Articles | ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 Sophie Kahn Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/48131-under-the-radar-sophie-kahn-christopher-t-wood-richard-silvaggio" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/53159-sophie-kahn" target="_blank">Sophie Kahn</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I&#39;m interested in the unintended emotional resonance created by new imaging technology: the idea of ghostliness or haunting, a lack of life that is present in (specifically) 3D renderings that attempt to capture life.&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>While I have tremendous respect for artists whose work engages social practices and changes the face of communities and cities, my work personally engages with more individual and interior concerns. It engages with wider questions in an oblique and poetic way&mdash;for example, the violence of technological representation, and the way that an imaging device can capture the female body and the ways in which bodies can resist these attempts at capture. Speaking only for myself, I believe that my responsibility as an artist is to retain sight of the heart of my desire to make art and continue my practice, without being too swayed by trends and the demands of the art market and the art world at large.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170821091827-TriplePortraitofE.jpg" /></p> <p>&nbsp;</p> <p>I&#39;m not going to bow to clich&eacute; and say my children, although I am proud of them! Instead I&#39;ll say the piece that I am proudest of, <em>Triple Portrait of E</em>. This is a 3D-scanned portrait, made from life, and the model is a student from an artist residency and class I taught at Connecticut College. She had the idea to make a &ldquo;double exposure,&rdquo; so I scanned her, then she turned her head and I scanned her again, overlaying the scan onto the previous file. The result is a condensed portrait of five minutes of motion. I added a digital &ldquo;glitch&rdquo; that infected her eyes and mouth like a polygonal fungus.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p><span style="text-align: center;">During graduate school I came up with a &ldquo;paper proposal,&rdquo; i.e., a proposal for a piece of public art that would never be realized. It was a design for my own tomb. The piece came with an elaborate backstory, with the story being that I was a failed sculptor who never realized any of her large scale works, and that after my death my husband worked with technicians skilled in recovering antique hard drives to piece together this posthumous tribute. It was to be CNC milled in marble and installed in Chicago&#39;s Graceland cemetery with a fictitious date, optimistically about 60 years into the future. Fabricating the work would have cost more than an apartment, though, so I didn&#39;t actually make it and it only exists as renders and as a 3D-printed maquette:</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170821091807-TOmb.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>My advisor in graduate school, Claudia Hart, has curated a number of shows featuring artists working with 3D, including <em><a href="http://www.real-fake.org/" target="_blank">The Real Fake 2.0</a></em> at the Bronx Art Space in 2016. The section on printed sculpture (for which I wrote an essay) features a number of artists whose work I love, including:</p> <p><a href="http://www.morehshin.com" target="_blank">Morehshin Allahyari</a><br /> <a href="http://www.jonmonaghan.com" target="_blank">Jonathan Monaghan</a><br /> She works more in video and animation, but I am also a fan of <a href="http://www.katietorn.com" target="_blank">Katie Torn</a>&#39;s work from that same show.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Sophie Kahn,&nbsp;<em>Periode de Delire II</em>, 2016,&nbsp;3D printed sculpture, gesso, watercolor, plywood)</span></p> Mon, 21 Aug 2017 02:21:46 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Andrea Rugarli | Troy Schooneman | Larry Madrigal <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/488736-andrea-rugarli?utm_source=AndreaRugarli&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Andrea Rugarli &ndash; New York</span></span></a></p> <p><a href="https://www.artslant.com/lon/works/show/1057317?utm_source=AndreaRugarli&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057317/u3azr9/20170729004552-4_3.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="50%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1057327?utm_source=AndreaRugarli&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057327/u3azr9/20170729004559-Tommaso_on_the_Couch.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1057319?utm_source=AndreaRugarli&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057319/u3azr9/20170729004554-28_18.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1057326?utm_source=AndreaRugarli&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057326/u3azr9/20170729004559-Tommaso_at_Covo.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/482551-troy-schooneman?utm_source=TroySchooneman&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Troy Schooneman &ndash; Australia</span></a></p> <p><a href="https://www.artslant.com/lon/works/show/1045962?utm_source= TroySchooneman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045962/u3azr9/20170511085348-engulfed-by-fire.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1045964?utm_source=TroySchooneman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045964/mf2ji7/20170511085350-genet-sailor.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1045957?utm_source=TroySchooneman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045957/mf2ji7/20170511085237-argentinian-athlete.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1045968?utm_source=TroySchooneman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1045968/mf2ji7/20170511085353-portrait-of-a-young-man-with-red-hair.