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ivyveil · 4 years ago

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Mary Me

the one where he proposes aka the 1940s installment of The Soulmates Verse, Sign of the Times

A/N: Bringing this back from AO3, hope you guys enjoy! I wanted to create a series of ‘soulmate’ Harry/Y/N where they try to make it work each decade, and fate hasn’t seemed to get the memo. Here’s my Tumblr masterlist, and my AO3 hub! Thank you for reading, hope everyone is staying safe.

The room was swathed in a deep maroon. Curtains draped against the windows, curves forming around the sills and down the gold columns on either side.

It was a nice restaurant, with expensive-looking candles and fresh-cut flowers on each table. The bar wasn’t fully stocked enough for the crowds milling about, having yet to find its balance of supply since Prohibition ended a few months ago. It was a rough adjustment for everyone, with the prices taking a jolt and the people having to remember what a drink tasted like without poison.

While the idea of a fancy restaurant would allude towards privacy, this dinner was anything but. Granted, it was a personal room but the numerous crowds of friends and family around the table led the mood towards something more lively than dim lights and slow jazz. Tables were pushed against the walls, only a handful actually sitting down, and the band had taken its land near one of the corners, setting up an orchestra to dance for.

It was a gathering, a party.

Nerves were knotted against the floor of your stomach, and despite having a glass of champagne in one hand and hooch in the other, nothing was easing the clench. Perhaps it was residue from hardships that had only ended a few years ago, or it could be the more instinctive nerves - holding alcohol without needing to look over one’s shoulder was still new for everyone. Even now, you saw Nick stealing a glance at the waitstaff, as if sussing out which was the cop.

“‘lright, love?” Harry spoke low, his hand briefly resting against your back as he came around from behind. It wasn’t far into the party, enough time having passed for his entrance to be marked by everyone already feeling tipsy, but not raising an eyebrow at his late arrival.

His suit was understated, a black with minimal design. His mother would tailor all of his suits, resulting in most of them being the absolute extravagant pieces for all the parties he threw - the magnificent ones where the moon grew twice to try and be an inch closer, where the ocean glittered around his villa and you could strain to taste the rose-colored smoke in the air. They were alive with people and spirits and spirited people, and the types who would disappear in the morning and you’d question their existence, but never their stories.

His suit was fine, but his hair was a proper mess. Harry had insisted to you a few days ago, a dopey smile on his face as he leaned against your shoulder, that it was a rebel of the highest degree. You knew the words were bullshit, but the way he spoke sounded like a home you’d never known, so you listened.

“You need a haircut.” The words came out before you could properly hold them back, the liquor having moistened your throat and disconnected your mind from your choices.

Harry broke into a smile, this time shaking his head slightly so the curls danced, delighted, in the dim glow.

“You like it?” he asked, and you made a sour face in response. He took one of the drinks from your hands, making the low noise in the back of his throat to signal disapproval. Where Harry managed to gather his rebellious streak of societal indignity, but still manage to believe that women should be held up on pedestals and protected, eluded you.

But you were still dizzy with him. Drunk in the way he said your name, caught up in his eyelashes, a fatal swoop in your chest that felt like laying in bed after a long day’s work. You were simply infatuated, but insistent on the fact that the feelings drifted no farther. Infatuation could be controlled, but love.

Love would be an entire beast that you couldn’t battle. It would include leaving him, leaving him because Mary was cemented down in his roots. Not that you’d agree with it, but she was, and it was a reality you lived with.

They’d been sweet on each other for the first couple months. You hadn’t kept up on the details too much. But time had worn their feelings thin, wafering holes poking through in the way they loved. Which was a wrong, horrendous source of comfort to you - but it terrified you, as well. Harry was the embodiment of love, with how he danced and moved and swayed into the moonlight, and yet there was something off in the way he loved Mary. It felt like a commitment for the sake of, rather than motivated each day, and the failures of love haunted you.

“Where’s Mary?”

Harry shrugged, taking a swig of the drink and looking against the crowd. The two of you were propped against the wall, as if only existing in the plane of the party by the physical constraints. If you had your way, your souls would fall through the wallpaper and into something more exquisite.

Harry had a way of making the dullest parties exciting, and you wondered what he had up his sleeve. But his face showed no signs of telling, a crease along his forehead denting in his sudden gloom and moodiness.

“Dunno. Was gonna find her, thought she’d be with yeh.”

That was his mistake, his constant mistake, of seeking his love around you. It was there but not where he expected - it was manifestation he sought, the woman he called ‘darling’ on late nights out, not the friend he called ‘love’ because it meant nothing.

Words didn’t quite fit your mood, so you merely shrugged and shifted your weight between legs. The music had picked up but your feet had been worn to the bone by running all over town the previous night, so you prayed Harry’s stance next to you would dissuade any men from approaching.

“Think I’ve got to end things with Mary, yeah?”

It was a loaded question, especially with Harry’s eyes staring into yours. It was a rush, how the lights cascaded down the side of his face and his hair was a horrible mess, an unsightly vision for anyone in town, but he was utterly angelic nonetheless. It was a weird sensation against your throat, seeing him tragic and sad, and not knowing how to respond that wouldn’t be an attempt to benefit your own tragic and sad.

“Why’d you say that?” you asked.

“It was never right, was it?” He spoke thoughtfully, scanning your face for agreement, and apparently finding some, for he continued. “It’s reached an end.”

Silence befell the two of you, yet it was heavy with the implication of further words against his tongue. They weren’t spoken yet, but you felt with one more moment-

“I’ve got somethin’ I need to say to yeh. After it’s done.” His eyes had swept to his feet, the dirty tips of his shoes from the soil around the town.

You both were misplaced, you felt it in your soul and the way you two would wrap in each other’s auras, clasped at the hands and promising you’d escape this hellhole of a town one day. And it only was proven in how Harry’s eyebrows sloped together, a defiance in the order of things prominent in his pursed lips.

“Okay,” you drawled it out, but Harry didn’t seem to find anything humorous. With a tilted neck, his Adam’s apple bobbing and drawing your eyes in like flies to honey, he downed the rest of your champagne.

“See her over there,” he mumbled, slipping back into the throngs of the party. He was still incredibly visible, a mess of hair and clunky shoes passing through the sea towards his girl. She was sat, pretty and prim, but you could tell she felt only half. Mary had an odd sense about her, a jealousy towards you for sure, but a feeling around her sphere of influence that she wasn’t full unless Harry was there. Half-dazed without, only focused on him with, there was seemingly no win.

The pair of them slipped out into the night together, with your eyes trailing behind. Mary was oblivious as to how the conversation would go, and for that, you were conflicted.

It must have made you an awful person, how the nerves crashed against giddiness. The drinks may have kicked into effect, because before you knew it - you were swaying and dancing against the moonlight, around the tables with the rest of the folk, pained heels clipping against the floor as they did every night, dancing out the mundanity of a town life crippled with the distrust of life. It would be a conversation for the rest of the night, how Harry would retell the dramatic discussion with fire in his eyes and a sadness plunging into his heart, because he always felt guilty and you’d never understand why.

You glided out of the mass, panting with how the dance took your breath away, feeling the redness built up in your cheeks and the sweat on your brow. You passed Nick with his wide eyes and bursts of laughter, and noticed how he winked at you when you left the room. The restroom was calling.

The main hall of the restaurant was bustling with normal activity, waiters dashing around with massively weighed trays balanced against their shoulders. There was a coat rack near the entrance, huddled with pounds of jackets, hats, and scarves, and a lone Harry Styles squatted next to it.

He looked up when you passed by, the hollows of his cheeks straining purple in the grotesque lights.

You paused next to him, almost dashing around to head and pee, but his expression caught you off guard..

He looked in another world. His eyes, blue with morose, opened to look at nothing. Eyelids heavy with almost boredom, but his posture offered enough to let you know his demons were free once more.

“What’s wrong?” you asked, and once he shifted to the side, you took the cue to sit beside him, crossing your legs and ignoring your body’s protests.

His mouth open and closed, his fingers spread wide in front of him to grasp onto his senses, but they were nowhere to be found. His lips were glistening, perhaps from him licking them continuously, but a small streak against his cheek made you think otherwise.

“Was she upset?” It was all you had to offer, but it seemed like you hadn’t struck gold. He continued to mime whatever words that were escaping him, but your attention had been caught elsewhere.

In one of his hands, you had thought he was holding onto his pack of cigarettes. At second glance, however, it wasn’t. It was terrible.

The fact it wasn’t, and the fact his mouth was gaping, and the fact his eyes were glassed and that his shoulders were quivering – it all accumulated into a story you never expected.

A blue velvet box, iconic in its time, holding only one thing inside.

“Harry, is that-”

“She’s pregnant,” he managed to choke out, not glancing at the box, his voice cracking in its sudden revival, “Mary’s pregnant.”

“She’s what.”

