tag:blogger.com,1999:blog-43443940111861488072024-03-13T05:32:31.124-07:00Artists TalkAndrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-4344394011186148807.post-66508586577285291172009-09-16T05:14:00.000-07:002009-09-16T05:28:32.726-07:00Geeks in the Gallery: An Interview with Artists Tom Moody and Michael Bell-Smith at Art Fag City<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.digitalmediatree.com/library/image/12/web_distributed-gallery-VC.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 500px; height: 332px;" src="http://www.digitalmediatree.com/library/image/12/web_distributed-gallery-VC.jpg" alt="" border="0" /></a>“Geeks in the Gallery” is a three part discussion with artists <a href="http://www.burncopy.com/cc/">Michael Bell-Smith</a> and <a href="http://www.digitalmediatree.com/tommoody/contents/">Tom Moody</a>, which ran on Art Fag City between Monday June 12 – Wednesday, June 14, 2006. A recurring theme of the talk is how technology informs artistic production, as both artists have individually exhibited work usually described as New Media, yet also seem somewhat skeptical of “tech art.”<br /><br /><a href="http://www.artfagcity.com/2006/06/12/geeks-in-the-gallery-an-interview-with-artists-tom-moody-and-michael-bell-smith-part-one-of-three/">Part 1 of the Interview at Art Fag City</a>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-72662962015659922672009-08-27T08:55:00.000-07:002009-08-27T09:13:53.576-07:00Olafur Eliasson talks about 'The Studio as Reality' at MOMA and PS1<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/WpmgOqVJFsg&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/WpmgOqVJFsg&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />The San Francisco Museum of Modern Art (SFMOMA) organized Eliasson's first full-scale survey in the United States Take Your Time: Olafur Eliasson, which was on view from September 8, 2007 to February 24, 2008. It was Eliasson's first major U.S. survey exhibition. It spanned the artist's diverse range of artistic production between 1993 and the present, including site-specific installation, large-scale immersive environments, freestanding sculpture, photography, and special commissions seen through a succession of interconnected rooms and corridors, including the museum's skylight bridge which was turned into an installation titled One-way colour tunnel.<br /><br />Curated by Madeleine Grynsztejn, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA and incoming director of the Museum of Contemporary Art, Chicago, in close collaboration with the artist, the major survey unified nearly 15 years of Eliasson's career and embarked on an international tour following its San Francisco debut to The Museum of Modern Art, and P.S.1. and elsewhere.<span><br /><br />More information:<br /><a href="http://www.moma.org/olafureliasson" target="_blank" title="http://www.moma.org/olafureliasson" rel="nofollow" dir="ltr">http://www.moma.org/olafureliasson</a><br /><a href="http://www.sfmoma.org/" target="_blank" title="http://www.sfmoma.org" rel="nofollow" dir="ltr">http://www.sfmoma.org</a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-20072950500841048342009-08-27T08:47:00.000-07:002009-08-27T09:12:45.889-07:00Olafur Eliasson talks about "Seeing Yourself Seeing" at MOMA and PS1<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/lc3MHdaWt2I&hl=en&fs=1&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/lc3MHdaWt2I&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>The San Francisco Museum of Modern Art (SFMOMA) organized Eliasson's first full-scale survey in the United States Take Your Time: Olafur Eliasson, which was on view from September 8, 2007 to February 24, 2008. It was Eliasson's first major U.S. survey exhibition. It spanned the artist's diverse range of artistic production between 1993 and the present, including site-specific installation, large-scale immersive environments, freestanding sculpture, photography, and special commissions seen through a succession of interconnected rooms and corridors, including the museum's skylight bridge which was turned into an installation titled One-way colour tunnel.<br /><br />Curated by Madeleine Grynsztejn, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA and incoming director of the Museum of Contemporary Art, Chicago, in close collaboration with the artist, the major survey unified nearly 15 years of Eliasson's career and embarked on an international tour following its San Francisco debut to The Museum of Modern Art, and P.S.1. and elsewhere.