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/475391-larry-madrigal?utm_source=LarryMadrigal&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Larry Madrigal &ndash; Peoria, Arizona</span></a></p> <p><a href="https://www.artslant.com/lon/works/show/1025934?utm_source=LarryMadrigal&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1025934/u3azr9/20170120052508-Madrigal_Larry_1.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="75%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1025935?utm_source=LarryMadrigal&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1025935/mf2ji7/20170120052555-16_Propaganda_1024.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1025939?utm_source=LarryMadrigal&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1025939/mf2ji7/20170120052620-4_foregnown_1024.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/lon/works/show/1025936?utm_source=LarryMadrigal&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1025936/mf2ji7/20170120052601-17_Cheatwood_1024.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 18 Aug 2017 05:04:51 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Polly Borland: Babies Are Us <p>&ldquo;That&rsquo;s a potty mark.&rdquo; Polly Borland points at a large photograph of a doughy ass, the flesh marked not just by the flecks and blotches of middle age, but a large pink welt at the center. It&rsquo;s from sitting on a child&rsquo;s toilet-training seat, and, for the practitioners of paraphilic infantilism (also known as adult baby syndrome) that Borland spent years seeking and photographing in the early 90s, it&rsquo;s as much a badge of recherch&eacute; sexual appetite as a sub&rsquo;s whip marks.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170816080849-1913_pag066-67_copy.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Polly Borland,&nbsp;<em>Julianne at Home</em>, 1994&ndash;1999</span></p> <p>&nbsp;</p> <p>A swift Google search reveals a more recent flowering of the adult baby as a subject&mdash;just last year MTV released <a href="https://www.youtube.com/watch?v=Sf13U1u2OI8" target="_blank"><em>True Life: I&rsquo;m an Adult Baby</em></a>, and the Huffington Post recently reported on the first <a href="https://tykables.com/" target="_blank">brick-and-mortar store in the US</a> to cater exclusively to adult babies. The website Little AB&rsquo;s Babyland dubs itself &ldquo;the fun and friendly place for Adult Babies to play and digress.&rdquo; Such a place did not exist, or at least was much more rare when the photographs comprising Borland&rsquo;s series <em>The Babies</em> were taken. She found her subjects by combing through back-page ads in fetish magazines, and their trust was less easily won than the adult baby subjects of, say, <em>Extreme Love, </em>or even <em>My Strange Addiction.</em> The enduring uncanniness of this collection is the lack of anthropological pretense. Even though the project began as an assignment for the British newspaper the <em>Independent</em>, Borland continued to visit the babies, men and women with jobs and obligations that they fulfilled well enough to have the time and disposable income for these communal, ritual acts of regression. There is dissonance not only in content&mdash;a large hairy foot stuffed into a small pink shoe, taut lips dripping with baby food&mdash;but in the construction of the photographs themselves, hovering between the cinematic and the voyeuristic but wholly embodying neither.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170816081025-1913_pag055_copy.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Polly Borland,&nbsp;<em>Cathy at Mummy Hazel&rsquo;s</em>, 1994&ndash;1999</span></p> <p>&nbsp;</p> <p>The concepts of self-care, or self-expression, now seemingly twinned at the forefront of popular consciousness, are mixed up with the notions of identification and otherness that guide conversation around this kind of photography&mdash;one operating at the nexus of documentation and aesthetization. The effect of Borland&rsquo;s lighting is at times eerily close to the gritty glamour of Larry Clark or Nan Goldin. I know glamour is a fraught term for &ldquo;art&rdquo; photography, hinging, as John Berger has pointed out, on a certain kind of social envy. I don&rsquo;t know that Goldin sought to elicit envy in her photographs (her seminal slideshow <em>The Ballad of Sexual Dependency</em> was originally conceived to entertain the very friends who are its subject&mdash;maybe glamour is a feedback loop...) which made the flush of it that rose in me upon first seeing Goldin&rsquo;s work immediately become counter-weighted with guilt. Borland&rsquo;s tremble with something else. How embarrassed are you looking at these photographs? Is it for you or them?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170816081108-1913pag078-79_copy.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Polly Borland, <em>Simey and friends in a motel room, Melbourne, Australia</em>, 1994&ndash;1999</span></p> <p>&nbsp;</p> <p>That <em>The Babies</em> might today elicit more of a shrug than a gasp only speaks to the prescience of Borland&rsquo;s project. Before voyeurism became enthralled with the preemptive confessionalism that animates nearly all of our interactions, Borland offered a clear-eyed view of certain mute intimacies&mdash;taboo by dint of sheer vulnerability&mdash;with an eye neither so cold as to merely document or so patronizing as to signal empathy. The elegance of the compositions, approaching something like the plainness of respect, place the onus of identification on the viewer. &nbsp;It&rsquo;s important to remember that the last time these photographs were shown, the most ubiquitous fashion trend was the soft, fuzzy, candy-colored Juicy Couture sweatsuit. Little did we know the oft-derided matchy-matchy terrycloth leisurewear was merely a gateway drug to the sartorial phenomenon known as The Snuggie, an adult onesie masquerading as loungewear that we bought ironically but, behind closed doors, used in earnest.