“Couldn’t break it off, would she gonna do? Can’t go back to live with her parents, the town’s too far off-” he continued to speak, words that made sense when combined but gibberish with how he stringed them. It was a rant that had been built into his lungs and found a small stream to blow off, with only your collection of stammers breaking through the dam.

“Did you–’re you–is that–”

“Proposed. Bit rushed, didn’t get on a knee, but it did its duty. I did mine, anyhow,” he said, a desperate gloominess clutched your dress as he presented the box. His fingers fumbled against the velvet, nubbed fingertips and signs of bitten skin surrounding the nails.

Opened, the box was empty. The contents were stuck on Mary’s finger, presumably back at the party showing off the latest development in her life.

“Congratulations.” It didn’t feel as if it were you who said anything, the voice too breathless and at ease to have come out of your body, with its thundering heartbeat and screaming mind.

“Gotta get a job, gotta call up Howard ‘n see what’s not ‘n the papers. There’s gotta be something, yeah? Need a crib, now, too.” It was clear his mind was far off, into what he needed to do, in the adult-life that neither of you had never quite fit into, but was now thrust upon him.

All your mind was on, was the trip you two had been planning for the past year. Harry had promised train tickets across the country, down towards where the sun always shone and the waters were constantly warm around your ankles, even in the dead of night. Maps and notebooks had cluttered your office for months, with strings attaching your future endeavors in a maze of findings. It had started out as an escape from the Depression, the one that had seemingly ended but never quite had, the one where your throats were aching for more than speakeasies could offer.

It wasn’t going to happen. It simply couldn’t. You’d never see how he would look, dozed off across from you on your hundredth train, his backpack used as a makeshift pillow. You’d never feel the brutal mountain winds with him. You’d never be able to wander around the greatest cities of America, you’d never explore all the lives you could’ve lived, in towns you never knew existed.

The realization brought you to another moment, another question, one out of place with Harry’s rant but in tune with how your blood ran cold.

“Where’d you get the ring?”

That snapped Harry’s attention, and his bloodshot eyes managed to find you in their blur. Perhaps it was an expectation, for you to ask, but the surprise against his lips, how they parted with a slacked jaw and a sharp inhale, said otherwise.

“Wha’?”

You repeated yourself, and he staggered into a motionless statue of himself, a final shake of his shoulders until he ceased to move. Just stared at you, haunted.

I’ve got somethin’ I need to say to yeh.

“Harry.” To your surprise, it almost sounded admonished.

His eyes were pleading for you not to speak. For speaking would bring it into existence, and he could never juggle it all. Neither of you could, it was a mortal flaw that ran deep into your flesh, and now against your heart, where it felt it would stay forever.

You felt compelled to speak anyway, motivated slightly by the intoxication and the exhaustion and the bitterness in which life was taking from you continuously, without ceasing, and this was the one chance to take something back for yourself. To give a bit of yourself back towards him, to offer a glimpse of the life that could’ve been.

“I would’ve said yes.”

It was quiet.

You thought Harry was being quiet, as well, but his hands reached up to wrack against his scalp, collecting at his hair and his head went between his knees.

He gave a nod, a gentle movement from your perspective, and a choked cry. It was stifled by the sudden uproar within the restaurant – perhaps another fight, perhaps another birthday, you didn’t care – and your arm went around his shoulder, bringing him into your chest.

You cried. Tucked away, hidden behind swaths of clothing that had belonged to the rich and now hung off the poor, surrounded by lights and glamour that suddenly became cheap and instrumental, compared to what you two had deserved. He felt warm against your skin, his forehead now pressed against your shoulder as his body pushed forward in distress. Time stretched to allow for you both to have one moment, a solace against the blazing sun of normalcy. It was one minute until Anne would burst through the party doors, searching for her son, perhaps having caught a glimpse of the truth and knowing where his heart truly was.

But for that minute, his heart was in your chest, the beats matching up, the pair united for a last breath.

The box slipped from his fingers and landed on the floor, half-open and completely empty.

It was a reality you’d have to live with.

#harry styles fanfic #harry styles one shot #harry styles au #harry styles writing #harry styles smut #harry styles fic #harry styles #harry styles blurb

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correspondencearchive · 4 years ago

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5. Naomi Kawanishi Reis & Alex Paik

Naomi Reis and Alex Paik discuss childhood survival mechanisms manifesting in their work, in-between-ness, their labor-intensive practices, and Naomi’s recent body of work which was shown at Transmitter (Brooklyn, NY).

Alex Paik (AP): You’ve been thinking about camouflage in an ongoing series of your work, and it strikes me that this idea of hiding and/or being invisible is central to your work. Now that I think of it, even your work in grad school, which was about these sort of hybrid utopic (or dystopic) architectures had this silence in them. There were no figures and no real record of anyone having lived or living in those imagined spaces, like they were erased or hidden. When you started talking about camouflage in recent years it really was an a-ha moment for me in understanding your work. I’d love to hear your thoughts more on the invisibility of Asians in general in the art world and the ways in which that feeling might be a part of your work.

Naomi Kawanishi Reis (NR): Camouflage was something I started using about eight years ago, in a series called Borrowed Landscape. The series was based on photographs I took in the tropical biomes of conservatory gardens, a take on landscape painting where the “nature” being depicted was a highly curated by-product of Western colonialism. Plants that were highly useful/exploitable/profitable/exotic and beautiful, collected in a place that existed outside of time, secreted away from the effects of weather and death. I translated those photographs onto printed wallpaper, upon which was placed a framed mixed-media painting that replicated a portion of the wallpaper behind it.

Naomi Reis, Borrowed Landscape II (Tropics of Africa, Asia and the Amazon via Brooklyn), 2013. Digital print on vinyl and handcut washi and mylar cutouts in maple frame, 13.5 x 14 feet. Installation view at Susan Inglett Gallery, New York, NY in “American Beauty,” curated by William Villalongo. Photograph by Jason Mandella.

NR: I was thinking about how landscape has been used in image-making throughout history to depict idealized places—like Pure Land paradise in Buddhist mandalas, the Taoist spiritualism of Chinese or Japanese landscape paintings, and the glorification of nature found in Romantic landscape paintings.

The title “Borrowed Landscape” comes from a 7th-century Chinese garden design concept (shakkei=借景, a technique of “borrowing” the view of a distant scenic element, like a mountain or lake, into the design of the garden), which felt like a fitting title for where we find ourselves today in relation to landscape. Living on borrowed time, on stolen land: ignoring the reality of our responsibilities to the land, the indigenous people it was stolen from, and the debt owed to stolen Black bodies and labor in service of white supremacy. The handmade framed painting, I suppose, is a stand-in for us as immigrant settlers on this land here in America; we’ve camouflaged ourselves into our surroundings to fit in, to survive. The land we are attempting to fit into, is itself “borrowed” (aka stolen).

These choices weren’t made consciously when I started the series; it’s only now eight years in that I’m beginning to understand the why, and finding the words to explain it. As a diasporic, racialized person both in America as well as in Japan, I’ve needed to navigate complex social and racial situations. My father’s side of the family is white and doesn’t speak Japanese, so as a kid I knew that in order to survive and be “liked” by that side, or maybe even just to be understood, I needed to downplay my otherness and be as “normal,” aka white English-speaking, to them as possible. Conversely, my mom’s side of the family is Japanese and doesn’t speak English, so to them I needed to be as Japanese as possible. Of course as a kid you get a pass to a degree and are loved anyways, but I do remember this feeling of anxiousness, that my survival and ability to be loved and cared for depended on this ability to code-switch.

Being the oldest in a family of three siblings, and because my experience was so different from my parents’ monocultural upbringing (Japanese in rural Japan for my mom, white American in suburban NJ for my dad), code-switching was an essential survival tool. Kids instinctively figure out how to protect themselves at a very young age, even before they learn how to express themselves verbally. Immigrants adapt similar survival tactics, the art of blending in. Though “blending in” is a way to survive, it also is an act of self erasure. How to survive, while not annihilating yourself in the process? You camouflage.

The reason for the absence of figures in my work probably comes from feeling absent from my own narrative, feeling a bit unmoored from belonging to any one culture. I didn't see myself being reflected in the context of mainstream Japan or in America or anywhere except for maybe sci-fi or fantasy. Growing up I often felt like a ghost, like I didn’t exist in the real world. While I had learned how to integrate enough to survive, as I was getting up to speed with my fluency and literacy in English and Japanese while going back and forth between the U.S. and Japan, I often felt I was on the sidelines watching other people live their lives and not feeling comfortable enough to fully participate. When my family moved from Ithaca, NY to Kyoto in the ’80s when I was 9 for my dad’s teaching job at a Japanese university, I was often called 外人=outside person by strangers on the street. As a sensitive kid, I internalized that othering a lot.

The architectural work I was making in grad school was a kind of perverse take on modernist architecture, multiplying and ornamenting the hell out of the piloti and flat roofs of the International Style, a style that aimed to strip all ornamentation and color to become a “pure” architecture. The absence of figures became like the blank-slate of a dollhouse, a place I could imagine roaming around in.

