#jacob ciocci

[dj-george-costanza]

Random Man Editions presents...

EXTREME ANIMALS Psychology Today

and

Jon Moritsugu's Terminal USA

at Rhizome DC

October 1st 2023

[kaleys-art-research]

They Heart a Computer

2006-10-03 2:45PM EDT

The Kitchen

This evening of live performances and video screenings explores forms of expression, desire and anxiety prevalent in a culture increasingly influenced by the Internet. Doo Man Group (made of Ben Jones, Jessica Ciocci, and Jacob Ciocci of Paper Rad) interweaves live percussion with a dense collage of web-based visual emphemera. Jona Bechtolt (of Yacht) and Claire L. Evans combine music, dance and Powerpoint to explore the possibilities and fallacies embedded in online communities. In addition, videos by Michael Bell-Smith, JODI, Shana Moulton, Takeshi Murata, and humorist Ze Frank investigate how the Internet amplifies and exagerates life offline.

[extremeanimals]

Extreme Animals - Shadow Babies from the album Psychology Today

[vortexstreet]

Ben Jones, Jessica Ciocci and Jacob Ciocci of Paper Rad, BJ and Da Dogs, 2005, published by PictureBox

[peachmelbaesunpostre]

Jacob Ciocci

[kinesthetiachomoromanticore]

[arecomicsevengood]

Jacob Ciocci (formerly of Paper Rad) made this music video featuring character designs by Eddy Atoms (author of the comic Pinky And Pepper Forever, published by Silver Sprocket) for Anarchy 99, which is is Devi McCallion of the band Black Dresses and my longtime friend Schwarz. I haven’t seen any comics people link to this vid. Maybe because we’re all bummed about Jacob doing a NFT? Really fascinating how the comics community’s full-throated “fuck NFTs” statement is not at all echoed in other segments of the art world. Let me be clear: the comics people are right in this instance.

[shazzula]

Extreme Animalz: the Movie, Part 1 from Matt Barton on Vimeo.

A collaboration with Jacob Ciocci for the Rhizome Artbase show at the New Museum of Contemporary Art, NY, 2005.

[makro-photography]

Compression Aesthetics: Glitch From the Avant-Garde to Kanye West

In the article "Compression Aesthetics: Glitch From the Avant-Garde to Kanye West" by Carolyn Kane, the history of glitch art is discussed. Glitch art is a way to bring two drastically different "things" together, and just make it work. I say "things" because there really is no boundary here. It can be a visual piece in the traditional sense such as photography or photoshop work, but as Kane also mentions it can be audio/visual work, among many other art forms as well. Kane talks about artist Paul B. Davis and how frustrated he was with Kanye West's 2009 music video "Welcome to Heartbreak" (song released 2008). Just two years earlier, Davis and Jacob Ciocci released a video that was a mashup of The Cranberries "Zombies" mashup with Rihanna's "Umbrella." Davis was angry to say the least, because something that he had put a lot of effort into, this new up and coming art form, had essentially just been highjacked and is being put into mainstream media and was going to be ruined from an artists point of view and no longer seen as anything but "amateur" work.

I believe Davis is right. Seeing glitch art today, nine times out of ten I believe the work to be amateur especially when it comes to advertising. It is meant to appeal to the younger generations, due to Kanye West's influence, and it seems very fake and childish. I have always loved glitched art, but not the basic image that pops into your head when you first hear the term.

The Cranberries "Zombies" mashup with Rihanna's "Umbrella" is the earliest example I know of an audio/visual mashup. This type of glitched art is why I fell in love with the art form as a whole. I was a musician long before I began my career in the visual arts. Given my strong music background, I came across a video in 2012 called "Pop Danthology 2012" by an artist named Daniel Kim. This is a video that combines all of the hit songs of 2012 to create something beautiful in a similar audio/visual mashup to the one created by David and Ciocci in 2007, just 5 years more advanced. It has been eight years, this video is close to ten minutes long, and I still know every single word by heart. Getting someone to remember a piece of art that well for eight years is a very difficult thing for an artist to do. This is why I love glitch art, because of how impactful it is on the viewer.