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170816081128-1913_pag036-37_copy.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Polly Borland,&nbsp;<em>Linda at Home, Sydney, Australia</em>, 1994&ndash;1999</span></p> <p>&nbsp;</p> <p>The question still posed to the viewer of these photographs is how deep our own rituals go. Spazzed out from careering, strategizing, and trying to make money, I recently followed a friend to a candlelight yoga session. Toward the end, the honey-voiced instructor told us to lay on our backs &ldquo;Now bring your knees up to your ears, grab your feet, and gently rock yourself back and forth.&rdquo; The pose, nearly identical to the one assumed by a diaper-clad, pacifier sucking woman in <em>Linda At Home, Sydney, Australia</em>, is known as the Happy Baby.</p> <p><em>Polly Borland&rsquo;s&nbsp;</em><a href="https://miergallery.com/current/" target="_blank">The Babies</a> <i>continues at Mier Gallery in Los Angeles through August 17.</i></p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/214407-christina-catherine-martinez?tab=REVIEWS" target="_blank">Christina Catherine Martinez</a></p> <p><em>Christina Catherine Martinez is an art writer and comedian based in Los Angeles.&nbsp;</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Polly Borland,&nbsp;<em>Snuggles in Mummy Hazel&rsquo;s Garden</em>, 1994&ndash;1999. All images: Courtesy of the artist and Mier)</span></p> Wed, 16 Aug 2017 07:21:38 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Printing Paris: The Route (Part 1) <p><em>&ldquo;Printing Paris&rdquo; is the blog of ArtSlant&rsquo;s&nbsp;<a href="https://www.artslant.com/ny/foundation" target="_blank">Georgia Fee Artist-in-Residence</a>, Shoshana Kessler. Kessler is undertaking a contemporary resetting and retracing of Hope Mirrlees&rsquo; experimental poem,&nbsp;</em>Paris: a Poem<em>&nbsp;(1919), employing a combination of traditional and modern printing techniques. The blog will feature small essays following her research on the poem and Mirrlees as she resets this forgotten masterwork.</em></p> <p>&nbsp;</p> <p>In her essay &ldquo;Street Haunting,&rdquo; Virginia Woolf notes the joy of the aesthetic stroll; an outwards facing wander throughout a city, concerned with &ldquo;[t]he content of surfaces only.&rdquo; This is the eye that capitalism preys upon&mdash;the Sohos and Saint Germains of the world. And yet, here, capitalism also acts as proviso: an acceptable excuse for the gendered activity of <em>street walking</em>. Woolf&rsquo;s example: leaving the house to buy a pencil.</p> <p>Nearly a century on, do women still need excuses (generally purchased-based) to walk? George Sand dressed as a man to walk the streets comfortably. I walk to supermarkets. Lauren Elkin&rsquo;s&nbsp;<a href="http://laurenelkin.tumblr.com/books" target="_blank"><em>Fl&acirc;neuse</em></a> has recently undertaken a thorough investigation into the genealogy of the female walker. But, as Elkin&rsquo;s personal histories demonstrate, whether women feel comfortable walking when and as they please is a question that can only be answered subjectively (as well as contextually).</p> <p>A large part of my research in Paris involves walking alone: re-tracing the route of Mirrlees&rsquo; poem. This is not a unique endeavor. In 2016, Mirrlees scholar and writer Sandeep Parmar re-walked most of it for a <a href="http://www.bbc.co.uk/programmes/b0831fpk" target="_blank">BBC Radio 3 production</a>. And unwitting tourists follow the route, day in, day out. Mirrlees calls at the Louvre, the Eiffel Tower, P&egrave;re Lachaise, the Seine. These are hardly the underground haunts of Parisian subculture. Between the tourists, the scholars and myself, her route has been&mdash;someway or the other&mdash;stepped.</p> <p>By my estimations I have walked around 70,000 steps and recorded about 10 hours of said wandering. The route, in all honesty, doesn&rsquo;t make much sense. It was never really built for climbing: destinations are re-visited, fused, and disappear altogether. I have adapted it for my own means.</p> <p>&nbsp;</p> <p><strong>Route</strong></p> <p>A good walker maps her points of reference. Beneath is a list of the main sites called upon within the poem:</p> <ol> <li>NORD-SUD (line number in <em>Paris</em>: 2)</li> <li>CONCORDE (l.17)</li> <li>The Tuileries (l.20)</li> <li>Arc de Triomphe (l.55)</li> <li>Rue St. Honor&eacute; (l.67)</li> <li>Bon Marche (l.95)</li> <li>The Louvre (l.116)</li> <li>P&egrave;re Lachaise (l.175)</li> <li>Grand(s) Boulevards (l.198)</li> <li>The Seine (l.269,</li> <li>Eiffel Tower (l.273)</li> <li>Rue de Beaune (l.321)</li> <li>Place des Vosges (l.335)</li> <li>L&rsquo;impasse des deux anges (l.347)</li> <li>Le Petit-Palais (l.394)</li> <li>Moulin Rouge (l.422)</li> <li>The Abbaye of Port Royal</li> </ol> <p>&nbsp;</p> <p><strong>NORD-SUD&nbsp; (1)</strong></p> <p>Nord-Sud was an early line operator in the Paris m&eacute;tro (established 1904). It ran three separate routes: A, B, and C. A&mdash;the line the poem is concerned with&mdash;connected Montparnasse to Montmartre for the first time, linking two important cultural hubs together. In 1930, CMP (Compagnie du chemin de fer m&eacute;tropolitain de Paris) absorbed Nord-Sud. Line A became Line 12, which it remains today. Chambre des D&eacute;put&eacute;s, mentioned in the poem, is now Assembl&eacute;e National.