Naomi Reis, Vertical Garden (weeds), 2007. Hand-cut ink and acrylic drawings on mylar, 53 x 45 inches. Photograph by Etienne Frossard.

AP: I can relate so much to this, being the first-born child of immigrants. It is interesting to think about these survival mechanisms in relationship to our work. I have been reflecting recently on my site-responsive installations, how they adapt and change depending on the size, time, and location of the piece, and how this is a metaphor for how one can rearrange the parts of the self depending on the social context. Code-switching would be one aspect of this. One of the feelings I remember most from childhood, perhaps because of moving a lot as a kid, perhaps because of being Korean-American and not quite feeling Korean or American, is that of constantly feeling like I need to assess the room and adapt to it. So while you are drawn to the idea of hiding/camouflage in your work, I am drawn to the idea of constantly adapting and rearranging the different components of the self. Two sides of the same coin I guess.

NR: Ah that’s interesting. Your strategy is to go on defense, which maybe is connected to your training in martial arts, and your attraction to building communities like TSA, whereas mine is an introvert’s tendency to self-isolate, to find a way to take up space while remaining hidden—yang vs yin.

To return to your question about why work made by Asian artists seems hidden behind some kind of invisibility cloak: that’s a reflection of where we’re at culturally in America generally. Asian stories remain largely unknown; they are insufficiently featured in mainstream media and curricula, so Asians have largely remained the consummate “other” whose experience is hidden and therefore not relatable to many Americans on a heart, gut level. White America tends to project an expectation of whiteness onto others, so when your actions or motives aren't matched in a way that’s relatable to a white audience, you confuse expectations and can be seen as an unknowable other that’s doing things wrong or badly. When you are seen as an other, it makes you vulnerable to either being too too visible—a target that needs to be taken down for taking up space that we don’t deserve, as we’ve seen play out recently in the attacks against Asians in America—or not relatable/relevant and therefore invisible, an easy target for cultural appropriation or the butt of a joke.

American culture likes extremes. Black or white, good or bad, democrat or republican, man or woman. Personally I feel most comfortable in the in-between, where everything is still in the process of forming, and reforming. Queer spaces. Because they encompass, in theory, all shades of ambiguity. Going back to the idea of binary space, people tend to be attracted to things that either remind them of themselves, or on the opposite extreme, that provide a projected escape into the exotic “other.” In movies you often see Asian-ness as an alienating backdrop to heighten tension for the central white characters you are meant to identify with: Asian bodies as embodiment of a dystopian future (both Bladerunner movies, Artificial Intelligence, Minority Report); as nonsensical foreigners in their own country (Lost in Translation); as hapless natives who need saving (Last Samurai).

AP: What aspects of your work do you see as talking about the in-between?

NR: My work is maybe less aiming to talk “about” the in-between, and more just wanting to “be” in the in-between. The process of making “it,” whatever “it” ends up being—is itself what creates the space and time to occupy an in-between—a wordless space that exists for the interval while engaged in the act of making. The 間 space: a Japanese word that refers to the in-between, both spatially and temporally. This is the space in which all artists work, falling into that pocket of space-time where things are in flux.

It’s a way to give yourself permission to inhabit space—”to be” without having to translate that state of being into a binary (English/not-English; American/not American; male/female; young/old). Even now, writing this out, and to you, Alex, I am inhabiting my English-speaking self who is translating the self into a form that is legible to an English-speaker. Talking to my mom, I am inhabiting my Japanese-speaking self and all the historical cultural gendered background that goes into being that particular self. Talking to my siblings or bilingual friends, fluidly switching between English and Japanese, is a way to occupy the in-between for that interval of time, then returning to the binary world of everyday life. Didactically speaking, I suppose my work is “in-between'' in that it is kind of painting, kind of drawing, kind of collage, kind of abstract, kind of representational, kind of naive, kind of sophisticated. Kind of American? Kind of Japanese? Kind of good? Kind of bad? A physical thing that takes up space, and that space can encompass all the ambiguous in-between mushy-ness.

I didn’t feel able to pursue being an artist until I was in my mid-20s. I had a lot of shame about not being good enough, of not deserving to do it. Still do. I hadn’t gone to art school, and wasn’t encouraged to be a creative person by society or parentally. It was something I wasn’t open about, I drew and painted alone in the privacy of my room. So by the time I was in my mid-20s and realized working a normal job was killing me (I was a human resources representative at the NY office of a Japanese printing company), and that I really had to give artmaking a go, I didn’t know what I was doing.

At the time, I was fascinated by architecture. The idea that you could take a philosophy, a belief system, and turn it into a permanent structure that’s inhabitable, that can last for centuries. Maybe that fascination came from growing up in Kyoto around buildings that had been around for 1,200+ years. So when I started in the MFA program at Penn Design and was making architectural sketches in 3D-modeling programs, it came from a feeling of: if I can imagine an inhabitable place within which I can exist, I can open up a non-binary space to work within. Anytime I can overcome my inner demons or lack of talent or confidence or imposter syndrome, etc. long enough to crack open some space and just make the work, that’s a victory. Generally, in the year ahead I want to make work that comes from a place of joy. Worrying less about how my work fits in, and just focussing on creating the conditions within which I can feel more exuberant, and free. When you allow those conditions for yourself, I think you can do the same for others.

AP: Another exciting thing about your work is how it is busting out of the rectangle more! Obviously I am all about that :) Can you talk more about how that happened and how you are thinking about it?

NR: Ha! I think it comes from a desire to to be more joyful, bust out of the seams, take up more space. Allow for messiness, draw outside the lines. I want to make more space for weirdness. It must come from a desire to push against the narrowly-defined rules for acceptable female behavior that I grew up with in Japan, and the kind of bubbling rage I felt for the myriad of ways women and their bodies are policed, undermined, silenced, and funneled into serving a capitalist nationalist patriarchal system, where the myth of ethnic/racial purity is perpetuated through the education system. Harm and denial begets harm and denial, and I wanted to get out and find a different way.

AP: I love the idea of the work taking up more space than it is given. It goes back to the idea you talked about earlier of becoming an artist to create a space that didn’t exist for you previously, and of pushing against/beyond essentialist and reductive readings of art based on identity.

NR: How about you, Alex? I’ve always sensed there’s a reticence in you to talk more directly about what your work is about, to not allow yourself that level of vulnerability. For example, sometimes you refer to your time in the studio as being boring repetitive labor, and I was wondering if there might be a connection there between the type of labor involved with the work your parent’s did as owners of a dry-cleaning business. Can aspects of your work be seen as a kind of penance, or perhaps tribute, to the kind of labor that was available to Asian immigrants when you were growing up? You are the artist, so you get to dictate the terms. Why limit yourself to a mode of making that you say is repetitive and boring? Maybe there’s something important there in that repetition and boredom that you are committed to, and I want to know what it is, and why. What do you want and dream about for your work?

AP: I am becoming more comfortable with it recently. While I hesitate to draw a direct connection between the type of menial labor that my parents did and the type of work I am making, I do think that my upbringing shaped my personality and interests for sure. Seeing them work so hard and feeling the pressures of being the first-born (pressures stemming from my parents, from Korean culture, my own guilt in wanting to honor their work, my own internalized capitalism) definitely has instilled an appreciation for labor. I have always been drawn to things that require discipline and repetition—classical music, martial arts, cutting strips of paper over and over again.

I was thinking about my work through a very narrow lens for a long time, trying to keep it in the lane and lineage of the art history I was taught. Once I opened up my thinking about my work as an extension of the totality of my life experience and interests including but not limited to my Korean-American identity, it allowed me to see things in my work and myself that I hadn’t been willing to explore. That being said, I am hesitant to make my work only or primarily about my racial identity. I feel a lot of external and internal pressure that I am supposed to be making work about my racial identity.

Your work is also very labor intensive. Can you talk about how you think about that in your studio practice?

NR: I think it goes back to the in-between space, to the relief I get when I release into the labor of work; there I am temporarily free from the anxiety of not-belonging. So the more labor intensive it is, the more I get to be free. In the past several years I also have been spending more time trying to heal: learning how to meditate, and in various forms of therapy like EMDR and somatic experiencing. A healer I’ve worked with who specializes in somatic experiencing mentioned that a lot of people who’ve experienced trauma engage in repetitive labor, that there is release and relief, a self-soothing, in that labor. It makes me nervous to think that the labor-intensive nature of my work can be explained away as a form of self-medication, but on some level the creative impulse always comes from some kind of unnameable necessity.

AP: It’s such a gift to been friends with you for over 15 years and also to have seen your work grow for that long. It’s exciting to see a lot of these ideas coming together in your most recent body of work that you showed at Transmitter. Can you tell me more about this recent series?

