Maria del Camino Phase 2 is complete. The new hydraulics enable Her to stand vertically and fly in slow motion. A trial run with the new truck, the Mothership, to the Carrizo Plain, provided an opportunity for some great documentation in the compromised landscape and subdivision of California Valley. Plans are now underway for Phase 3, making her remote controllable via iPhone and programable, and awaiting funding. With a new GPS, the first artwork with Maria will be SuperTask #1 (The Steppenwolf). This is to be a large drawing on the playa at Burning Man this year. Check out our Blog: http://mariadelcamino.brucet....
The (de)Appropriation Project Archive was included in the inaugural show for the new gallery Multiplexer just off the strip in Las Vegas. The Shroud of Maria was presented at http://www.wix.com/art_spaces/the-h.... The Hatchery, East of Fresno for the first time, this past Fall. The mini residency also served as inspiration and recon for future performances using fallow airstrips as sites. The Ant Farm Media Van V.08 [Time Capsule], will showing at Arizona State University, Tempe, AZ, for an upcoming exhibition there in the Fall.
The project is a collaboration with Chip Lord and Curtis Schreier. The basis of project is a fusion of Ant Farm's Media Van (circa 1971), the Citizen's Time Capsule (1975) and new digital media with the introduction of the HUQQUH.
"Temporary Structures: Performing Architecture in Contemporary Art." Is a beautiful new catalog produced for the exhibition at the deCordova Sculpture Park and Museum. The Media Van v.08 [Time Capsule] and Ant Farm's work with inflatables is included along with luminaries such as Gordon Matta-Clark, Vito Acconci, and Erwin Wurm.
"Ten Years that Shook the City" (edited) by Chris Carlsson. The chapter ""With the Soul of a Human Rainbow" : Los Siete, Black Panthers, and Third Worldism in San Francisco," by Dr. Jason M. Ferreira, pp. 30- 47, gives some great background history to the Mission Police Station, clarifying some of the details as to how the building was stigmatized by the community based upon racism and civil rights abuses from the cops in the 60's and 70's. The other chapters also help develop the larger context of radical politics and culture in San Francisco from this period.
The (de)Appropriation Project Archive is featured in the new book "Street Art San Francisco: Mission Muralismo," by Annice Jacoby.
Read an interview with Bruce about the project at Artslant.com.
Bruce Tomb was raised in a context of boatbuilding and the heritage of three generations of artists. In 1956 his parents built a California Modern home in Oakland, California, and it was growing up in this environment that inspired the pursuit of a formal education in Architecture from California Polytechnic State University, San Luis Obispo, California.
Tomb furthered his architectural studies with Cristiano Toraldo di Francia of Superstudio in Florence, Italy. Upon returning to San Francisco, he joined the office of Batey and Mack Architects as project architect, renderer, and collaborator with Mark Mack. It was the collaborations on neo-primitive furniture and his urban pioneering in a raw warehouse space that ultimately led to Tomb's design and development of the “Granite Cooktop.” The fixture as furniture, winner of Progressive Architecture magazine's 1984 Furniture Design Competition, was exhibited at the Whitney Museum's “High Styles” exhibition in 1985. This was the first in a series of experimental pieces of furniture investigating new relationships among people, objects, and inhabited space.
Interim Office Of Architecture, also known as the collaborative IOOA, was co-founded in 1984 by Bruce Tomb with John Randolph, blurred the boundaries that traditionally separate art, design, and architecture. Perhaps best known for the Latrine project at the Headlands Center for the Arts and the installation Gnomon, at San Francisco Museum of Modern Art, IOOA's award winning installations, architecture, and furniture design have been exhibited and published extensively.
Tomb established the interdisciplinary practice, BRUCE TOMB, in 1998. Through both commissioned and experimental projects, he has been engaged in a wide range of projects investigating new relationships between people, sites, buildings, technology, and our environment. With particular interest in the working prototype as a model for research, the practice is defined by the pursuit of work that is peripheral to conventional architectural practice and yet central to architectural thought. Dense overlays of contemporary culture, antecedents and speculative futures are pursued through building prototype furniture, (site specific) installations, material and process experiments, product, and architectural projects.
Integral to the practice is the company, INFINITE FITTING, dedicated to the design and manufacture of hand finished sand-cast I F White Bronze, Silicon Bronze, Brass, Aluminum Basins and plumbing accessories. They are distributed throughout North America.
Bruce Tomb has taught at Cal Poly, San Luis Obispo, a 4th year Architectural studio and is an Adjunct Professor at California College of Arts in San Francisco/Oakland, teaching Architectural Design and Sculpture Studios, and has been teaching since 1989.