</p> <p>Mirrlees first visited Paris in 1913 with her friend Karin Costelloe, right in the midst of line A&rsquo;s construction. By the time she returned with Jane Harrison in 1918, the line had been running in its full capacity (it was extended to include Jules Joffrin to Port de la Chapelle) for two years. Stops included <em>Rue du Bac, Solf&eacute;rino, Chambre des D&eacute;put&eacute;s</em>, lines 7&ndash;9 in the poem:</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170814085027-Screen_Shot_2017-08-14_at_10.49.17.png" /></p> <p><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170814085210-166px-Plakat_Cheret_95.jpg" style="margin: 10px 20px; float: left;" /></p> <p>(Dubonnet, a wine-based aperitif, had a recognizable art deco aesthetic, and advertisements were scattered about the underground. Kafka, for instance, ruminating on his m&eacute;tro experience, noted that the placing of such Dubonnet adverts were &ldquo;very well-suited to being read, expected and observed by sad and unoccupied passengers.&rdquo;)</p> <p>Hector Guimard (1867&ndash;1942), a famed architect and Art Nouveau practitioner,&nbsp; designed the early Paris m&eacute;tro signage and type. There are two main types of Guimard entrances: <em>les &eacute;dicules</em>: large glass covered canopies, found at the Abbesses stop (line 12), Porte Dauphine (line 2), and Ch&acirc;telet. Elaborate, ornate and generally bug-like in exterior, they were nicknamed <em>Libellules&rsquo;</em> (dragonflies). The second is simpler: cast iron kiosks and balustrades, framed with two cast iron pillars shaped to resemble <em>brins de muguet</em>, or stalks of the lily of the valley.</p> <p>Within the Art Nouveau collection at the Mus&eacute;e D&rsquo;Orsay you can find a history of Guimard&rsquo;s original designs of the m&eacute;tro edifices, alongside examples of his interior design (armchairs, mirrors, chairs). The collection displays large early drawings of structural supports, motifs and fonts, as well as a large &ldquo;METROPOLITAN&rdquo; sign.</p> <p>The overt embellishment of the design, drawing on the &ldquo;natural&rdquo; fluidity of plants and insects<em>, </em>was an attempt to get Parisians eager to travel subterranean via making the journey a spectacle. It worked, insofar as it became instantly emblematic. Guimard&rsquo;s name became synonymous with Art Nouveau in France, to the extent that it was commonly called &ldquo;le style metro&rdquo; or<em> </em>&ldquo;Guimard style.&rdquo; Susan Sontag regarded the Guimard entrances as the most developed form of the &ldquo;Camp&rdquo; aesthetic. About two thirds of the way through the poem, the streets of Paris dissolve into spectacle and performance, including an oncoming &ldquo;Ballet of green Butterflies.&rdquo; Almost certainly referring to the flurry and rush at the end of the working day, <em>Paris </em>is interspersed with these little nods to the underground.</p> <p>Nowadays, the typography inside the station often uses a modified version of Adrian Frutiger&rsquo;s &ldquo;Univers&rdquo; typeface. The variant was created and installed between the 1970s and 1990s. This mixture of Guimard and Univers&mdash;the first inherently &ldquo;Parisian,&rdquo; the other a sans-serif found throughout the modern world&mdash;makes for a strange hybrid. As traveling underground settled, we can view this patchwork of type as somehow commemorative: the shift from spectacle to normality.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170815150818-Magasins_Re_unis_171_-_PARIS_-_Station_du_Me_tropolitain_-_Place_de_la_Bastille.JPG" /></p> <p style="text-align: center;"><span style="font-size:10px;">The Guimard kiosk, an example of the <em>Libellules</em> and Guimard font<em>,</em>&nbsp;at Place de la Bastille Paris metro was destroyed in 1962.</span></p> <p>&nbsp;</p> <p><em>Nord-Sud</em> was also a small avant-garde magazine, run by Pierre Reverdy, Guillaume Apollonaire, and Max Jacob between 1914 and 1918. It was devoted to new writing and art.</p> <p>Similar in scope to the more famous <em>Litt&eacute;rature </em>magazine (1919), it published, among others, Louis Aragon, Tristan Tzara, Georges Braques, Paul Derm&eacute;e, Andr&eacute; Breton, Vicente Huidobro, Phillipe Soupault, Jean Paulhan. It&rsquo;s a male dominated list. In fact, it&rsquo;s a male-only list. Looking through the previous editions, there doesn&rsquo;t seem to be a single female contributor in any of the fourteen issues.</p> <p>One of the only influences of <em>Paris </em>directly acknowledged by Mirrlees is Jean Cocteau&rsquo;s <em>Le Cap de Bonne Esp&eacute;rance</em> (The Cape of Good Hope), also published in 1919. Cocteau&rsquo;s poem is a celebration of the pilot Roland Garros, who was Cocteau&rsquo;s lover. Immediately similar to <em>Paris </em>in terms of linear experimentation, <em>Le Cap&rsquo;s </em>fragmented nature serves to illustrate the power of a plane in flight, paying respect to these conquering technologies (and especially prevalent in relation to the end of the world war). Cocteau read the poem at Monnier&rsquo;s La Maison des Amis des Livres in February. Breton was there. Soupault was there, and according to a draft of a letter from Cocteau, trotted behind Breton like a &ldquo;nice little myopic goat.&rdquo; Andr&eacute; Gide was there too, with his lover. It seems very likely that Mirrlees was there. Women are harder to trace.</p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/478156-shoshana-kessler" target="_blank">Shoshana Kessler</a></p> <p><em>Shoshana Kessler is a printer and publisher at&nbsp;<a href="https://www.hurststreetpress.co.uk/" target="_blank">Hurst Street Press</a>.</em></p> <p>&nbsp;</p> Wed, 16 Aug 2017 10:40:56 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Caroline Augusta Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/47911-under-the-radar-graham-macaulay-al-anood-al-obaidly-nari-kim" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from&nbsp;<a href="https://www.artslant.com/global/artists/show/481200-caroline-augusta" target="_blank">Caroline Augusta</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I aim to bring awareness to a concept or cause that doesn&rsquo;t get the airtime it deserves. The constant stimulation and force-fed nature of our society distracts us from what is truly important in keeping life on Earth alive and well.