<br /><span><br />More information:<br /><a href="http://www.moma.org/olafureliasson" target="_blank" title="http://www.moma.org/olafureliasson" rel="nofollow" dir="ltr">http://www.moma.org/olafureliasson</a><br /><a href="http://www.sfmoma.org/" target="_blank" title="http://www.sfmoma.org" rel="nofollow" dir="ltr">http://www.sfmoma.org</a></span><span><a href="http://www.sfmoma.org/" target="_blank" title="http://www.sfmoma.org" rel="nofollow" dir="ltr"></a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-78687902397076418492008-11-04T06:40:00.000-08:002009-08-27T09:21:58.285-07:00Gabriel Orozco on his installation "Obit," Art:21, television series for PBS<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/wlPuq7-G_9s&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/wlPuq7-G_9s&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><span>Gabriel Orozco discusses his installation "Obit" (2008), on view at Marian Goodman Gallery in New York.<br /><br /></span><span>Gabriel Orozcos sculptures and photographs disrupt conventional notions of reality. Drawing our attention to slips in logic, philosophical games, and hidden geometries, Orozco uncovers the extraordinary aspects of the seemingly everyday. His use of humble materials and means (graphite on bone, a ball of clay, a 35mm camera) engages the imagination through its disarming simplicity and intimacy.<br /><br /><a href="http://en.wikipedia.org/wiki/Gabriel_Orozco">Wikipedia article and links to other reference material</a><br /></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-14083267995394210892008-11-04T06:24:00.000-08:002008-11-04T06:46:13.470-08:00Pierre Huyghe on authorship, Art:21, television series for PBS<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/CHrjrhAPJME&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/CHrjrhAPJME&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><span>Pierre Huyghe's films, installations, and public events range from a small-town parade to a puppet theater, from a model amusement park to a wildlife expedition in Antarctica. Revealing the experience of fiction to be as palpable as anything in daily life, Huyghe's playful work often addresses complex social topics such as the yearning for utopia, the lure of spectacle in mass media, and the capacity of cinema to shape memory.<br /><a href="http://en.wikipedia.org/wiki/Pierre_Huyghe"><br />Wikipedia article and link to other reference material</a><br /></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-9429136658985589702008-11-04T06:18:00.000-08:002008-11-04T06:46:53.077-08:00Pierre Huyghe on his work 'Anlee,' Art:21, television series for PBS<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/J3E8ioPg8xQ&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/J3E8ioPg8xQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br />Pierre Huyghe talks about his work 'Anlee.'<br /><br /><span>Pierre Huyghe's films, installations, and public events range from a small-town parade to a puppet theater, from a model amusement park to a wildlife expedition in Antarctica. Revealing the experience of fiction to be as palpable as anything in daily life, Huyghe's playful work often addresses complex social topics such as the yearning for utopia, the lure of spectacle in mass media, and the capacity of cinema to shape memory.</span><br /><br /><span><a href="http://en.wikipedia.org/wiki/Pierre_Huyghe">Wikipedia article and link to other reference material</a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-42344043883465723502008-07-13T17:49:00.000-07:002008-07-13T17:53:44.812-07:00Favianna Rodriguez on Political Art, Commonwealth Club of California, San Francisco, 2008<!--[if IE]><br /> <object width="430" height="284" type="application/x-shockwave-flash" quality="high" id="W484573217c08a2f7"><br /> <param value="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/2973/sWebHost/fora.tv" name="movie"><br /><![endif]--><!--[if !IE]><!--><object type="application/x-shockwave-flash" id="W484573217c08a2f7" data="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/2973/sWebHost/fora.tv" height="284" width="430"><!--<![endif]--><br /><param name="wmode" value="transparent"><br /><param name="allowScriptAccess" value="always"><br /><param name="allowNetworking" value="all"><br /></object><br /><script type="text/javascript" src="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/2973/sWebHost/fora.tv/widget.js"></script>Artist and founding member of the East Side Arts Alliance Favianna Rodriguez describes the growth of the political art movement and how it can bring visual arts with a message to a new audience.Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-62293894387227649762008-07-13T17:43:00.000-07:002008-07-13T17:52:37.270-07:00Jeffrey Deitch on Star Artists, The New School, New York, 2008<!