Naomi Reis, 71229 (9:17), 2021. Acrylic on washi paper and mylar cutouts, 93H x 55W inches. Photograph by Carl Gunhouse

NR: In my most recent work, I worked off of photographs my mom has been sharing of her flower arrangements on our family group chat, which is the primary way we all keep in touch (my mom, brother, and his family are in Japan, and me and my sister and her family are in NY). My siblings post photos of their young kids, I post photos of my work, and my mom posts photos of her cooking and flower arrangements. Photos of the domestic realm. This new series is an attempt to bridge the ruptures that distance can bring: geographical, generational, and cultural/philosophical. There’s definitely a lot of tension in our different ways of thinking about gender roles, so the thought was to translate those gaps of expectation into a form that heals and transforms, through the labor and care that goes into the process of making. Maybe this work is my version of a quilt or weaving piece—a labor-intensive process that is meditative, with all the analogies and histories of weaving, knitting together, mending—embedded within.

Naomi Reis, 111119 (90˚W), 2021. Acrylic on washi paper and mylar cutouts, 48H x 37W inches. Photograph by Paul Takeuchi

Born in Shiga, Japan, Naomi Kawanishi Reis makes mixed-media paintings and wall pieces that focus on idealized spaces such as utopian architecture, conservatory gardens, and still life. She has had solo exhibitions at Youkobo Art Space, (Tokyo) and Mixed Greens, NY; she has also exhibited at Brooklyn Academy of Music and Wave Hill. In 2018 she received a Joan Mitchell Foundation Painters & Sculptors Grant, and in 2015 was a NYFA Finalist in Painting. Residencies that have supported her work include Yaddo and Robert Blackburn Printmaking Workshop. Reis also is a Japanese to English translator; recent publications include the chef's monograph “monk: Light and Shadow along the Philosopher’s Path” (Phaidon Press, 2021). She received an MFA from the University of Pennsylvania, and a BA in Transcultural Identity from Hamilton College.

www.naomireis.com @naomikawanishireis

Alex Paik is an artist living and working in Los Angeles. His modular, paper-based wall installations explore perception, interdependence, and improvisation within structure while engaging with the complexities of social dynamics. He has exhibited in the U.S. and internationally, with notable solo projects at Praxis New York, Art on Paper 2016, and Gallery Joe. His work has also been featured in group exhibitions at BravinLee Projects, Lesley Heller Workspace, and MONO Practice, among others.

Paik is Founder and Director of Tiger Strikes Asteroid, a non-profit network of artist-run spaces and serves on the Advisory Board at Trestle Gallery, where he formerly worked as Gallery Director.

www.alexpaik.com @alexpaik

#naomireisalexpaik #naomireis #naomikawanishireis #alexpaik

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wallpaperpainting · 4 years ago

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Seven Facts That Nobody Told You About Moon Painting | Moon Painting

Japanese studios Intl Creates and Art Comedy have announced a aftereffect to 2018’s 8-bit admiration to the Castlevania alternation in the anatomy of Bloodstained: Curse of the Moon 2 in a new video during the New Bold Expo today.

In a video presented by IGA (AKA above Castlevania producer Koji Igarashi) the aftereffect will booty abode anon afterwards the aboriginal Curse of the Moon bold and affection an all new adventure directed by the allegorical developer who was additionally a Scenario Writer on Konami’s Castlevania Symphony of the Night.

There’ll be four playable characters – three of which are new and accompany abiding hero; swordsman Zangetsu – and you’ll be able to about-face amid your allies at any time. This will accordingly appear in handy, as some routes through the new alcazar will alone be attainable to ertive characters who will additionally accept their own stats and abilties. For example, Dominique is able to jump college and has a best ability with her spear, while above soldier Robert can anchor imilate and boring alight walls.

The bold promises several capacity which you’ll be able to comedy in both ‘Veteran’ and ‘Casual’ modes, with ‘Veteran’ able a claiming affiliated to the archetypal awakening amateur area enemies can beating you to your doom. Casual meanwhile offers the amateur absolute lives and attacks don’t account a knockback, to name but two tweaks.

You can ysis out the video announcement the new bold below. Bloodstained: Curse of the Moon 2 is yet to accept a close absolution date, but is set to barrage ‘soon’ on Xbox One, PlayStation 4, Nintendo About-face and PC.

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wallpapernifty · 5 years ago

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Here’s What Industry Insiders Say About Lotus Flower Art | Lotus Flower Art

– Above Machachari brilliant Almasi is active his activity out loud and creating memories while at it

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– The amateur who resides in the UK absitively to get two tattoos on his anxiety to pay admiration to his new faith

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The Machachari one hit admiration was added than admiring by the art on his bark and gave his admirers a appearance of it from every angle.

According to him, the tatts were fatigued in London.

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A lot of Kenyans questioned his female back he started dispatch out in dresses and skirts and alike went advanced to be allotment of feminine photoshoots.

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nofomoartworld · 7 years ago

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Hyperallergic: Art Movements

Norman Rockwell, “Shuffleton’s Barbershop” (1950). The painting is one of two Rockwell’s owned by the Berkshire Museum (image via wikiart.org)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

According to Le Monde, authorities are investigating three individuals following the abrupt closure of the Amedeo Modigliani exhibition at the Doge’s Palace in Genoa. Twenty-one works, all considered likely forgeries, were confiscated by authorities last week after art critic and collector Carlo Pepi filed a formal complaint with the Carabinieri art fraud unit. Those under investigation include curator Rudy Chiappini, Massimo Vitta Zelman (president of Mondo Mostre Skira, the organizer of the exhibition), and art dealer Joseph Guttmann.

In a joint statement, the American Alliance of Museums (AAM) and the Association of Art Museum Directors (AAMD) criticized the Berkshire Museum’s decision to auction 40 works of art from its collection, including two paintings by Norman Rockwell. “Actions such as those being proposed by the Berkshire Museum undermine the public’s trust in the mission of nonprofit museums,” the statement reads, “and museums’ ability to collect, teach, study, and preserve works for their communities now and into the future.” The museum — an accredited member of the AAM — plans to deaccession the works to fund a $40m endowment and $20m refurbishment rather than fund future acquisitions — a direct violation of the AAM’s code of ethics.

A number of arts journalists, writers, and cultural figures signed an open letter to Peter Barbey, the billionaire owner of The Village Voice, accusing him of attempting to weaken the paper’s historic union. Barbey’s management team have purportedly sought to eliminate the paper’s diversity and affirmative-action commitments, reduce the amount of leave for new parents, and terminate the union’s ability to negotiate over healthcare. Signatories of the open letter include Hilton Als, Ta-Nehisi Coates, Jerry Saltz, Peter Schjeldahl, and Amy Taubin.

A group of local artists and activists published an open letter to the ICA Boston requesting that the museum pull its Dana Schutz exhibition.

Architect Shigeru Ban signed an agreement with the United Nations to design 20,000 new homes for refugees at Kenya’s Kalobeyei Refugee Settlement.

Vogue commissioned Elizabeth Peyton to paint a portrait of Angela Merkel. The work appears as part of a profile on the German Chancellor.

Alan Boyson, “Three Ships” (early 1960s), Hull, England (via Flickr/El Toñio)

According to the Hull Daily Mail, a request has been submitted to review the decision not to include Alan Boyson‘s “Three Ships” (aka the Co-Op Mosaic) to the UK’s national register of historic listed sites. The mosaic, which contains over one million cubes of colored Italian glass, is thought to be the largest of its kind in the country.

Germany’s State Paintings Collection agreed to retain a Renaissance painting from its holdings by purchasing it from the heirs of its Jewish owner. The work was looted by the Nazis and was later acquired by Hermann Goering.

Brothers Irving and Samuel Morano, the owners of Metropolitan Fine Arts and Antiques, pled guilty to illegally selling and offering to sell over $4.5 million in ivory. According to Cyrus R. Vance Jr., the Manhattan district attorney, the ivory recovered from the Morano’s store was the largest seizure of illegal elephant ivory in New York State history.

An Andy Warhol painting owned by rock star Alice Cooper was rediscovered in a storage locker where it lay forgotten for over 40 years. Cooper’s ex-girlfriend, Cindy Lang, gave Warhol $2,500 for the work — a red silkscreen of “Little Electric Chair” (1964) — in 1972. The painting, which is unsigned, has never been stretched on a frame.

Author Richard Polsky published an unofficial “addendum” to the Andy Warhol Catalogue Raisonné. According to an announcement, the addendum will focus “on genuine paintings that, for various reasons, were not included in the official Andy Warhol Catalogue Raisonné.” The Andy Warhol Foundation for the Visual Arts ceased to authenticate artworks in 2011 after a number of protracted legal battles with collectors who fought against the foundation’s rulings on the provenance and authenticity of their works.

Cady Noland filed a copyright infringement lawsuit against art dealers Chris D’Amelio and Michael Janssen, collector Wilhelm Schurmann, and Berlin’s KOW Gallery. Noland claims that the group is responsible for a “forgery” of her sculpture “Log Cabin Blank with Screw Eyes and Café Door (Memorial to John Caldwell)” (1990). Noland disowned the work in 2014 after claiming that she was not consulted about its restoration. Her suit describes the work as a “reproduction,” arguing that the restoration process effectively destroyed the work’s original state.