&nbsp;</p> <p>Most of the work I make is an emotional response to an injustice I&rsquo;ve witnessed in everyday life or the media; it raises up a voice that doesn&rsquo;t always get heard or noticed. My goal is to encourage the viewer to speak up for what they believe in, express themselves, and to stand with others against the bullies that rule much of our planet.&nbsp;</p> <p>Other parts of my work are therapy&mdash;I make art when I&rsquo;m overwhelmed, heartbroken, confused, angry, or bored in order to process my emotions and as a way of helping others to not feel alone when they&rsquo;re processing them as well. Making art is how I feel alive.&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>From my perspective an artist should be passionate and fearless with their work. It&rsquo;s difficult to find inspiration and drive consistently&mdash;that type of energy requires discipline and sacrifice at times&mdash;but I believe it&rsquo;s what every artist should do. I hope artists of all disciplines remain true to their vision and curious enough to dig deeper than what they find on the surface.&nbsp;</p> <p><strong>Show us the greatest thing you ever made (art or not)?</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170812112823-RainbowWarrior3.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">&nbsp;<a href="http://www.carolineaugusta.com/" target="_blank">Caroline Augusta</a>&nbsp;&amp;&nbsp;<a href="http://taradeatonphoto.com/" target="_blank">Tara Deaton</a>, <em>Rainbow Warrior</em>, 2016, Recycled material</span></p> <p>&nbsp;</p> <p>The making of <em>Rainbow Warrior</em> and <em>Black Widow</em> were both incredible experiences because of the collaborative effort that went into them. When I work, I get tunnel vision and become borderline obsessed&mdash;working around the clock and talking/thinking about that piece until it&rsquo;s complete. The co-collaborators on both of these projects met my energy and we poured our hearts into it naturally, creating a workflow that was both fun and challenging. We trusted and respected each other&rsquo;s opinions which gave us freedom and opened our perspectives in ways we hadn&rsquo;t gotten the chance to experience before. These pieces opened my mind to possibilities I didn&rsquo;t realize existed prior.&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/129741165" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;"><a href="http://www.carolineaugusta.com/" target="_blank">Caroline Augusta</a>&nbsp;&amp;&nbsp;<a href="https://www.artbypasco.com/" target="_blank">Pasco</a>, <em>Black Widow</em>,&nbsp;2015, Stop motion video</span></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>Anything is possible from here :)&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><u><a href="http://www.mariannaignataki.com/" target="_blank">Marrianna Ignataki</a></u>,&nbsp;<a href="https://open.spotify.com/artist/2p7OGENFwg4WWTUdFmDigd?si=Rl6B4SdN" target="_blank">AO Anderson</a>, and&nbsp;<a href="http://myowangs.tumblr.com/tagged/writing" target="_blank">Madison Lily</a>.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> Mon, 14 Aug 2017 01:28:51 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Ely Tahan | Sylwia Tur | Marie Tomanova <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/38409-ely-tahan?utm_source=ElyTahan&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Ely Tahan &ndash; Los Angeles</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1009564?utm_source=ElyTahan&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1009564/u3azr9/20161001041909-PolytopiaResorts_09.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1055237?utm_source=ElyTahan&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1055237/y8wnrh/20170716042938-Polytopia_Strata_InstallationView_03.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1009349?utm_source=ElyTahan&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1009349/y8wnrh/20160929200624-PolytopiaResorts_02.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1055238?utm_source=ElyTahan&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1055238/y8wnrh/20170716042945-Polytopia_Strata_RoomView_03.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/183841-sylwia-tur?utm_source=SylwiaTur&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Sylwia Tur &ndash; Seattle</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/358888?utm_source=SylwiaTur&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/358888/u3azr9/20101008124106-Tur_S_10.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/358853?utm_source=SylwiaTur&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/358853/mf2ji7/20101008115952-Tur_S_04.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1058036?utm_source=SylwiaTur&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1058036/y8wnrh/20170802062257-03_Continuum.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1058031?utm_source=SylwiaTur&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1058031/mf2ji7/20170802062104-05_Duality.JPG" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/455148-marie-tomanova?utm_source=MarieTomanova&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Marie Tomanova &ndash; New York</span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1057388?utm_source=RachelFrank&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057388/u3azr9/20170729123404-Marie_Tomanova-14.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1057383?utm_source=RachelFrank&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057383/y8wnrh/20170729122014-Marie_Tomanova-3.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1057387?utm_source=RachelFrank&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057387/y8wnrh/20170729123307-Marie_Tomanova-11.