References:

https://www.youtube.com/watch?v=CWG5jqzYsEI

Compression Study #1 (Untitled data mashup) / 2007 / Paul B. Davis / Jacob Ciocci

https://www.youtube.com/watch?v=wMH0e8kIZtE

Kanye West - Welcome To Heartbreak ft. Kid Cudi

https://www.youtube.com/watch?v=yE5DiniY45w

Pop Danthology 2012 - Mashup of 50+ Pop Songs

(This is not the original video posted in 2012, Daniel Kim has since taken it down)

[kinesthetiachomoromanticore]

Jacob Ciocci could never

Transition🌈

(1303×3880mm)

[marcelsmusicjournal-blog]

Michael Bell-Smith - Material

Michael Bell-Smith’s new solo exhibition is on view at Foxy Production until June 25. Check out the whole press release + find more general info for Material here.

Bell-Smith recently showcased work in Senne, Brussels with Cory Arcangel, Jacob Ciocci, Petra Cortright, and Guthrie Lonergan, among others.

Photo courtesy of Foxy Production’s Twitter

[dj-george-costanza]

New Extreme Animals - Blow Your Own Bubble (True Facts 4 Real Life)

[dawnajaynes32]

Marz Community Brewing Focuses on F&%!ing Awesome Labels

As Marz Community Brewing rolls out a dozen new small-batch brews monthly, there’s something attracting customers apart from the beer: the art.

The Chicago-based brewery always brews in small batches and has a reputation for eclectic concoctions and unique collaborations. They have a design ethos to match, producing art-filled labels for beers that push back against the sea of sameness in the craft beer industry and give artistic personality to the beer inside.

Good Enough to Not Drink

But what makes a good design for Marz? “When you look at the label, you go holy f*#@, that’s awesome,” says Ed Marszewski, founder of Marz Community Brewing. “That is the reaction I want to get when I see a new label.”

Michael Freimuth, Marz creative director and partner at New York-based brand design firm Franklyn, says he has a slightly more polite way of putting it: “Do I drink it or do I keep the beer label?” he says. Even in the New York studio, where about 10 of his designers have all created labels and been rewarded with extra payments in the form of full beer bottles, there are some beers that haven’t been cracked. “We are so proud of [the designs],” he says, “we keep them.”

Marszewski says he loves hearing those kinds of stories, ones of beers in a box-frame behind glass because of their design. Even in the brewery, each beer gets its own museum-like setting with a display shelf. “That is how much we revere the design work on the beer,” Marszewski says. “It is a group art exhibition.”

Pairing Art and Beer

Since its founding in 2013, Marz Community Brewing has placed a focus on art-driven connections. Built as a way to commercially elevate Marszewski’s Maria’s Packaged Goods and Community Bar and food operation Kimski, a Polish-Korean mash-up, the Chicago art and design world has intertwined with Marszewski for 20 years. He’s made so many connections he wanted to highlight the design talent around him.

“These were small-batch beers and he wanted really provocative labels,” Freimuth says. “We try to get as diverse an array of artists we can, but with a certain caliber (of talent), which is both a strength and challenge for the brand.”

Every Marz label offers a different perspective. Early on the labels were about seeing what worked and simply connecting people and their artwork to beers. As Marz continues to grow, a more formalized process has developed, creating silos of design for certain lines of beers and using artwork to help folks understand the formats and styles.

Style By Design

Using what Freimuth calls a “master brand,” of typography, logo and color as the front layer to help signify the Marz brand, the artwork behind that layer varies greatly, segmented by beer lines. “We are careful not to get too formal with the way things look because we would hate to look like we have become commercial,” he says. “We make really weird sh*t and we want the label to reflect that.”

With labels so off-the-beaten path, Marszewski hopes everyone knows Marz beer purely by glancing at the can or bottle. “I am so used to Michael’s work and my friends’ work being so amazing, I forget how awesome it is,” he says. “I am so used to working with so many great artists and designers that maybe the average consumer kinda gets blown away by the aesthetics. That is a good thing for us and one of the reasons why the brand has been so successful.”

