ON BEING DONE WITH REVIEWS
SEE YOU IN 2010!
The metaphor of the brain as a database (or, if you prefer, the database as a brain) flatters and anthropomorphizes the machine more than it explains the mind. Gray matter doesn't seem to be organized in a way that makes the storage and retrieval of information easy; rather, the classification and categorization that characterize the database are pre-digital technologies invented to manage the ever-increasing amounts of information that civilization requires citizens to master. Cicero used a "memory palace" when delivering orations. As he spoke, he would imagine moving through a house where each room and object represented points he needed to make in his speech and the supporting evidence he needed to make them. The antithesis of such memory systems might be the dream, the mind's nightly refresher that reconfigures the day's events and data in disjointed, symbolic narratives. Both the memory palace and the dream are based on irrational elements: subjective experience, arbitrary connections, and word play. That the memory palace is created under the thinker's deliberate control only highlights the conscious mind's eagerness to do what the unconscious mind does automatically. Even as Cicero publicly performed the constructs of reason, his brain was circumventing them.
Last July, in a New York University faculty residence on West Houston Street where Picasso's sculpture and I.M. Pei's architecture face off in a courtyard invisible to Google Earth, Alexandre Singh delivered an installment of his Assembly Instructions Lectures, a series of talks illustrated by a pair of overhead projectors. After introducing his audience to Matteo Ricci, a sixteenth-century Jesuit missionary who taught the memory palace technique to Chinese officials to convince them of the superiority of Western (and by extension, Christian) thought, Singh launched into a detailed recounting of a dream he supposedly had, in which Ingvar Kamprad, founder and principle shareholder of Ikea, announced that the master floor plan implemented in every Ikea store around the world encodes a classification of all human knowledge. For instance, the arrangement of shoes, hangers, and sweaters in a display closet, as Singh demonstrated, represented the kingdoms and phyla of life on Earth. What's more, the Ikea system of Singh's dream world does not merely encode--it controls. If something changes in a store--say, a new couch model is introduced for the new season, or a passing child moves a prop coffee-table book around a fake living room--the fabric of reality is altered.
(read more: http://rhizome.org/editorial/3045#more)
CALL FOR ARTISTS: All Current Masters of Fine Arts Candidates
Arcadia University Art Gallery
Arcadia University Art Gallery seeks works on paper by
Juror: João Ribas
Click here for Exhibition Guidelines (PDF)
Open to artists living within a 40-mile radius of Glenside, Pennsylvania, "Works on Paper" is distinguished by a selection process in which the juror reviews actual artworks brought to the gallery (as opposed to 35mm slides or digital representations). There are no size restrictions on works brought to the gallery.
The Samuel S. Fleisher Art Memorial presents the first exhibition in the thirty-second season of the three-part Wind Challenge Exhibitions at Fleisher — the Delaware Valley's premier juried artist exhibition program. This season's nine Challenge artists were selected from a field of 368 applicants to exhibit in one of three three-person exhibitions. The first of this year's Challenge Exhibitions features a sculpture by Joshua DeMonte, drawings by Sharka Hyland, and an installation Keiko Miyamori.
The exhibition begins on Saturday, October 3rd, with an opening reception from 4:00 to 6:00 PM, and continues through November 22nd, 2008.
Both the exhibition and the opening reception are free and open to the public. Gallery hours are 10:00 AM to 5:00 PM, Monday through Friday, with additional hours of 5:00 to 9:00 PM, Monday through Thursday, and 10:00 AM to 3:00 PM, Saturday.
Mr. DeMonte received received both his B.F.A. and M.F.A. from Tyler School of Art, Temple University.
Image: Joshua DeMonte, Balcony and Curtains, 2008, glass-filled nylon, 7 x 4 inches
Ms. Hyland received her received her art history degree from École du Louvre and her M.F.A. from Yale University School of Art.
Image: Sharka Hayland, detail: New Jersey Mountain (II), 2009, ink on paper, 23 x 29 inches
Ms. Miyamori received both her B.F.A. and M.F.A. from the University of Tsukuba.
Image: Keiko Miyamori, detail: Cosmos, 2007
This Fellowship is a wonderful opportunity for students to enhance their professional standing, aid their pursuit of an advanced degree, or finance a special project within the field.
The Kate Neal Kinley Memorial Fellowship is open to graduates of the College of Fine and Applied Arts of the University of Illinois at Urbana-Champaign and to graduates of similar institutions of equal educational standing whose principal or major studies have been in the fields of art, architecture, dance, landscape architecture, music, theatre, and urban and regional planning.
