of two time periods and two styles was done in a rough manner, evoking the basic Photoshop intervention, adding further to the extravagance of the finished image.

Haarlem’s latest piece of exceptional street art can be found on a De Kamp garage building in De Witstraat 1, and we’re bringing you a couple of images of the finished piece as well as some process shots.

The post Portrait of a Girl in Blue and Pink by Telmo Miel in Haarlem, NL appeared first on StreetArtNews.

Original source: https://streetartnews.net/2018/10/portrait-of-a-girl-in-blue-and-pink-by-telmo-miel-in-haarlem-nl.html

courtney mattison

Gasp! This insanely beautiful glazed stoneware / porcelain installation is the work of Los Angeles based artist Courtney Mattison. It’s titled “Confluence (Our Changing Seas V)” and has just become part of the permanent collection of the US Embassy, Jakarta, Indonesia, Art in Embassies, US Department of State. Here is part of Courtney’s powerful artist statement:

“Like cities, coral reefs pulse in a frenzy of activity. Residents of these diverse habitats find food, shelter and mates within their structures. Weary travelers find respite in their outcroppings—oases from the open sea. From the tiniest snapping shrimp to the largest whale shark, coral reefs are sanctuaries for life’s exuberance. In reefs as in cities, each individual plays a role that can affect how the ecosystem functions. The key to success is finding harmony in heterogeneity—unity in diversity. Yet today, reefs face unprecedented threats from human impacts. ‘Confluence (Our Changing Seas V)’ pays homage to Indonesia’s coral reefs and the value they provide to Indonesians and the world while highlighting the threat of climate change and coral bleaching. I hope that the idea of creating such a monumental, intricately hand-detailed ceramic sculptural installation inspires a sense of excitement in viewers about the connections we share to coral reefs while empowering individuals and policymakers to act to conserve.”

Bravo!

{Images by Amanda Brooks for Art in Embassies}

Original source: http://www.thejealouscurator.com/blog/2018/10/18/courtney-mattison-2/

A Return to Light Street

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Jennie Alexander’s workshop on Light Street.

About 24 hours after getting off an airplane from Munich, I climbed into my pickup truck with Brendan Gaffney to drive to Jennie Alexander’s final workshop and home on Light Street in Baltimore, Md.

This week, with the help of family, friends and colleagues, we are finishing what Larry Barrett and I began more than five years ago when we visited Jennie and plotted out the third edition of “Make a Chair From a Tree.” She was going to write the text. Larry was going to help. And I was going to edit it. Somewhere along the way, we were going to build the chair for the book using the methods that Jennie had refined during her long relationship with the chair.

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Jennie’s house, third from the right, is a green patch in a dense urban area called Federal Hill.

During the last five years, Jennie worked on the book, tinkering and refining it over and over with the help of Larry (at first) and later Jennie Boyd, who took care of Jennie during the last couple years. Jennie Alexander resisted my gentle nudgings to finish the job. I wanted to get the book published so she could see how it was received. She didn’t want to run out of things to occupy her mind and fingers.

So the book was stuck in neutral for several years.

When Jennie died, I was afraid the book was lost. Luckily, Jennie’s daughter, Harper Burke, made sure that would not happen. Jennie’s house is for sale, but I am typing this blog entry in her workshop, which has remained largely intact thanks to Harper, Peter Follansbee and a host of other people (whom Harper calls the “Woodpuckies”). We have Jennie’s workbench. Her kiln. Her shavehorse. Her tools.

And, thanks to Larry, we have a nearly completed manuscript.

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Larry Barrett and Brendan assemble the frame of the chair for the book (Harper Burke can be seen in the background).

Yesterday we assembled a “Jennie Chair” (which is what Jennie calls it in the manuscript) with Larry at the helm. Harper and Jennie Boyd watched, asked questions and told us stories about Jennie Alexander.

The production of this book will involve people from every aspect of Jennie’s life. Nathaniel Krause will be here tonight to add the hickory bark seat. Peter Follansbee is going to read the text for technical problems. Jennie Alexander took a strong liking to Megan Fitzpatrick, so she will be the copy editor. During Jennie’s last months, she asked Brendan Gaffney to do the drawings. So he’s here taking measurements and helping with the photography.

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Brendan and Larry close the joints on the chair with one of Jennie’s bar clamps.

And I’m here trying to make sure this gets done. I’m taking the photos and will be designing the book (much like I did with David Savage’s “The Intelligent Hand”) to keep the whole thing “in the family” or “among the puckies,” so to speak.

The goal is to have the book out by the summer. It’s going to be different than the other two editions of this landmark book. It will reflect Jennie’s thinking on her chair at the end of her life. It will be in full color. Hardbound. On nice coated paper. And it will include many appendices that will touch on Jennie’s influence in woodworking, a review of the types of chairs she made, and alternative approaches to her chair that have been developed during the last 30+ years.

This is not exactly how I wanted this story to end. But it will have to do.

— Christopher Schwarz

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The last batch of rungs in Jennie’s kiln.

Original source: https://blog.lostartpress.com/2018/10/18/a-return-to-light-street/