--[if IE]><br /> <object width="430" height="284" type="application/x-shockwave-flash" quality="high" id="W484573217c08a2f7"><br /> <param value="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3380/sWebHost/fora.tv" name="movie"><br /><![endif]--><!--[if !IE]><!--><object type="application/x-shockwave-flash" id="W484573217c08a2f7" data="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3380/sWebHost/fora.tv" height="284" width="430"><!--<![endif]--><br /><param name="wmode" value="transparent"><br /><param name="allowScriptAccess" value="always"><br /><param name="allowNetworking" value="all"><br /></object><br /><script type="text/javascript" src="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3380/sWebHost/fora.tv/widget.js"></script>Jeffrey Deitch discusses the phenomenon of auction houses determining top artists by picking which pieces to put up on the block.Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-34672061861273681412008-07-13T17:38:00.000-07:002008-07-13T17:52:16.321-07:00Thomas Crow on Artist Collectives, The New School, New York, 2008<!--[if IE]><br /> <object width="430" height="284" type="application/x-shockwave-flash" quality="high" id="W484573217c08a2f7"><br /> <param value="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3379/sWebHost/fora.tv" name="movie"><br /><![endif]--><!--[if !IE]><!--><object type="application/x-shockwave-flash" id="W484573217c08a2f7" data="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3379/sWebHost/fora.tv" height="284" width="430"><!--<![endif]--><br /><param name="wmode" value="transparent"><br /><param name="allowScriptAccess" value="always"><br /><param name="allowNetworking" value="all"><br /></object><br /><script type="text/javascript" src="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3379/sWebHost/fora.tv/widget.js"></script>Art historian and critic Thomas Crow describes an increase of work produced within artist collectives and communities because of the difficulty for an individual artist to break into the market.Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-3682531300082322282008-07-13T17:30:00.000-07:002008-07-13T17:51:46.742-07:00ArtForum at The New School, The New School, New York, 2008<!--[if IE]><br /> <object width="430" height="284" type="application/x-shockwave-flash" quality="high" id="W484573217c08a2f7"><br /> <param value="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3318/sWebHost/fora.tv" name="movie"><br /><![endif]--><!--[if !IE]><!--><object type="application/x-shockwave-flash" id="W484573217c08a2f7" data="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3318/sWebHost/fora.tv" height="284" width="430"><!--<![endif]--><br /><param name="wmode" value="transparent"><br /><param name="allowScriptAccess" value="always"><br /><param name="allowNetworking" value="all"><br /></object><br /><script type="text/javascript" src="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3318/sWebHost/fora.tv/widget.js"></script>Tim Griffin, Editor of Artforum leads a panel of artists and arts professionals including: Amy Cappellazzo, Co-Head, Christie's Contemporary Art; Thomas Crow, Rosalie Solow Chair, Institute of Fine Arts, New York University; Jeffrey Deitch, Director, Deitch Projects; Kathy Halbreich, Associate Director, Museum of Modern Art; and Yinka Shonibare, artist.Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-24119283456280834422008-07-13T17:20:00.000-07:002008-07-13T17:51:13.023-07:00Lynette Cook, Swissnex San Francisco, 2008<!--[if IE]><br /> <object width="430" height="284" type="application/x-shockwave-flash" quality="high" id="W484573217c08a2f7"><br /> <param value="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3727/sWebHost/fora.tv" name="movie"><br /><![endif]--><!--[if !IE]><!--><object type="application/x-shockwave-flash" id="W484573217c08a2f7" data="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3727/sWebHost/fora.tv" height="284" width="430"><!--<![endif]--><br /><param name="wmode" value="transparent"><br /><param name="allowScriptAccess" value="always"><br /><param name="allowNetworking" value="all"><br /></object><br /><script type="text/javascript" src="http://widgets.clearspring.com/o/48233d8496b41f26/484573217c08a2f7/48233d8496b41f26/8af8c27f/sViewClip/3727/sWebHost/fora.tv/widget.js"></script>Scientific illustrator Lynette Cook narrates her methods of drawing extrasolar planets and outer systems no one has ever seen.<br /><br />She remembers the 'old days' of pigmented color roughs and compares that to new digital technology.<br /><a href="http://fora.tv/"></a>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-79373647513515287802008-07-07T08:18:00.000-07:002008-07-07T09:16:54.545-07:00Corey Arcangel, Lecture at Columia University, 2006<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.petitemort.org/issue01/img/02_10.