Sydney’s Sirius building, widely considered an outstanding example of Brutalist architecture, was spared from impending demolition after a judge ruled that the former heritage minister Mark Speakman made legal errors when he decided not to include the structure on the State Heritage Register. Campaign group Save Our Sirius have fought against plans to replace the building with a new housing complex for well over a year.

Sirius building, Sydney, Australia (via Flickr/coffee shop soulja)

Paula Pape, the daughter of artist Lygia Pape, filed a lawsuit against LG Electronics, alleging that a cellphone wallpaper created by the company is an “unauthorized derivation” of her mother’s 2003 installation “Ttéia.”

Ken Simons, Tate Liverpool’s art handling manager, will curate a show of work drawn from the museum’s collection prior to his retirement. The exhibition, Ken’s Show: Exploring the Unseen, is slated to open at the museum on April 2, 2018.

Microsoft made MS Paint available as a free app following reports that the program would be discontinued in Windows 10.

The National Museum of American History digitized 80 of Crocket Johnson’s Mathematical paintings.

The British Museum published the first 3D model of the Rosetta Stone.

The British Museum‘s annual accounts revealed that it lost a £750,000 (~$979,939) Cartier ring in 2011.

Transactions

Marcel Sternberger, Frida Kahlo and Diego Rivera, 1952, Mexico City (image date 1952, print date 2017), silver gelatin print, gift of Robert and Malena Puterbaugh in memory of Anne Tucker, recipient of the 2008 Harrison-Hooks Lifetime Achievement Award, Polk Museum of Art

Robert and Malena Puterbaugh donated a Marcel Sternberger photograph of Frida Kahlo and Diego Rivera to the Polk Museum of Art.

Telfair Museums acquired a Nick Cave soundsuit for its permanent collection.

Jack and Sandra Guthman donated 50 photographs by contemporary women photographers to the Museum of Contemporary Art Chicago.

The South Street Seaport Museum received a $200,000 Maritime Heritage Grant from the National Park Service. The grant will be used to fund the restoration of the 1930 Tugboat W.O. Decker, the last surviving New York-built wooden tugboat.

The Robert David Lion Gardiner Foundation awarded a $100,000 grant to the Parrish Art Museum [via email announcement].

The Getty Museum announced a major acquisition of drawings, including works by Michelangelo, del Sarto, Parmigianino, Rubens, Goya, and Degas.

The San Antonio Museum of Art acquired 31 photographic portraits from Timothy Greenfield-Sanders’s Latino List series.

The Nationalmuseum acquired two Italian scenes by Martinus Rørbye (1803–1848) and Constantin Hansen (1804–1880).

Constantin Hansen, “The Temple of Minerva at the Forum Nervae” (c. 1840) (courtesy Nationalmuseum)

Transitions

Janice Monger was appointed president and CEO of the Staten Island Museum.

Christina Olsen was appointed director of the University of Michigan Museum of Art.

Amy Gilman was appointed director of the Chazen Museum of Art.

Philippe de Montebello, the former director of the Metropolitan Museum of Art, was appointed director of Acquavella Galleries in New York.

Neil MacGregor extended his contract as director of the Humboldt Forum.

Sheikh Sultan Sooud Al Qassemi was appointed to the Museum of Contemporary Art Chicago’s board of trustees.

Barry Till, the curator of Asian art at the Art Gallery of Greater Victoria, will retire at the end of September.

Katherine Brinson was appointed curator of contemporary art at the Guggenheim Museum.

Amanda Donnan was appointed curator of the Frye Art Museum.

Rhiannon Paget was appointed curator of Asian art at the John & Mable Ringling Museum of Art.

Karen Lautanen was appointed director of strategic initiatives at the Andy Warhol Museum.

Christopher Turner was appointed keeper of design, architecture, and digital (DAD) at the Victoria and Albert Museum.

Ashley Clark was appointed senior programmer of cinema at the Brooklyn Academy of Music.

Laura Paulson was appointed vice chair of Christie’s Americas advisory board.

Accolades

Peter Smeeth, “Lisa Wilkinson AM” (2017), oil on linen, 100 x 150 cm (© the artist, photo by Felicity Jenkins, AGNSW)

The Art Gallery of New South Wales awarded its 2017 Packing Room Prize to Peter Smeeth.

The City of Houston awarded total of $3,463,217 in arts grants for the programming and activities between July 2017 and June 2018.

Merion Estes and Mario Martinez each received the 2017 Murray Reich Distinguished Artist Award.

Sam Durant was awarded the Rappaport Prize.

Jade Powers was appointed the Saint Louis Art Museum’s 2017–2018 Romare Bearden Graduate Minority Fellow.

Galit Eilat was appointed the 2017–18 recipient of the Keith Haring Fellowship in Art and Activism.

Pat Brassington was awarded the inaugural Don Macfarlane Prize.

The recipients of the 2017 Eisner Awards were announced.

Thomas P. Campbell was awarded the Getty Rothschild Fellowship, a scholarship that provides housing and resources to one scholar per year.

Obituaries

David Newell-Smith, a crush of commuters at Charing Cross railway station, London (c. 1965) (courtesy Tadema Gallery, London)

Dina Bangdel (1963–2017), art historian. Specialist in South Asian, Indian, and Himalayan arts.

Keith Bard (1923–2017), linguist and educator. Argued against the use of ‘negro’ in favor of ‘Afro-American.’

Chester Bennington (1976–2017), lead singer of Linkin Park.

Nathan David (unconfirmed–2017), sculptor.

Thomas Fleming (1927–2017), historian.

Sam Glanzman (1924–2017), comic-book artist and writer.

Kenneth Jay Lane (1932–2017), jewelry designer.

Robert Loder (1934–2017), collector, philanthropist, and cofounder of the Triangle Network.

Kitty Lux (1957–2017), musician. Co-founder of the Ukulele Orchestra of Great Britain.

Denis Mack Smith (1920–2017), historian of modern Italy.

David Newell-Smith (1937–2017), photographer.

Clancy Sigal (1926–2017), writer and activist. Included on the Hollywood Blacklist.

Dr G Yunupingu (1971–2017), singer and guitarist.

The post Art Movements appeared first on Hyperallergic.

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kmanashiro · 7 years ago

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Human, All Too Human #2 Possession

Human, All Too Human

#2 - Possession

Possession: Permanence, Transience, Time Grasp

Part 2/??

**Original Article Posted: http://aminoapps.com/page/doctor-who/3234339/human-all-too-human-2-possession **

**After writing this article, I noticed I discuss lots of general info and tangents. If you don’t mind, keep on reading, there are still Doctor analyses throughout. Feel free to comment!**

Continuing the ‘Human, All Too Human’ analysis series, today we’re going to be discussing the Doctor’s tendency to possess. The Doctor possesses quite a few things, regardless whether or not they are permanently his.

“Permanent” (in quotes, cause these are canon for now)

· His own body/mind (allowing for regeneration);

· TARDIS spaceship;

· Sonic screwdrivers;

· Companions

Transient

· Current body vessel and personality;

· Time, universe, planets, civilizations/species; (Ohoho, curious aren’t you?)

· Specific companions (*ugly cries*)

The “permanent” list is hard to debate, I personally believe. The Doctor has always possessed his own body/mind in the sense that no one has completely overtaken him thus far. Only regeneration has transformed him, but even Steven Moffat and others have echoed that the Doctor never really sees himself as the “5th Doctor” or “10th Doctor”. He’s been the same man he’s always was. I have not really grasped if the original Doctor Who crew conceptualized that post-regeneration the Doctor’s new body would encompass a new personality. Personally, I adored Bill Hartnell’s rendition of the 1st Doctor (but that’s cause I have a soft spot for grumpy ol’ people). Regardless, the reality is that his being of the Doctor and his vast knowledge/experiences has always carried on through.

Materialistic things like the TARDIS and sonic screwdrivers have also been with the Doctor. Unless in the future the showrunner decides to change it up somehow, it’s pretty steady, Betty. There’s a funny running joke about the broken chameleon circuit and how his screwdriver isn’t exactly a weapon. I mean the man travels the universe and keeps the screwdriver? Lastly, companions! Whether it be for good TV scripting or ratings (come on, we know pretty misses boost ‘em up), the Doctor is never without a fellow. There are companion-lite episodes but the Doctor bounces back and finds someone new who re-vitalizes him and motivates him to carry on. It’s the beauty of such a human trait—YANA.

Although these are his permanent possessions, there has not been much emotional TV time showing his possessiveness of such things. (The TARDIS wife thing was weird. Let’s just all agree on that.) It’s the same notion for human beings. Things that we have acquired safely and securely, we take them for granted. We take for granted our snug homes, family and friends, a comfy bed, transportation, etc. Only when these things are threatened, we are immediately shaken and awakened to our senses and urgency to protect. The same with the Doc. When these particular things are threatened, the Doctor explodes in one fell swoop, leaving us fearful. These reactions however are by far few in numbers.