Three major Fellowships will be awarded:
-one of approximately $20,000 in any field of music.
-one of approximately $20,000 in architectural design and history, art and design, theatre, dance, or instrumental or vocal music.
-one of approximately $9,000 in art, architecture, dance, landscape architecture, theatre or urban and regional planning.
Submission Deadline: December 3, 2009
Application requirements and submission forms can be found in the Kate Neal Kinley Application Form
Robert Graves, Dean and Chair, Kate Neal Kinley Memorial Fellowship Committee
T: 217 333 1661
More Than Skin Deep
August 8 th - September 26th, 2009
Opening: Saturday, August 8th, from 6 to 8 pm
Baltimore Clayworks hosts the exhibition More Than Skin Deep , an exploration of ceramic surfaces. This exhibition runs August 8 th - September 26th, 2009 with an opening reception on Saturday, August 8th, from 6 to 8 pm. Admission is free.
More Than Skin Deep focuses on the multitude of surfaces being created by contemporary ceramic artists. Some artists mimic materials, others use alternative materials; some are quiet- a single luscious glaze, others boisterous, a ca cop hony of designs. Some have a narrative undertone, some are a beauty to contemplate, and others imply other realms. Whether you employ traditional ceramic techniques, or explore mixed-media to complete your vision it will be an invigorating show.
Invited Artists: Jason Briggs (TN), Jessica Broad (VA), Dan Brown (WY), Kyle Carpenter (NC), Rick Cleaver (MD), Patrick Coughlin (FL), Niki Crosby (PA), Lynn Duryea (ME), Shanna Fliegel (NY), Ann Hazels (MD), Giselle Hicks (NY), Jerry Kaba (PA), Ani Kasten (MD), Mike Kipp (MD), Laura Jean McLaughlin (PA), Shari McWilliams (FL), Jenny Mendes (OH), Leigh Taylor Mickelson (NY), Dan Murphy (UT), Brooke Noble (NY), Randy O'Brien (AZ), Jeremy Randall (NY), Frank Saliani (MT), Thomas Schmidt (NY), Eric Seritella (NY), Katherine Taylor (TX), Novie Trump (VA), Lana Wilson (CA)
The visiting artists seminar enhances the curriculum by bringing nationally renowned artists and critics working in a variety of media and venues to the campus for lectures, workshops, and student tutorials on a weekly basis. In addition to the visiting artists invited to the campus, the surrounding community itself is rich with opportunities in the visual and performing arts. Philadelphia is home to an active, contemporary art scene that includes internationally renowned museums, commercial galleries, art centers, and residency programs. Coupled with the close proximity to New York City, our graduate students find that they have easy access to some of the most important research resources in contemporary art.
Check out the Program Details and Facilities Highlights
|Nicholas Kripal, professor, chair of crafts department, head of ceramics area, is a ceramic sculptor working in site-related installations and sculpture. Kripal received his BFA from the University of Nebraska, Kearney, an MS in Art Education and an MFA from Southern Illinois University, Edwardsville. Left: W.S. Variation #5, 44 in. (112 cm) in length, slip-cast porcelain, fired to cone 6 in an electric kiln, 2007.|
|Chad Curtis, assistant professor of ceramics, holds a BFA from Minnesota State University, Mankato, and an MFA from New York State College of Ceramics at Alfred University. He specializes in mixed-media sculpture and installation, mold making, slip casting, and digital fabrication. Left: Popup Camper with Tree, 45 in. (114 cm) in height, glazed ceramic fired to cone 04 in an electric kiln, clay slip, acrylic, milled foam, epoxy, wood, and mixed media, 2008.|
| Graduate Students |
|Lauren Dombrowiak |
The urban Philadelphia setting and amazing new facilities are the reasons I initially chose Tyler. I find that the faculty’s involvement in challenging my mind and the work I create is why I love this program. Being pushed to use my ceramic knowledge in whatever media I need, and to do this in an intelligent way, is the backbone of the program.
|Kate Dowell |
I knew as an undergraduate that I wanted to continue into a graduate program, so I took only a year off in order to research schools and focus on making my application competitive. I chose to study here because The Tyler School of Art offers an interdisciplinary approach to art making in a city with a rich art culture.
|Jonathan Dickstein |
I took seven years off before attending graduate school. Now I’m using my time in school to develop a keen understanding of where my work fits in terms of space, venue, and audience. After graduate school, I intend to pursue residency opportunities and part-time university teaching positions.
I was out of school for two years before I went back to get my MFA. I chose Tyler because it has great faculty and it is located in a city that has a lot of resources and an interesting art scene.