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1057390?utm_source=RachelFrank&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057390/y8wnrh/20170729123848-Marie_Tomanova-18.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Sat, 12 Aug 2017 03:58:24 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: William Wolfgang Wunderbar <p><a href="https://www.facebook.com/lovehahawow" target="_blank">William Wolfgang Wunderbar</a> is an internet art enigma. No one knows this artist&rsquo;s gender, nationality or even if they are one person or multiple people working under the same name. What is known is that they could well be the most prolific artist on the internet. Wunderbar produces a constant stream of work, uploading it everyday, sometimes multiple times a day. When the work is seen as a whole it begins to feel like they are trying to distill the entirety of the internet and social media into a single, massive, ever-expanding piece of art.</p> <p>Facebook seems to be Wunderbar&rsquo;s favorite platform for displaying their work, through their own page and various like-minded groups. These include <a href="https://www.facebook.com/groups/perfectusers/" target="_blank">Perfect Users</a>, a group that they co-created which encourages its member to contribute work reflecting on &ldquo;the use of social media through perfect-profiles, passwords and interfaces.&rdquo;</p> <p>Wunderbar is at the vanguard of artists dissecting and exploiting the rules and quirks of social media through artwork created specifically for it. The platform becomes both the gallery for, and subject of, the art displayed there. This creates a fascinating and subversive digital-alchemy that begins to reveal the hidden nature of social media itself, as well as our increasingly complicated relationship with it.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809141544-artslant_introduction_pseudonym_16832130_218147525326799_6071337573835107832_n.jpg" /></p> <p>&nbsp;</p> <p><strong>Christian Petersen: Why do you choose to work under a pseudonym, and how did you choose that name? </strong></p> <p><strong>

William Wolfgang Wunderbar:</strong> The names I choose and the nicknames that are given to me are many and have their own &ldquo;lifespams.&rdquo; To me names are part function and part theatre. Most vital is that a name works in its social or artistic setting. In this case it is more a project title. A new name allows me to express myself more freely in new ways without the history and context a previous name bears. I chose &ldquo;William Wolfgang Wunderbar&rdquo; as a reference to the World Wide Web which has inspired me from the beginning of its existence and continues to fascinate me.</p> <p>I like to question identity. I&rsquo;ve been asked if I&rsquo;m male or female; one person or several people. I like to keep this open and neutral: it is the stage for the images/ideas to act themselves out&mdash;backstage is where I keep the &ldquo;private&rdquo; and &ldquo;personal&rdquo; matters.</p> <p><strong>CP: How would you describe yourself?</strong></p> <p><strong>WWW:</strong> Love wow haha&mdash;or, as &ldquo;another you.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809141634-Screen_Shot_2017-08-08_at_00.46.20.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What were your earliest memories of the internet?</strong></p> <p><strong>WWW:</strong> From an early age I have been very audio-visually and story focused. A strong early memory is dialing up using the phone with a modem, especially the noises it made while connecting. Even more exciting was browsing Google Images! It would take forever to load only a few tiny preview images, but these gave me a window to the world while I waited eagerly for more.</p> <p>An &ldquo;urgent&rdquo; phone call by a family member would usually end these precious sessions. Often only a half page of search results would have been loaded by that time: the rest of the page remained filled with white boxes and the promise they held&mdash;visual worlds I might never come across after disconnecting: forever &ldquo;to be continued&rdquo;...or not.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809143552-Screen_Shot_2017-08-07_at_22.04.24.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What were your first experiences with social media?</strong></p> <p><strong>WWW: </strong>It took me quite a while to get active on social media. I was several years &ldquo;late&rdquo; on Facebook, most people around me were already using it. It was when I moved abroad that I became a perfect user for the first time - so I could stay in touch(screen) and nose around the lives of my friends back home.</p> <p><strong>CP: You seem to have a particular affinity with Facebook&mdash;why?</strong></p> <p><strong>WWW:</strong> Facebook is an interesting platform: because it is so popular in so many regions of the world they continuously adapt and evolve their interface and services. It has a very interactive aspect and continues to help me in my quest to discover and get in contact with like-minded creators&mdash;more so than through other platforms.</p> <p><strong>CP: What would you do to improve it in terms of presenting or promoting art? </strong></p> <p><strong>WWW:</strong> I don&rsquo;t dislike much about it, even parts that I initially dislike offer interesting creative challenges, to have fun with or make fun of. I&rsquo;d like it to be less about notifications (for example Instagram re-arranges and groups older notifications) and more like a big, interactive canvas to play and co-create on.</p> <p><strong>CP: How would you describe your relationship with algorithms?</strong></p> <p><strong>WWW:</strong></p> <p style="margin-left: 80px;">&bull; We&rsquo;re single.
</p> <p style="margin-left: 80px;">&bull; We&rsquo;re married
</p> <p style="margin-left: 80px;">&bull; We have an open relationship.
</p> <p style="margin-left: 80px;">&bull; It&rsquo;s complicated.
</p> <p style="margin-left: 80px;">&bull; Other.