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 405px; height: 262px;" src="http://www.petitemort.org/issue01/img/02_10.jpg" alt="" border="0" /></a><a href="http://www.beigerecords.com/cory/">Cory Arcangel</a> is a digital artist who lives and works in Brooklyn. His work is concerned with the relationship between technology and culture, and with media appropriation. Arcangel frequently talks about his early collaborations with <a href="http://www.post-data.org/%7Epaul/">Paul B. Davis</a> as being very important to the development of his own work. In 1998 they founded <a href="http://www.post-data.org/beige/">BEIGE</a>, a programming ensemble with other friends from Oberlin Conservatory.<br /><br />Cory's work was featured in the 2004 Whitney Biennial, and has also been exhibited in the Guggenheim Museum and MoMA. His work is in public collections including MoMA, the Whitney Museum of American Art, and Miami Art Museum. In 2006 Cory was an Honorary Senior Fellow in Eyebeam's OpenLab.<br /><br />Watch the lecture <a href="http://www.columbia.edu/itc/soa/dmc/cory_arcangel/">here</a> (this site has a tendency to crash Mac browsers), <a href="http://en.wikipedia.org/wiki/Cory_Arcangel">Corey Arcangel on Wikipedia</a>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-37178966024902043622008-07-07T07:58:00.000-07:002008-07-07T09:17:38.281-07:00Paul B Davis, Interviewed for Chicago's NPR Public Radio, 2003<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.seventeengallery.com/images/artists/paulbdavis/100507122138.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 405px; height: 382px;" src="http://www.seventeengallery.com/images/artists/paulbdavis/100507122138.gif" alt="" border="0" /></a>Paul B Davis co-founded <a href="http://www.beigerecords.com/" target="_blank"><u>BEIGE Records</u></a> and the <a href="http://www.post-data.org/beige/" target="_blank"><u>BEIGE Programming Ensemble</u></a> with <a href="http://www.beigerecords.com/cory/">Corey Arcangel</a>. His Nintendo works premiered in 2000, and both solo and collaborative works have been shown at the Whitney Museum of Modern Art, Whitechapel Gallery, Witte de With [Rotterdam], TEAM [NY], and Lothringer 13 [Munich]. BEIGE members have subsequently used hacked NES systems to create a distinct body of work that has been shown internationally.<br /><br />Listen to Paul B Davis interview <a href="http://www.chicagopublicradio.org/audio_library/ram/848/848_030328b.ram">here</a> (you'll need Real Player)<br />Paul B Davis is currently (2008) represented by the gallery <a href="http://www.seventeengallery.com/index.php?p=2&id=42">Seventeen</a>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-69482807771808197252008-06-24T14:43:00.000-07:002008-06-24T15:10:30.630-07:00Paul McCarthy:YOU LIKE YOGA ….WE LIKE SPEED, Interview by John Beagles and Graham Ramsay, Transcript, 2001<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.wmagazine.com/images/artdesign/2007/11/arar_paul_mccarthy_01_v.jpg"><span style="display: block;" id="formatbar_Buttons"><span class="on" style="display: block;" id="formatbar_CreateLink" title="Link" onmouseover="ButtonHoverOn(this);" onmouseout="ButtonHoverOff(this);" onmouseup="" onmousedown="CheckFormatting(event);FormatbarButton('richeditorframe', this, 8);ButtonMouseDown(this);"></span></span><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.wmagazine.com/images/artdesign/2007/11/arar_paul_mccarthy_01_v.jpg" alt="" border="0" /></a><span class="contributor"><span class="name"></span></span><span style="font-size:85%;">Photo by <a href="http://www.wmagazine.com/w/bios/daniel_hennessy/search?contributorName=Daniel%20Hennessy">Daniel Hennessy</a></span><br /><br />"This interview took place in the restaurant at Tate Gallery, Liverpool, 18th October 2001. Paul McCarthy was taking a break from the final adjustments to the installation of his first major retrospective show in the UK. We joined him for a drink along with Tracey Ruddell, from the Tate Press Office.<br /><br />GR/JB: One of the first things that we wanted to ask you was how you felt about the way your work is written about, specifically in terms of Kristeva, the abject and that whole psychoanalytical take on it? It sometimes feels like a way for the writers to make it intellectually respectable to themselves.<br />PM: It kind of goes both ways, there are people who just dismiss the work and just talk about it as being abject and not trying to analyse it, but just being dismissive. Then there are writers who are more analytical about it. I’m into it both ways because that’s kind of how it’s made. I’m not trying to make it psychoanalytical but then at the same time I am..."