Transient items—Aforementioned, the Doctor does regenerate and with the 12th Doctor, he has been granted a new regeneration cycle. We have to wait and see how that pans out in the future. Cheers to another 50 years! He quickly bounces back from his regeneration though and carries onward with his adventures. His personality also can change drastically. Guilty of watching NewWho, I can only mention the 10th to 11th and 11th to 12th transitions. Oh boy, they are drastically different. Humorously, we see the Doctor adjust rather quickly. It’s not like he’s stuck in some existential identity crisis. However his companions get upset and cope rather slowly (in terms of TV time). Rose and Clara both were visibly distraught of the overall change of appearance and personality of the new Doctor. It’s light-hearted TV that they come around the block and eventually trust the new Doctor asap. However, I think that’s a juvenile notion. No one knows what the new Doctor is capable of (not even himself, I’m guessing). And when 12th asks if he is a good man, we should be weary of how the regenerations ultimately affect the Doctor emotionally and mentally. Seems an interesting topic, but I digress.

Time, universe, planets, civilizations/species. Yes as the almighty rogue Time Lord, the Doctor travels the universe with a smug smile and beaming sunshine personality as he lands on a new place. The Doctor has said explicitly that he is the one who controls time during his fit of rage. We see his footprint on every planet and species he encounters. If you’ve watched “Smile” recently (Series 10, Episode 2), you’d know what I mean. He definitely left his mark there. And was that ending supposed to really happen? Would it have panned out differently if the Doctor did not visit? Who knows. No one knows. Or did the Doctor already know? #Mindception

But funny thing is, would time really exist without universe, planets, and civilizations/species? I recently read an article (forgive me for forgetting, if you know which article I am referring to, please comment below) that discussed time can be seen in 2 aspects: (1) time cycle and (2) time arrow. Just as the name says, time cycle is seeing time as one big circular event (sort of what 10th was trying to explain in Blink). People who view time as a cycle do not view time linearly with a past, present, and future but more like a cyclical process of events. Like studying the different seasons or different patterns of historical wars/civilization. Past humans have viewed time as a cycle before as it helps them cope with uncontrollable catastrophes and events. They can pray and wait for the bad times to ride over. Time as an arrow is the typical linear fashion of viewing past, present, and future. This is a more recent phenomenon created by the emergence of calendars and reinforced by our teaching of history. However for the Doctor, he receives the knowledge and wisdom of time all at once. It seems like his view of time is cyclic and he owns this. However if there was nothing left (what if the Daleks succeeded?), time arrow would not work and even time cycle would not work either. Because the time cycle is counting on a recurrence of pattern, some specific interaction needs to occur for that specific moment to be cyclized. This reminds me of the ending of the anime, Mirai Nikki (Future Diary).

Specific companions. Okay get your tissues out. We all know how much the Doctor loves his companions, even when he acts aloof. I choose to believe that the Doctor remembers every single one of his companions (watch The Pilot Series 10, Episode 1). And depending on the Doctor and specific companion, their departure leaves quite an impression on the poor Doc. Prior to NewWho, there was not much romance between the Doctor and companions. I think that new TV scripting has really jumped the gun on that. Perhaps too much shipping fandom too quickly?

The Doctor is highly protective of permanent and transient possessions. Aforementioned if the permanent things were threatened, he would explode in a fierce rage of unmatched parallel. However the transient things that he loses constantly wears him down and jades the poor Doc. His reaction to losing transient possessions may seem emotional (TV scripting, guys), but he always bounces back. Like how 10th was angry at the Prime Minister and Meta-Crisis Doctor for destroying whole species of Sycorax and Daleks respectively, but he doesn’t do anything further about it. And he learns a valuable lesson of trying to control time and humans in ‘Water of Mars’ when the ending just does not quite go his way. The Doctor is usually a few steps ahead in this game of chess, but if he missteps or loses a battle, he either moves on or tries to win the war. We see more frequently the former.

So you’re asking Miss S, what’s the point of this all? Why are you drafting this at midnight?...Well faithful reader, I believe that the Doctor is highly possessive (duh) but there are two categories to this. I do believe the permanent list is more important to him than the transient list, due to his varying reactions between the two. Perhaps I’ll use more specific examples in the future, but this just a proper introduction. Anyway, he’d try to do everything in his power to save himself and the TARDIS, but if species are destroyed or people die, it’s like…well shucks. I am not disregarding the fact that he tries to save the transient things, but his attempts seem moreso meager. Perhaps this is his way of not ‘meddling’ ironically and being able to move on selfishly albeit with the heaviest burden of all.

As selfless as the Doctor is, he is just as selfish.

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#doctorwho #doctor who #david tennant #peter capaldi #allonsy #tardis #gallifrey #possession

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tractionmagazine · 8 years ago

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142. Nadim Abbas

Nadim Abbas, Chamber 664 "Kubrick”, 2014-2015. Mixed media. Dimensions variable. Image courtesy of the artist.

Susie Pentelow interviews Hong-Kong based artist Nadim Abbas about his upcoming solo exhibition ‘Camoufleur’ at VITRINE, London. For ‘Camoufleur’, Abbas will produce a new, site-specific installation which will use camouflage to explore how urban living conditions can dictate our relationship with, and in some cases submission to, the spaces we inhabit. The installation will be accompanied by a series of scheduled performances in the space.

You currently have a solo show at Antenna Space in Shanghai, ‘Chimera’. Could you talk a little about this work?

The starting point was the image of the human rhinovirus (serotype 14), AKA the common cold, which I constructed using various kinds of open source molecular and 3D modelling software. The title connotes both phantasmal and biological origins. The elaborate way that I have chosen to present, or project these viral images into the gallery space, using air blowers and beach balls is an attempt to maintain the ambiguous quality of an image which wavers between real and imaginary, fact and fabrication.

Nadim Abbas, Human Rhinovirus 14, 2016. Mixed media installation. Dimensions variable. Image courtesy of the artist and Antenna Space.

The choice of the common cold virus was deliberate - as something familiar to all, to the point of banality, yet appearing at the same time completely alien. Everything else in the show is an extension of this viral metaphor. This is most blatantly played out in the two isolation chambers (with echoes of my piece at the 2015 New Museum Triennial), which contain a series of modular geometric forms that act as a playground for renegade toilet rolls.

The work ‘Blancmange, n ways’ acts as a separate counterpart with similar thematics. Here, white forms become specific manifestations of the first four iterations of the fractal Blancmange function, which derives its name from its resemblance to the famous dessert. In England of course, ‘blancmange’ also connotes a boring or uninteresting person. The photograph on the wall depicts an actual blancmange pudding, as does the pattern design on the wallpaper - setting up a visual pun of sorts.

Nadim Abbas, Blancmange, n ways, 2016. Mixed media installation. Dimensions variable. Image courtesy of the artist and Antenna Space.

Works like ‘Chamber 667’ and ‘Chamber 664 "Kubrick”’ could almost be sets from a science fiction film. Is sci-fi an influence?

Regarding the sci-fi influence - the short answer is yes! I am a big science fiction nut. I wrote a short text on this connection (between sci-fi and my work) many years ago. It was around that time that I discovered these molecular renderings of viruses, which were later to become the central motif of 'Chimera'. The text was never published, and I'm not even sure that it makes any sense. Basically, 'Chimera' was my way of materially resolving some of the concerns that were started in writing.

There are many visual parallels between my work and cinema, simply because much of what I do involves the notion of converting (lived) space into an image (memory), which is something that comes almost second nature to the cinematic process. Given the popularity of sci-fi blockbusters today, I should clarify here that I'm less interested in constructing seamless, illusory images like you might see in the latest Star Wars spin-off. Rather, I'm fascinated with finding ways of letting the inconsistencies show through, like in a low budget B-movie. In other words, there is always an element of theatre present in my approach.

Nadim Abbas, The Last Vehicle, 2016. Mixed media installation with durational performance. Dimensions variable. Image courtesy of the artist .

You are working with camouflage for this installation/body of work. How do you think this idea reflects broader themes in society?

A lot of my recent work tries to unravel how certain conditions of urban domesticity have produced specific types of sociability and subcultures. I am also fascinated by what at first glance seems like an unlikely correlation between domesticity and warfare; how technologies developed on the battlefield have found applications in quotidian contexts and vice versa. More chilling perhaps is the notion, suggested by theorists such as Paul Virilio and Beatrice Colomina, that the dream of domestic bliss is but a dormant extension of an ongoing militarised state of emergency, where the household finds its mirror in the bunker/fortress.

It is no coincidence, for instance, that iRobot, a manufacturer of automatic vacuum cleaners, displays on its website products dedicated for the “home” side-by-side with similar technologies repurposed for “defence and security”. Taglines such as “Welcome home. Your house is clean” are made in the same breath as “Placing a safer distance between people and danger”. Since the machinations of modern warfare destroy the very condition of human habitats, military constructions have become increasingly geared towards the possibility of inhabiting such artificial climates (e.g. the underground bunker as a refuge from nuclear fallout). The modern household simply adapts this formula by providing increasingly artificial climates optimised for human habitation (e.g. the fully automated, air-conditioned high-rise service apartment).