</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809141801-Screen_Shot_2017-08-07_at_23.32.22.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: Why do you think people are compelled to share so much personal information on social media?</strong></p> <p><strong>WWW:</strong> I have no idea. Well I do have many. But above all I&rsquo;m very amazed by it. Maybe it&rsquo;s the quick-fix-satisfaction of filling out forms. The reward-center in our brain seems to love social media and sponsors our behavior with dopamine. Or perhaps it is about fitting in the system or being the best of the class. But there&rsquo;s more than that involved: exhibitionism and voyeurism seem to be very big aspects. I also like to compare it to self-(un-)censored journalism/broadcasting: to define and mark &ldquo;my&rdquo; existence, not only by being &ldquo;seen&rdquo; but also, through reacting to what I see (&ldquo;I make a difference when I &lsquo;like,&rsquo; &lsquo;wow,&rsquo; or &lsquo;haha&rsquo; your photo/opinion&rdquo;).</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809141850-artslant_15726927_184540715354147_5435627206139349070_n.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p>All in all it is not very definable but we can try to define it for fun: social media are contemporary avenues to present yourself and the matters you find important or interesting, to the world. In my experience I have observed several kinds of use. To answer this question I&rsquo;ve bluntly categorized them into five &ldquo;user-styles&rdquo; (with the focus on Facebook users):</p> <p style="margin-left: 80px;">&bull; As personal/professional advertising (&ldquo;Look at me, I&rsquo;m beautiful and amazing/professional and my life/business is amazing, my life is perfect, be like me or at least become a fan&rdquo;).
<br /> &bull; As a private/public photo album (&ldquo;look at me, look at me... and look at my cat, look at my dinner and look I&rsquo;m on holidays... and did I mention this photo of me?&rdquo;).
<br /> &bull; As a stage for personal opinions and clicktivism (&ldquo;listen to me, let me tell you about this and that, agree with me, like and share my opinion&rdquo;).
<br /> &bull; As a (co-)creative tool/showcase to inspire and get inspired (wow love haha).
<br /> &bull; And the final category: Perfect Users in the suburbs of Facebook. As a twist on the previous category(s)&mdash;observant people who are sensitive to the various modalities of use. Aware of the categories and the content-forms they produce and creatively responding to these movements by playing with their particular tones: using, recycling, and transforming it into (co-)meta-content. Thus reflecting back into the newsfeed in subtle or excessive ways for others to enjoy or take on board and question their own user-behavior. (&ldquo;How do you use the platform we share? What do you care about displaying and liking?&rdquo;)
</p> <p>I/we personally prefer the last two categories and mostly enjoy the company and content of the persons and users who agree with me/us. (&ldquo;Like and share this interview, just now!&rdquo;)</p> <p>(or not) Actually it&rsquo;s interesting to be a tourist from time to time in the bustling streets of &ldquo;conventional&rdquo; user-land, to keep in touch with reality&mdash;I mean, absurdity&mdash;and to scroll through cappuccino portraits on Instagram and sooner or later run back to the suburbs of Facebook to report the latest news and observations in <a href="https://www.facebook.com/groups/perfectusers" target="_blank">facebook.com/groups/perfectusers</a>.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142006-wiwowu_interfacebook_monkey_react_artslant_19702393_286829701791914_4276574812577328541_n.jpg" /></p> <p>&nbsp;</p> <p>I loved this question. And the answer. And you agree. Yes you do.</p> <p><strong>CP: You described your work as &ldquo;joyfully mutating curiosity.&rdquo; Can you expand on what that means?</strong></p> <p><strong>WWW:</strong> This means &ldquo;style&rdquo; is an ongoing (r)evolving process which I discover/uncover with great joy every step along the way. Every image/animation/word-game becomes part of the creative compost and can return at any given moment in a different way. This description also allows me to change direction any time and not be restricted by something that would be called &ldquo;my style&rdquo; or &ldquo;my work.&rdquo; It opens the space of imagination more widely for creativity to flourish. It&rsquo;s more a motto than a description: the joy, the mutations and the curiosity are all aspects of and perspectives from my being: they evoke the adventure and continuous process of creation (&ldquo;curiosity&rdquo; can be replaced with &ldquo;obsession&rdquo; or &ldquo;visuals&rdquo;).</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" class="giphy-embed" frameborder="0" height="480" src="https://giphy.com/embed/l3vRaCcLrybocJ7jO" width="480"></iframe></p> <p>&nbsp;</p> <p><strong>CP: Can you give an example of how your ideas evolve from conception to completion?</strong></p> <p><strong>WWW:</strong> There are infinite ways for ideas to be conceived and completed. Some ideas come in a flash of inspiration, when I&rsquo;m in the zone or when I see someone&rsquo;s work, and can be completed within a few minutes or even seconds. Others gradually (r)evolve in a process which can take anything from minutes up to years. Some ideas pop up in my mind and sooner or later I find out that someone had the same idea and worked on it, so they get appreciated and checked off the to-do list. Some ideas get caught in a sketch, a short description or an image, and hibernate for a long time in the archives, to be, or not to be elaborated when the time is right.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142046-Screen_Shot_2017-08-08_at_00.20.22.