The two sound pieces I created for a group show at the Portland Institute for Contemporary Art come down after Saturday the 4th. It has been a great show for me and thankfully no technical issues after the initial install. A combined 14 channels of audio (four of which are a pair of two track tape loops that are more than 60’ each) which is more than I’ve ever used in an installation before. If you are in Portland and have a chance to check it out, you can find it at PICA’s building on Hancock and Williams.
These started out as actual dahlias.
I’ve made quite a few sound installations and device art pieces over the years, most of which were powered by Max but generally generated the sound acoustically using robotic components. Mainly I’ve been using these to work through some uneasiness I’ve had about the ways in which we’ve been changing our ways of interacting as a species through the involvement of mega corporations such as google. Here are a couple of examples:
Cybraphon (an autonomous emotional robot band in a wardrobe that is obsessed by its own online popularity)
End of Forgetting (a listening machine for galleries, without a delete button)
Unravel (a mechanical band and record player embodying an unreliable narrator whose memories are shaped by his audience, featuring the brilliant Aidan Moffat)
Dug out from an old noiseguide thread of mine:
The Sachs Piano, 2008
40 x 114 x 66 inches
Hum: Making Ourselves
Formica, plastic tubing, audio jacks, chromeplated steel, aluminum, plastic bonding, and lacquer on wood and steel
90-3/4 x 125-5/8 x 28 inches/ 230.5 x 319 x 71 cm
I just came across the instagram account of one of my favorite artists, Shintaro Kago. This is important because years ago I had bought some art off him via his site, but then his webpage just disappeared (yes, I searched for other ways to acquire his work but it wasn’t fruitful. I guess I did all of this searching before instagram became popular and it didn’t occur to me to search again).
For anyone interested HERE is where you can acquire some of his very reasonably priced original works.
I love Shintaro Kago and have two beautiful drawings of his at home — tamer styles with cats exploding out of heads instead of eyeballs but still pretty out there.
Looking forward to his new book Dementia 21 coming out in Oct.
OMG! Do you have any of his other books? I would love to have physical copies of Labyrinth and Multiplication specifically, but if you know where to find any of his other books I’m all ears. I’m definitely pre-ordering Dementia 21!
I only have “Super-Dimensional Love Gun” which is available from Amazon, etc. It’s a bit underwhelming (to me) compared to his stand-alone work but definitely worth a peek for fans. Some truly twisted stuff inside.
There is a story, possibly apocryphal, of the distinguished British biologist, J.B.S. Haldane, who found himself in the company of a group of theologians. On being asked what one could conclude as to the nature of the Creator from a study of his creation, Haldane is said to have answered, “An inordinate fondness for beetles.”
I was saddened to hear that Mary Pratt, one of my favourite Canadian painters passed away. I adore her work.
Here is an excellent write-up in Canadian Art magazine, where author Mireielle Eagan manages to articulate a lot about what I love about her work better than I could:
> It may be that future texts will position Mary as a footnote, placed alongside artists whose works are perceived to have more gravity. This would underestimate her impact. Good art transforms the walk home from the gallery; it fundamentally changes how one sees the world. Mary’s art did just that. She drew our attention to the margins, to the enveloping space that exists between and around official texts. She showed us the sadness and beauty in the meals we make, the light through glass at a certain time of day, the blood of a fish on tinfoil, the washing of a baby. She showed us how to hold, to cherish, a moment before we must inevitably turn to resume the day.
This got me thinking about other Canadian artists and re-re-discovered another perennial fave, Betty Goodwin. Funny how sometimes you don’t think of an artist, painter, author, musician, novelist, etc whose work you’ve genuinely loved for years sometimes…
Had a flashback to 1st year of art school, a time when you begin to work through your influences - and hers was a big influence— all I wanted to do was draw human figures in earth-tone pastels on very large pieces of vellum…
I still adore her work, the rawness, the dynamism and emotion, and find a place to rest, especially in her ochres and reds…and lordy, her work is monumental when you see it in person.