Friday, February 25, 2011

Prelinger Library

In regards to our discussion last night in class, here's the website for the Prelinger Library: www.prelingerlibrary.org

And a description of their collection/mission from their website:

History (and Future) of the Project

Why We Built This Library

The Prelinger Library is an appropriation-friendly, browsable collection of approximately 40,000 books, periodicals, printed ephemera and government documents located in San Francisco, California, USA.

Though libraries live on (and are among the least-corrupted democratic institutions), the freedom to browse serendipitously is becoming rarer. Now that many research libraries are economizing on space and converting print collections to microfilm and digital formats, it's becoming harder to wander and let the shelves themselves suggest new directions and ideas. Key academic and research libraries are often closed to unaffiliated users, and many keep the bulk of their collections in closed stacks, inhibiting the rewarding pleasures of browsing. Despite its virtues, query-based online cataloging often prevents unanticipated yet productive results from turning up on the user's screen. And finally, much of the material in our collection is difficult to find in most libraries readily accessible to the general public.

Most important of all, people wishing to copy library holdings for research and transformative use often face difficulties in making legitimate copies. Since the act of quoting and recontextualizing existing words and images is indistinguishable from making new ones, we think it's important for libraries to build appropriation-friendly access into their charters, and we're trying to take a big first step in this direction.

We are interested in exploring how libraries with specialized, unique, and arcane collections such as ours can exist and flourish outside protected academic environments and be made available to people working outside of those environments, especially artists, activists and independent scholars.

We plan at first to open our library to others when we are there, and develop a model of service based on what we learn of other people's needs. It will be an appropriation-friendly setting. Scanners, digital cameras, and CD/DVD burners will be available so that visitors can make digital copies of items of interest and take them home. There will be no charge for using the collections, though we are exploring charging for commercial reuse of the materials so as to recover some of our expenses.

What's in the collection?

Some of its strengths include:

  • The North American landscape; material about people and place, cultural geography, rural and urban geography, travel and tourism, highways and car culture, parks and recreation
  • housing (building, design, and decoration), city planning, architecture, infrastructure
  • natural history; cultural relationships to nature
  • the history of industry, manufacturing, and extraction of raw materials
  • media and technology: extensive collection on the history of radio, TV, nontheatrical motion pictures, telephones, networking, electricity
  • advertising, marketing and consumerism
  • thousands of maps
  • an extensive collection of outdated (and beautifully illustrated) school textbooks (1880-1970) in fields like social studies, home economics, science, and history, all redolent with the ideologies of their time
  • regional, urban, social, and cultural history
  • an extensive collection of government documents, including 19th-century primary materials on Native Americans; agricultural and wildlife publications; materials on rivers, forests and highways; the Official Gazette of the Patent Office (1872-1980); Congressional hearings and reports on crime, youth, dissent, immigration, the civil rights movement, the Atomic Energy Commission, veterans' issues, and labor; planning reports; and thousands of US Geological Survey maps and monographs
  • radical and labor history
  • the history of ephemeral and nontheatrical film (surprise!)
  • over 500 runs of periodicals, both mainstream and obscure, including regional historical journals; American City; American Planning and Civic Annual; Public Ownership; American Municipalities; Geographical Review; Greater New York; Survey and Survey Graphic; Graphis; Cry California; Condor; The Lamp; The Annals: Proceedings from the Political Science Association; Rural Sociology; Signs; Black Scholar; Ms.; the Economist; The Nation; Unpopular Review; Electrical West; Schism; Advocate of Peace; FBI Law Enforcement Bulletin; Display World; Mill and Factory; Soviet Woman; Life; Look; Fortune; the Militant; Coronet; Park & Cemetery; Through the Ages; Builder; Uranium; Iron Age; Good Housekeeping; Good Roads; Social Hygiene; Full Cry; Bell System Technical Journal; Broadcasting; Coronet; Bus Transportation; Inland Printer; Advertising & Selling; Candy Manufacturers and Confectioners Journal; Modern Packaging; and many, many more.
  • -- and much, much more. For more about what's in the library and how its subjects are arranged, see Megan's essay On the Organization of the Prelinger Library.