Nadim Abbas, Zone I, 2014. Lightweight concrete casts, robotic vacuum cleaner, rug, skirting board, house paint. Dimensions variable. Image courtesy of the artist.

The title “camoufleur” is borrowed from the name that was given to people who designed and implemented military camouflage during WWI/WWII. Many of these camoufleurs were artists but there were also zoologists and naturalists such as Hugh Cott, whose book, Adaptive Coloration in Animals became a seminal text for the study and development of camouflage techniques in the military. For the setup at VITRINE, I will design a wallpaper pattern that becomes the backdrop and point of reference for everything that is subsequently placed in the space.

For this body of work, your focus is on the figure of the “otaku” or “hikikomori”, terms which originated in Japan. Can you explain these?

Otaku and hikikomori are (Japanese) terms that have come to represent stereotypes of socially ill-equipped, middle-aged males who wall themselves up at home in an escapist world of manga and anime consumption. Otaku generally refers to participants of a subset of cultural practices that revolve around manga and anime fandom. Hikikomori refers to the specific phenomenon of acute social withdrawal. In Chinese, otaku is often translated as “jaaknam” or “zhainan”, which literally means “resident male” (as in resident of a housing complex or tenement block), thus conflating the connotations of otaku and hikikomori. It would take a lot more explanation to unpack the respective nuances of these terms and their ongoing mutations, so I will just focus on the fact that otaku culture arose, or at least thrives, within a uniquely urban, post-industrial context.

Nadim Abbas, The Last Vehicle, 2016. Mixed media installation with durational performance. Dimensions variable. Image courtesy of the artist.

My concern then is not why otaku do what they do, but rather, what kind of space allows this to happen? It is as if the extremely dense accumulation of cramped interior spaces that characterise so many cities today encourages a turning inward, or a vacuum of mental space itself; a vacuum that disturbs the distinction between the animate and the inanimate, or subject and object. This logic is made visible in the practice of mimicry: picture a masked body, driven to disappear into its surroundings, to be engulfed by objects whose animation increases in proportion to its own lack of animation.

How will you respond to the position of the space on the public sphere?

The unique positioning of the VITRINE space, which stays open and visible at all hours of the day, creates an interesting set of possibilities for the public display of domesticity. The window display, which can more easily facilitate instances of repeated daily viewing, structures an encounter that varies according to the state of each visit. It is this durational quality that pushed me to find different ways of inhabiting the space at different points of the day/week/month. States of habitation that when considered together start to overlap, and become harder to distinguish from one other: a performer who behaves like a machine, or a machine that is performing?

Nadim Abbas, #4, 2016. Cosplay helmet mounted on green screen / cyclorama. Dimensions variable. Image courtesy of the artist and Luke Casey.

There will also be a performance aspect to the exhibition - can you talk about your ideas for this?

The performer will be presented with a set of instructions, or perhaps a distilled script of some sort. We will work together in advance to develop a specific body language. I’m looking for someone with the type of movement training that would facilitate the emptying of gestures, or gestures that do not call attention to themselves, the gesture of stones. If the objective is to perform a disappearing act, it would seem that the magician has already disappeared before the act has begun. Likely candidates might include people who are trained in physical theatre, mime, Butoh; or even life models, who like stick insects are inclined to assume the same pose for extended periods of time.

Interview by Susie Pentelow.

‘Camoufleur’ will run between 1 March and 15 April 2017 at VITRINE, London SE1 3UN, with a preview on Tuesday 28 February 2017, 6.30 – 9 pm. For more information, visit http://www.vitrinegallery.com/exhibitions/camoufleur/.

‘Chimera’ continues until 22 January 2017 at Antenna Space, Shanghai. Visit http://www.antenna-space.com/en/exhibitions/chimera for more information.

Find out more about Nadim Abbas’ work at http://www.nadimabbas.com.

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coreglia · 4 years ago

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Family update, not that you asked, but I’m just getting over my PTS from last week, and I could use a little support from things that don’t slither or build webs.

Even gratuitous interest is welcome.

Something I knew, but conveniently forgot, three-year-olds scream. A lot. It’s sort of an ear-piercing howl that lingers in the air as if a recently smoked cigar. You know what I mean? But so do their giggles and that’s the win.

I wake up to the echo of soft laughter coming from down the hall and can’t remember a time when this wasn’t so?

The odd thing is when it’s quiet you know there’s trouble brewing, that’s when you jump up and rush the tranquility.

Rounding the corner to the room in which the twins were last seen, I ask accusingly, “What are you two doing?”

“Nothing (in unison),” claims Cora and Sienna, looking up at me with the most cherubic faces you have ever seen.

“What’s in your hands?”

Four sets of little hands disappear, “nothing Grammie.”

“Are those Kiki’s earrings I see scattered all over the floor, dangling from your shirt, hiding in your hands?”

“We organizing Grammie.”

“Did Kiki ask you to organize her jewelry?”

“Yes, she did,” says Cora.

“Seems odd?”

“We helping,” says Sienna as she holds a crystal earring up to her ear.

“Let’s put them all back and then we can have an otter pop!”

By the way, otter pops solve everything.

Can we move on to the industriousness of our five-year-old roomie? When this child is in pursuit of an important task it is nearly impossible to dissuade her. Recently I found her creating a collage with my latest DIY magazine, later that day she was using my toothbrush as if her own, after relocating my lipsticks to an undisclosed location? Today she was lavishing my French perfume on the dog and my hair clip has mysteriously disappeared?

It’s quite possible Shaggy not only smells but looks better than the humans with whom he resides?

And by the way, adult children revert to their adolescent personas when in the company of their parents, only now they’re educated, self-funded, and not subject to parental restrictions or grounding.

It’s utter mayhem.

Even so, everyone is getting their needs met, albeit with a few peculiar compromises, and silent negotiations. We’re under construction, literally, and metaphorically. My daughter and son-in-law just took ownership of the house across the street. It needs some serious renovations, but that’s the beauty of a large family, many hands make light work as John Heywood notes.

Families have their own micro-culture, it’s as if a bustling harbor, a place to moor your person while you recover from the stress of the outside world. Shannon Alder says love doesn’t make the world go ’round, love is what makes the ride worthwhile, and family is your fast pass.

The best part of being in a large family is you don’t have to waste your time trying to prove yourself in order to be loved, we actually care about each other, and value one another even when we’re acting like total assholes. At least we take turns. Can I just add some of us have taken more turns than others? As Johathan Carroll reminds us, real love is always chaotic. You lose control; you lose perspective. You lose the ability to protect yourself. The greater the love, the greater the chaos. It’s a given and that’s the secret.

I have learned through long and lengthy discussions that disagreements don’t get resolved, they hibernate, until the issue emerges under some new circumstance, disguised as concern, judgment, or control. There are no winners in the ring of unresolved conflict, just knockouts, and bruised feelings. You can’t change people, it’s more about acceptance, and the resolve to agree to disagree. I have to learn to be okay with that and just move on. #LifeLessons

Here’s another hiccup when you live in crowded conditions with wannabe fairies, aka Cora, Sienna, and Audrey. Things get lost! Julie lost a wallet, Larry couldn’t find his keys or flipflops, and I believe there was a necklace that went missing for several days. I keep losing the book I’m currently reading, our shoes are never where we left them, and we are always in search of our iPhones. When one phone rings seven people go into a hard scramble and one of them doesn’t even have a phone?

One day I was using my Airpods and the next day they were gone! I accused everyone (including Shaggy) of borrowing them and then failing to return the merchandise. They all vehemently denied any knowledge of their whereabouts (keep in mind four of us have the exact same model).

A week later I found them precisely where I always store them and had searched this location no less than fifteen times! Fairies or adults? We’ll never know for sure.

The minute the kids got the keys to their new house, we migrated across the street as if a murder of crows, forming this makeshift crew of amateur artists as if attempting to paint a new portrait over a previously used canvas. The kids have submitted plans to the city for an extensive remodel, and while they await approval, there is a lot of prep work that needs to be done. The first order of operations was to pull up all the old carpet, clean out the garage for storage, remove the draperies and rods, along with some of the landscaping, and finally take down the dated wallpaper.

It’s interesting to me how our lives follow the same cycles, we experience periods of creation, followed by deconstruction, and then reconstruction, and it’s the same for houses, cultures, governments, movements, relationships, even our faith. Is this what you think about when you can’t sleep? I didn’t think so.

Too bad we’re deconstructing this beautiful house in the middle of July, it’s hot and humid, and I believe I have sweat out half my body weight pulling carpet staples out of the floorboards.

We were delighted to find hardwood under all the carpets, solid wood doors on all the rooms, and a wallpaper mural of Paris in the dining room! Everywhere I look I sense a surfeit of memories and traditions lodged in the walls of this charming house and smile warmly at the sweet memories domiciled in the future.

