Shaking the Grass                      

Shaking the Grass

       
 
 
goodmemory:

Sheila Hicks
Ist dibs : 5 questions à Sheila Hicks
               
    Jan 22              
 
 
   
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)
From an interview with the artist:
What inspired you to take cakes and turn them vicious?
When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.
What source material (if there is any) do you use when designing the jaws and mouths?
For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.
How has your art changed from when you first began?
My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.
What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?
The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.
             
    Sep 24  

likeafieldmouse:

Scott Hove - My Own Private Apocalypse (2012)

From an interview with the artist:

What inspired you to take cakes and turn them vicious?

When I was a kid, there was a store on Union Street in San Francisco that sold large-scale fake food. I couldn’t believe it, the absurdity and undeniable attraction these objects possessed. In about 2005 I tried my hand at making fake cakes, and they instantly shared that weird attractive quality that I saw on Union st. But they were just fake food. I thrust a jawset into one of my favorite cakes during a frustrated rage- and the first actual sculpture was born.

What source material (if there is any) do you use when designing the jaws and mouths?

For source material I depend on the experts-the taxidermists that have been making realistic snarls for decades. The taxidermy catalogue is among the most commonly poured-over literature around my shop. Some cakes demand a particular form of menace, say a knifelike baboon scream with tongue and throat. Well, there are folks in the world doing casts of the real thing, and you can’t beat that.

How has your art changed from when you first began?

My art has changed in many ways throughout my life, but the motivating factor always stays the same. I have a drive to create a transcendental experience for myself by making material something that I want to see and touch that should exist and doesn’t. And in the end I feel like I have done a service to myself and to others. Unless of course the piece sucks, then it gets cast unceremoniously into the dumpster. I usually bat about 85%.

What’s the greatest challenge you’ve faced during your career as an artist? How have you benefited from it?

The most difficult challenge continues to be survival during the lean times. I don’t have any outside support and have to fund most of my own projects with a pretty wide and weird array of job skills. I have worked as a ship chandler, delivering goods to the ports around the SF bay. I can drive a forklift, do deliveries in a big truck, haggle with foreign ship captains. I have worked on tugboats as a deckhand, nearly losing limbs on many occasions. I sometimes work as a traditional ship rigger, and can splice just about any kind of rope or wire. I’m a blacksmith and metal fab guy when I need to be. I’m also very adept at trimming pot, there is usually a lot of work to be found there. The benefit of all of this is that I can have faith in myself to be adaptable, and know what I am capable of outside the the oftentimes limiting self-identity of Scott the Artist.

           
 
 
 
nevver:

Dear Friend
               
    Sep 18              
 
 
 
!!!
this was such a good idea 
this is why i love social media
               
    Aug 19  

!!!

this was such a good idea 

this is why i love social media

(Source: museumgifs)

           
 
 
 
composition-improvisation:

El Anatsui, Adinkra Seas, c. 2006 (aluminum and copper wire, fabric); National Museum of African Art
               
    Jan 23  

composition-improvisation:

El Anatsui, Adinkra Seas, c. 2006 (aluminum and copper wire, fabric); National Museum of African Art

(Source: impartart)

           
 
 
 
therumpus:

embroiderypoems:

“This City runs on intern blood.” #lifeblood @postcrunk @IvivaOlenick 

Iviva Olenick is collecting and embroidering Twitter “poems.” Tweet her @IvivaOlenick or @EmbroideryPoems, and your pithy insights may end up in stitches.
               
    Jan 22  

therumpus:

embroiderypoems:

“This City runs on intern blood.” #lifeblood @postcrunk @IvivaOlenick 

Iviva Olenick is collecting and embroidering Twitter “poems.” Tweet her @IvivaOlenick or @EmbroideryPoems, and your pithy insights may end up in stitches.

           
 
 
   
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.
             
    Jan 21  

momaps1:

In honor of #MLK day, a photoset from the critically-acclaimed Now Dig This! Art and Black Los Angeles 1960—1980 exhibition at MoMA PS1. On view through March 11.

           
 
 
 
drawpaintprint:

R.B. Kitaj: Isaac Babel Riding with Budyonny (1962)
               
    Jan 17  

drawpaintprint:

R.B. Kitaj: Isaac Babel Riding with Budyonny (1962)

           
 
 
 
cavetocanvas:

Luigi Ghirri:
Atalier Morandi, Grizzana, 1989/90
chromogenic color print, 8” x 10”
               
    Jan 14  

cavetocanvas:

Luigi Ghirri:

Atalier Morandi, Grizzana, 1989/90

chromogenic color print, 8” x 10”

           
 
 
   
drawpaintprint:

Constantin Brancusi: Mademoiselle Pogany (1913)
drawpaintprint:

Constantin Brancusi: Mademoiselle Pogany (1913)
             
    Jan 10  

drawpaintprint:

Constantin Brancusi: Mademoiselle Pogany (1913)

           
 
 
 
fyeahwomenartists:

Frances StarkPretty Ugly, 2008Collage on gessoed canvas 
(via Frances Stark)
               
    Jan 10  

fyeahwomenartists:

Frances Stark
Pretty Ugly, 2008
Collage on gessoed canvas 

(via Frances Stark)

(via darksilenceinsuburbia)

           
 
 
 
fyeahwomenartists:

Frances StarkThere will also be things…, 2007Foam core, sequins, ink and paper 
(via Marc Foxx - Artists - FRANCES STARK - There will also be things…)
               
    Jan 9  

fyeahwomenartists:

Frances Stark
There will also be things…, 2007
Foam core, sequins, ink and paper 

(via Marc Foxx - Artists - FRANCES STARK - There will also be things…)

(via fyeahwomenartists)

           
 
 
 
darksilenceinsuburbia:

Robert Melee. Bust, 2008. Wood, plaster, enamel, 36 X 10 1/2 X 14 1/2 in. (91.44 X 26.67 X 36.83 cm.
               
    Jan 9  

darksilenceinsuburbia:

Robert MeleeBust, 2008. Wood, plaster, enamel, 36 X 10 1/2 X 14 1/2 in. (91.44 X 26.67 X 36.83 cm.

           
 
 
 
               
    Jan 9              
 
 
 
ronulicny:

“Bronze Spheric Theme”, 1960
 By: NAUM GABO….
               
    Jan 9  

ronulicny:

Bronze Spheric Theme”, 1960

 By: NAUM GABO….

(via darksilenceinsuburbia)