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Easy on teeth and gums
Wood, removal blanket, drying rack, wax, spray paint
180 x 67 x 90cm
2011
Al Hirschfeld is known for hiding the name of his daughter, Nina, in most of the drawings he produced since her birth in 1945. The name would appear in a sleeve, in a hairdo, or somewhere in the background. Sometimes “Nina” would show up more than once and Hirschfeld would helpfully add a number next to his signature, to let people know how many times her name would appear. Hirschfeld originally intended the Nina gag to be a one-time gimmick but locating Nina’s name in the drawings became extremely popular. From time to time Hirschfeld lamented that the gimmick had overshadowed his art and tried to discontinue the practice, but such attempts always generated harsh criticism. Nina herself was reportedly somewhat ambivalent about all the attention. In the previously mentioned interview with The Comics Journal Hirschfeld confirmed the urban legend that the U.S. Army had used his cartoons to train bomber pilots with the soldiers trying to spot the NINAs much as they would spot their targets. Hirschfeld told the magazine he found the idea repulsive, saying that he felt his cartoons were being used to help kill people. In his 1966 anthology The World of Hirschfeld he included a drawing of Nina which he titled “Nina’s Revenge.” That drawing contained no Ninas. There were, however, two Als and two Dollys (“The names of her wayward parents”). (via Al Hirschfeld - Wikipedia, the free encyclopedia)
“I’m interested in how an object / image can change from one space to another. How layers of images and space can create a new space, that the viewer experiences in person. Space changes both with external variations (light, weather, persons, actions, whatever larger structure it is within) and also its perception as affected by internal variables, moods, emotions, thoughts. For me nothing is fixed about this very open concept of ‘space’ and I like to work within a discourse where these variations are allowed, nurtured and emphasized.”
robertas narkus & milda zabarauskaite.
photoinstallation “Curtains” 2007
2.90m x 5.4m print on fabric
Artists and graphic designers present printed matter – such as books, posters or magazines – in the digital environment of web-portfolios. There are a few examples of printed matter which pretend they’re physical throughout the web, without ever getting produced or even being published in the “real world”. Thereby the digital presentation of those fictive products is guided by their analogue realizability. Actually there are no limitations to the enactment of fictive printed-products in the net. The exhibition “Print Fiction” wants to encourage artists and graphic designers to ask how utopias of printed matter can look like.
this seems relevant
(via paintedetc)
New York!
This show is going to be a motherfucker:
IMAGE OBJECT
featuring Kate Steciw, Artie Vierkant, Travess Smalley, and Andrea Longacre-White
@ FOXY PRODUCTION, 6/1 - 7/13
“Image Object is a group exhibition that considers the relationship between images and objects in the age of digital media. With prints, sculptures and collages by ANDREA LONGACRE-WHITE, TRAVESS SMALLEY, KATE STECIW, and ARTIE VIERKANT, the exhibition probes the ways in which artists negotiate both gallery space and online space. With visual content transposed and modified across digital platforms, notions of what an artwork can be are in flux, not unlike the way personal identities are shape-shifting across social networks. The works in Image Object reflect these developments.”
(via christopherschreck)
Still, Life Pt. 2: A Fabricated Authenticity, 2011
8.5 x 14”
Risograph on 67# cardstock
Edition of 50
Five revisions of an essay written on authenticity. Each revision was printed over the other in alternating blue and black inks.