Marz isn’t out there running a focus group on the best colors for a label; instead, they simply call on their cadre of artists to create a label that signifies what’s inside the bottle or can without regard for where that label will live. “My opinion,” Marszewski says, “is the label can fit anywhere and will destroy all other brands.”

Sometimes the label works. Sometimes it doesn’t. And sometimes they simply don’t know until they put it out there, such as a psychedelic comic strip label in 2018 from artist Jacob Ciocci that garnered the brewery a Hop Culture design award.

Know Your Strengths (And Your Beer)

Nearly 50 percent of the labels get made by Freimuth and his team. The rest are by artists and designers connected to the brand. With about eight to 12 releases a month, that’s a lot of labels—and that’s not even counting the club soda, kombucha and coffee they produce.

During the process, Marz provides a creative brief for the label, based on the concept of the beer and the idea they want to convey. For example, a recent tart IPA similar to a yogurt beer typically found in Korea led Marz to ask an illustrator known for Japanese and Korean animation to create a fake Korean brand for the beer.

With history in the brand, Freimuth and Marszewski know which artists can best handle which styles, so selectively choose. Of course, Marz wants to connect with new artists whenever possible, expanding the breadth of design for the brewery.

From there comes the experimentation and design. From one-off labels to four-packs of beers that all have a different label or packs with labels that combine together for one larger image to lines of beers that have labels with tweaks in them to showcase the differences, Marz remains well aware of continuing the evolution of design.

“How,” Freimuth says, “do we f*#@ with the conventions of what a beer can or logo looks like? You have your constraints and variables and how do you make it novel or different? We are a lot more by gut and if we love it, we assume the passion and energy going into it will be reflected in the label.”

Follow Tim Newcomb on Twitter at @tdnewcomb.

The post Marz Community Brewing Focuses on F&%!ing Awesome Labels appeared first on HOW Design.

Marz Community Brewing Focuses on F&%!ing Awesome Labels syndicated post

[flauntpage]

TOP V. WEEKEND PICKS (10/25-10/31)

1. No Tomorrow

October 26, 2018, 5-8PM Work by: Nelly Agassi and Iris Bernblum Aspect/Ratio: 864 N Ashland Ave, Chicago, IL 60622

  2. Cable Management, 5 Minute Crafts, 7 Reasons You Aren’t Happy

October 26, 2018, 7PM Work by: Jacob Ciocci Night Light Gallery and Studios: 1856 N Richmond St Storefront, Chicago, IL 60647

  3. ENTER ROSES

October 28, 2018, 12-3PM Work by: Olive Stefanski and Ruby T Occasional Gallery: 6321 N Greenview Ave, 3N, Chicago, IL 60660

  4. Lavender Vanitas

October 27, 2018, 6-10PM Work by: Danny Bredar Extase: 2523 W Chicago Ave #2, Chicago, IL 60622

  5. The Final Trope

October 29, 2018, 5-8PM Curated by Owen Rodriguez The Hokin Project: 623 S Wabash Ave, 1st Floor, Chicago, IL 60605

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

TOP V. WEEKEND PICKS (5/4-5/10)

TOP V. WEEKEND PICKS (6/14-6/20)

TOP V. WEEKEND PICKS (4/5-4/11)

TOP V. WEEKEND PICKS (2/22-2/28)

TOP V. WEEKEND PICKS (1/4-1/10)

TOP V. WEEKEND PICKS (10/25-10/31) published first on https://footballhighlightseurope.tumblr.com/

[vortexstreet]

Adam Sipe and Jacob Ciocci, paintings, Vortex Street collection

[crashing-through-the-clouds]

For all my friends who hate contemporary art, this one is for you: Jacob Ciocci, “Charging in a Bag” (2017). The readymade has gone too far, y’all 😜 #jacobciocci #lissongallery #contemporaryart #conceptualart