<br /><br />Read the rest of this interview <a href="http://www.beaglesramsay.co.uk/essays/paulmccarthy.html">here</a>, <a href="http://en.wikipedia.org/wiki/Paul_McCarthy">Paul McCarthy on Wikipedia</a>, <a href="http://www.beaglesramsay.co.uk/">Beagles and Ramsay's website,</a>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-5951015218846086042008-06-24T09:51:00.000-07:002008-06-25T08:27:28.003-07:00Arthur Ganson: Sculpture that's truly moving, TED, 2002<object height="340" width="420"><param name="movie" value="http://www.youtube.com/v/bPfn01Ndc1g&hl=en"><embed src="http://www.youtube.com/v/bPfn01Ndc1g&hl=en" type="application/x-shockwave-flash" height="344" width="425"></embed></object><br /><span>Sculptor and engineer Arthur Ganson talks about his work - kinetic art that is deep and entertaining.<br /></span><span><a href="http://www.ted.com/">TED Lectures</a>, <a href="http://www.arthurganson.com/">Arthur Ganson's Website</a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-55784625073830115772008-06-24T09:48:00.000-07:002008-06-24T15:56:59.311-07:00Julie Taymor: Theater and the imagination, TED, 1998<object height="340" width="420"><param name="movie" value="http://www.youtube.com/v/C2FN4iFhgu8&hl=en"><embed src="http://www.youtube.com/v/C2FN4iFhgu8&hl=en" type="application/x-shockwave-flash" height="344" width="425"></embed></object><br /><span>Director/designer Julie Taymor talks about her boundary-shattering theater work.<br /></span><span><a href="http://www.ted.com/">TED Lectures</a>, <a href="http://en.wikipedia.org/wiki/Julie_Taymor"><span>Julie Taymore on Wikipedia</span></a><a href="http://www.vikmuniz.net/"><span style="text-decoration: underline;"></span></a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-65585513339621648022008-06-24T09:44:00.001-07:002008-06-24T16:05:20.585-07:00James Rosenquist, Smithsonian Institution, 2007<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photo.box.sk/design/angelikaplaten304.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://photo.box.sk/design/angelikaplaten304.jpg" alt="" border="0" /></a><span style="font-size:85%;">Photo by <a href="http://www.angelikaplaten.com/">Angelika Platen</a></span><br /><br />James Rosenquist is world renowned for his large-scale paintings that combine images from advertising and mass media with vibrant color and abstraction.<br />See the full lecture <a href="http://americanart.si.edu/collections/clarice_smith/james_rosenquist_webcast.cfm">here at the Smithsonian Website</a> (Windows Media Player required).Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-13133363855354151302008-06-24T09:03:00.000-07:002008-06-24T12:29:30.833-07:00Maya Lin, Smithsonian Institution, 2006<object height="340" width="420"><param name="movie" value="http://www.youtube.com/v/zbIlaapXQQE&hl=en"><embed src="http://www.youtube.com/v/zbIlaapXQQE&hl=en" type="application/x-shockwave-flash" height="344" width="425"></embed></object><p>Maya Lin is an American artist who has become known for her work in sculpture and landscape art. Her best-known work is the Vietnam Veterans Memorial in Washington, D.C.</p><p>See the whole lecture <a href="http://americanart.si.edu/collections/clarice_smith/maya_lin.cfm">here at the Smithsonian website</a>.<br /></p>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-25910070646476963682008-06-24T08:34:00.000-07:002008-06-24T15:56:09.982-07:00Vik Muniz: Art with wire, thread, sugar, chocolate, TED, 2003<object height="340" width="420"><param name="movie" value="http://www.youtube.com/v/ik9x-eu49_c&hl=en"><embed src="http://www.youtube.com/v/ik9x-eu49_c&hl=en" type="application/x-shockwave-flash" height="344" width="425"></embed></object><br />Vik Muniz makes art from pretty much anything, be it shredded paper, wire, clouds or diamonds. Here he describes the thinking behind his work and takes us on a tour of his incredible images.<br /><span><a href="http://www.ted.com/">TED Lectures</a>, <a href="http://www.vikmuniz.net/"><span>Vik Muniz's Website</span></a></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0tag:blogger.com,1999:blog-4344394011186148807.post-73496418505780037752008-06-24T06:55:00.000-07:002008-06-24T08:50:57.015-07:00Chris Jordan: Picturing Excess, TED, Feb 2008<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/f09lQ8Q1iKE&hl=en"><embed src="http://www.youtube.com/v/f09lQ8Q1iKE&hl=en" type="application/x-shockwave-flash" height="340" width="420"></embed></object><br /><span><br />Artist Chris Jordan shows us an arresting view of what Western culture looks like.<br /><a href="http://www.ted.com/">TED Lectures</a>, <a href="http://www.chrisjordan.com/">Chris Jordan's Website</a><br /></span>Andrew Simshttp://www.blogger.com/profile/13997625720846460791noreply@blogger.com0