Monday, February 21, 2011

Allison Knowles: Clear Skies All Week

Press Release for a show of Alison Knowles' work:




Alison Knowles
Clear Skies All Week

February 23–April 3, 2011


James Fuentes LLC
55 Delancey Street
New York, NY 10002
info@jamesfuentes.com
www.jamesfuentes.com

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Alison Knowles at James Fuentes LLC, New York

James Fuentes LLC is pleased to announce our forthcoming solo exhibition with Alison Knowles. The exhibition will be comprised of sculptural works made from paper and found materials. These materials represent over forty years of Alison Knowles' life in New York City. The works evince an extreme interest in paper—made of raw flax, cotton and abaca fibers, the paper becomes a sculptural element to house an assortment of found objects and the base material for wall panels. As Knowles said in her acceptance statement for the College Art Association Lifetime Achievement Award in 2003,

I collect shoe heels ….

I am not hunting usually, just rushing to get somewhere like everybody else, but suddenly,

Unexpectedly, akin to a found item, a found time opens up….

The heel I pick up. …quickly, offhandedly …gets stashed in my pocket.

There is a chemistry peculiar to the mysterious terrain I find myself in at that time….

I love to surf the street….

At home it gets cleaned, studied, it is drawn in silhouette, perhaps screen-printed with the name of an animal….

You know the worn shoe heels cannot be bought. Not for sale anywhere.

Isn't it special to have recognized the energy expended in a shoe heel.
[1]


Knowles is best known as a founding member of Fluxus and, notably, was the first woman to participate in Fluxus. Knowles studied with Joseph Albers and Richard Lindner and graduated from Pratt University in 1954. Earlier this year, Knowles performed "Identical Lunch" at MoMA, NY. Recent group exhibitions include; Contemporary Art from the Collection, organized by Kathy Halbreich and Christophe Cherix, MoMA, NY, 2011 and The Third Mind: American Artists Contemplate Asia, 1860 –1989, organized by Alexandra Munroe at the Guggenheim Museum, NY, 2009. In 2010 Knowles was a Frieda L. Miller Fellow at the Radcliffe Institute for Advanced Study at Harvard University.

James Fuentes LLC, founded in 2007, is a contemporary art gallery based in the lower east side of Manhattan, New York City.

[1] Originally quoted in Julia Robinson, "The Sculpture of Indeterminacy: Alison Knowles's Bean and Variations," College Art Association Journal, 2004.



The Peak of Chic on Roberto Capucci

I was just reading my sister's blog and was introduced to a designer who I thought would interest you. The post is labeled Roberto Capucci: Art into Fashion and can be found at the link below:

http://www.thepeakofchic.com/

His work is amazingly sculptural and for those of you interested in using the sewing machines in various ways, the images are very inspiring. Enjoy!

Friday, February 18, 2011

Links

Trailer for a film on Samuel Mockbee: http://www.vimeo.com/9182260

Nick Cave's Sound Suits: http://www.vimeo.com/14490514

Mella Jaarsma: www.mellajaarsma.com

Some additional images of quilts from Gee's Bend: http://www.quiltsofgeesbend.com/quilts/index_quilts_exhibitions.shtml

Kathryn Spence at Stephen Wirtz Gallery: http://www.wirtzgallery.com/works/spence/2000/spence_2000_frame.html

Monday, February 14, 2011

Project Item

Here is the object I want to transform. It is a child's easel painted black.  I want to dismantle it and rearrange the pieces.  On the main surface I want to add something that relates to my father's statement "You will starve" when I told him I wanted to grow up and be an artist.  I was thinking little sewn packets of rice and beans.

Saturday, February 12, 2011

Assignment #1

Manipulating Objects: Creative Reuse

Assignment #1

The following are meant to serve as inspiration but feel free to come up with your own project.

  1. Take an object you are interested in, dismantle it and reconstruct it in another manner. You can add other objects to it, build an armature of a different scale and shape as the original object, and adhere the parts to it. Think about why you have chosen this object and how reconstructing it might give it new meaning.


  1. Pick an artwork you are interested in and make a work to be in conversation with that piece. It might be a contemporary take on a sculpture from antiquity or a remake of a contemporary sculpture you find interesting or otherwise. Think about why you are interested in this work and what your piece might add to contemporary artistic dialogue in relation to the original work.

  1. Combine photographic imagery within or on a three dimensional form. This could be in the form of collage or it could even be a projection onto an object. Think about the work of Rachel Harrison, Will Rogan, and Christian Marclay.

Use one or more of the following techniques:

Cardboard construction, drilling, sewing, sandblasting, gluing

Artists using cardboard

Links to the work we looked at this past week:
Joshua Short: http: www.joshuashort.com
Ann Weber: www.donnaseagergallery.com/artists/ann_weber/index.htm