Our lives are continually under construction, just when things get comfortable, we find ourselves redesigning the idle spaces. “Every day we reconstruct ourselves out of the salvage of our yesterdays,” says James Sallis. I say family is but a glimpse of heaven simmering on the fires of hell, and like Olaf says, “some people are worth melting for.”

youtube

I’m Living in a crowded Gap, searching the net for diversions, catch me up on your life in the comments!

Anecdotes:

“The strewn and tangled wreckage that litters our lives is the precious raw material from which great beginnings are forged.” Craig D. Lounsbrough

“Writers will happen in the best of families.” Rita Mae Brown

“Before you were conceived, I wanted you. Before you were born, I loved you. Before you were an hour, I would die for you. This is the miracle of love.” Maureen Hawkins

Not that you asked… Family update, not that you asked, but I'm just getting over my PTS from last week, and I could use a little support from things that don't slither or build webs.

#AgingWithGrace #Conflict #Quarentine #Relationships #Remodel #RockingMidlife #family

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makeover-blog1 · 5 years ago

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Banksy in Boston: View of F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED on Essex St, Chinatown, Boston, with rush hour traffic

Interestingly, both of the Boston area Banksy pieces are on Essex St:

• F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston • NO LOITRIN in Central Square, Cambridge.

Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.

Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.

But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:

I can only surmise that he’s having a ‘dig’ at Essex UK, especially with the misspelling of ‘Loitering’. Here, the general view of the urban districts in Essex: working class but with right wing views; that they’re not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the ‘chit chat’, and swagger around showing off their dosh (money).

It was also the region that once had Europe’s largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.

• • • • •

This photo appeared on Grafitti – A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now — I was as surprised as you are.

• • • • •

Banksy From Wikipedia, the free encyclopedia

Banksy • Birth name Unknown

• Born 1974 or 1975 (1974 or 1975), Bristol, UK[1]

• Nationality British

• Field Graffiti Street Art Bristol underground scene Sculpture

• Movement Anti-Totalitarianism Anti-capitalism Pacifism Anti-War Anarchism Atheism Anti-Fascism

• Works Naked Man Image One Nation Under CCTV Anarchist Rat Ozone’s Angel Pulp Fiction

Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy’s work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]

Banksy’s first film, Exit Through The Gift Shop, billed as "the world’s first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]

Contents

• 1 Career •• 1.1 2000 •• 1.2 2002 •• 1.3 2003 •• 1.4 2004 •• 1.5 2005 •• 1.6 2006 •• 1.7 2007 •• 1.8 2008 •• 1.9 2009 •• 1.10 2010 • 2 Notable art pieces • 3 Technique • 4 Identity • 5 Controversy • 6 Bibliography • 7 References • 8 External links

Career

Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol’s DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]

Stencil on the waterline of The Thekla, an entertainment boat in central Bristol – (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]

Banksy’s stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.

In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur’s 2003 album Think Tank.

2000

The album cover for Monk & Canatella‘s Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]

2002

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]

2003

In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet‘s Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper‘s Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]

2004

In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen’s head with Princess Diana‘s head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa’s Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.

2005

In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel’s highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]

2006

• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23] • After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby’s London for £50,400, setting an auction record for Banksy’s work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol‘s Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25] • In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy’s success.[26]

2007

• On 21 February 2007, Sotheby’s auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day’s auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can’t Believe You Morons Actually Buy This Shit."[6] • In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29] • In April 2007, Transport for London painted over Banksy’s iconic image of a scene from Quentin Tarantino‘s Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:

The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote ‘If it’s better next time I’ll leave it’ in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone – rest in peace.[citation needed]

Ozone’s Angel

• On 27 April 2007, a new record high for the sale of Banksy’s work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32] • On 21 May 2007 Banksy gained the award for Art’s Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status. • On 4 June 2007, it was reported that Banksy’s The Drinker had been stolen.[33][34] • In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]

• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy’s Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell’s graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips’ "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness." • A small number of Banksy’s works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop. • In the 2007 film Shoot ‘Em Up starring Clive Owen, Banksy’s tag can be seen on a dumpster in the film’s credits. • Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]

2008

• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39] • Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn’t cover anyone else’s.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed] • In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41] • A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42] • His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43] • The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009. • In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].

2009

• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works. • On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50] • In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51] • In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don’t believe in global warming" which was submerged in water.[52]

2010

• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53] • In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55] • In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56] • In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58] • In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.

Notable art pieces

In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:

• At London Zoo, he climbed into the penguin enclosure and painted "We’re bored of fish" in seven foot high letters.[59] • At Bristol Zoo, he left the message ‘I want out. This place is too cold. Keeper smells. Boring, boring, boring.’ in the elephant enclosure.[60] • In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61] • He put up a subverted painting in London’s Tate Britain gallery. • In May 2005 Banksy’s version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]

Near Bethlehem – 2005

• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots. • In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]

See also: Other Banksy works on the Israeli West Bank barrier

• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT’s transformation from an old-fashioned telecommunications company into a modern communications services provider."[66] • In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67] • In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton‘s debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog’s head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70] • In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]

Technique

Asked about his technique, Banksy said:

“I use whatever it takes. Sometimes that just means drawing a moustache on a girl’s face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]”

Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy’s work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.

He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.

Identity

Banksy’s real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]

Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]

In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]

In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]

In July 2008, it was claimed by The Mail on Sunday that Banksy’s real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.

In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.

Banksy, himself, states on his website:

“I am unable to comment on who may or may not be Banksy, but anyone described as being ‘good at drawing’ doesn’t sound like Banksy to me.[82]”

Controversy

In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:

“To actually [have to] go through the process of having a painting selected must be quite boring. It’s a lot more fun to go and put your own one up.[83]”

Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy’s work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy’s street art glorifies what is essentially vandalism".[6]

In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn’t fond of it, and the portaloos were removed before the 2008 festival.

In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London’s Regent Canal. In retaliation several Banksy pieces in London have been painted over by ‘Team Robbo’.[85][86]

Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia’s Melbourne CBD. [87]

Bibliography

Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:

• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0 • Banksy, Existencilism (2002) ISBN 978-0-95417041-7 • Banksy, Cut it Out (2004) ISBN 978-0-95449600-5 • Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2 • Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3

Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]

Two books authored by others on his work were published in 2006 & 2007:

• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 – with new editions in 2007 and 2008) ISBN 978-0-95547120-9. • Steve Wright, Banksy’s Bristol: Home Sweet Home (2007) ISBN 978-1906477004

External links

• Official website • Banksy street work photos

Posted by Chris Devers on 2010-05-13 00:27:34

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The post Banksy in Boston: View of F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED on Essex St, Chinatown, Boston, with rush hour traffic appeared first on Good Info.

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23 Common Mistakes Everyone Makes In Modern Home Design Tips | modern home design tips

Photographed by Julia Robbs.

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Photographed by Julia Robbs.

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Acrylic paints are water-based, aloof like acrylic acrylic (aka bank paint), and dry abundant faster than oils or watercolors. This is why they’re generally acclimated in art class, so kids can booty their art projects home to adhere on the fridge ASAP. Because acrylic is water-based, it’s not absurd to abolish from clothing or added fabrics. Of course, the eventually you act and the abate the spot, the added acceptable you are to acquisition success.

Removing acrylic acrylic afore it has absolutely broiled is ideal, so if you’re attempting an calm art project, accumulate an eye on your clothes and abode any spots as bound as you can.

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What you’ll need:

Step 1: Even the acrylic atom with balmy water.

Step 2: Mix one-part soap with one-part balmy baptize (you don’t charge a lot, so alpha with aloof a little bit of soap and see if you charge added later). Use the blot to dab the soap band-aid on the acrylic spot, continuing to even with baptize as the acrylic begins to loosen.

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Step 3: If any acrylic remains, administer a stain remover like OxiClean anon to the atom and run through the abrasion machine. Note: Don’t abode the apparel in the dryer until the stain is completely gone.

Once acrylic acrylic has dried, the acrylic is a bit harder (but not absolutely impossible) to abolish from fabrics. There are a few altered methods you can try depending on what you accept about the abode and what blazon of bolt you’re alive with. For instance, if you get acrylic on a shirt that’s fabricated of a alloy absolute acetate or triacetate, do not administer acetone or alcohol. It will actually cook (yes, melt) the fabric.

Story continues

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What you’ll need:

Step 1: Use a beanery or dry besom to scrape off as abundant of the broiled acrylic as possible.

Step 2: Absorb the stain with isopropyl alcohol. This is not

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The Seven Common Stereotypes When It Comes To Acrylic Paint Pouring | acrylic paint pouring

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Removing acrylic acrylic afore it has absolutely broiled is ideal, so if you’re attempting an calm art project, accumulate an eye on your clothes and abode any spots as bound as you can.

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What you’ll need:

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Story continues

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Step 2: Absorb the stain with isopropyl alcohol. This is not

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