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What does glitch art mean to you? When did you first experiment with it?</strong></p> <p><strong>WWW:</strong> I&rsquo;ve been glitch-aware for several years, but it&rsquo;s only been in the past year that I&rsquo;ve started studying and working on it more intensively; I&rsquo;ve learned to do some datamoshing, hex-glitching, bmp databending, rgb-splitting and other forms and techniques of distorting (audio)visuals. What&rsquo;s interesting to me is not so much the error/mistake/unintended in itself but, rather, the glitch aesthetics, in other words the intentional glitch as a visual element in combination with other visual styles. In a way it&rsquo;s similar to meta-art, where the error in this case makes you more aware of the medium itself, as it &ldquo;destroys&rdquo; the illusionism (for example in video, the error can make you more aware that you&rsquo;re watching a screen) and exposes some of the &ldquo;magic&rdquo; behind/inside the system.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/y6H6QHibslE?rel=0&amp;controls=0" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:12px;">
An example of datamoshing, a glitch technique for videos.</span></p> <p>&nbsp;</p> <p>The series #interfacebook plays with this, being a kind of semi-glitch/cyborg art. I took parts of the interface and made Photoshop fill out the rest of the image with the &ldquo;content aware&rdquo; function. I think it is interesting to generate images that play with perceptions and undermine expectations; that take the form of something familiar, but subtly or strongly subvert it.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142156-Screen_Shot_2017-08-07_at_22.11.12.jpg" /></p> <p>&nbsp;</p> <p>You could call it misleading or realigning perspectives. I like to provoke the audience of such works, make them question: &ldquo;What am I looking at? Is it an ad, a work of art, a practical joke, an accident; something unfinished, something mis-allocated; a stolen (stock)image or movie-still; cheaply executed propaganda; the work of a bot; spam; a virus; a popup-discount offer; a scam; a shambles; something perverted or a fetish; some hype that I&rsquo;m not aware of; or just amorphous digital vomit?&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142223-hahahalovely.jpg" /></p> <p>&nbsp;</p> <p>

Our mind/being seems to be trained to quickly interpret visual inputs and categorize them either as something wanted or unwanted, and with many images this is easy due to our (recent) history and current context. A part of my visual investigation is to generate visuals that don&rsquo;t pass through any of these pre-fab filters, and take more time to decipher and categorize, or need a new category to be created for them. To perhaps provoke a moment of wonder or as a &ldquo;visual koan,&rdquo; to lovingly &ldquo;crash&rdquo; the mind temporarily. Because with each new perspective reality and experience changes.</p> <p>How do images work? Which are the images that we can categorize in a split second? How to subvert them? 

As when I was growing up, I still love searching through and generating imagery, making compositions and combinations unlike anything I&rsquo;ve yet seen. The thrill of the new is still there, even after everything that has been&mdash;it is infinite.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142400-Screen_Shot_2017-08-08_at_01.16.19.jpg" /></p> <p>&nbsp;</p> <p><strong>
What is the Perfect Users Collective? How did it begin?</strong></p> <p><strong>WWW:</strong> The Perfect Users Collective is a group of digital artists and enthusiasts that share a common, co-meta visual and conceptual interest and outlook. Anyone who brings good vibes is welcome to join and play/remix. The main platform we use is a Facebook group, but it has also extended beyond this, into <a href="https://perfectuserscollective.tumblr.com/" target="_blank">the blog</a> and other activities. It works as a mimetic hive-mind where a small idea or image can explode and influence many people&rsquo;s styles and ways of working. Its origin is based on several &ldquo;events.&rdquo; One of the main inspirations has been <a href="https://www.facebook.com/pazworlds" target="_blank">Sacha Tonocovich</a> (formerly known as Pass Word, this profile is an art project by Carolina Kleine Samson and is openly accessible by anyone; the username and <a href="https://www.facebook.com/photo.php?fbid=343262412770650&amp;set=a.106820296414864.1073741826.100012606816015&amp;type=3&amp;theater" target="_blank">password</a> are public), who made several online artworks about &ldquo;the Facebook police&rdquo; and the &ldquo;Perfect User.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142459-Screen_Shot_2017-08-07_at_23.57.43.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Courtesy of Sacha Toncovich</span></p> <p>&nbsp;</p> <p>Then my previous Facebook profile got banned and deleted, and I &ldquo;lost&rdquo; my &ldquo;digital&rdquo; art friends/groups. All these things led to the idea of a &ldquo;Perfect Users Group Selfie,&rdquo; and finally a Facebook group with the name Perfect Users in order to stick together and to attract more like-minded people/users to generate more of such &ldquo;art&rdquo;/images/ideas.</p> <p>We gave the group a description (&ldquo;Perfect Users in the Suburbs of Facebook. All Members are Part of the &lsquo;Perfect Users Collective&rsquo;&rdquo;) and tags: &ldquo;Peaceful Warrior, Love, Social Media, Glitch Art, Portraits.&rdquo; Later on the tags evolved into &ldquo;Remix, Dijital Antropoloji, Nonviolent Peaceforce, Lovely Creatures, Social Media Examiner.&rdquo; The group is not only focused on generating Facebook-related images and posts; it&rsquo;s also generally about the use of social media through perfect profiles/passwords/interfaces. Screenshot, remix, glitch and (digital) pirate culture is highly encouraged. Right from the start ( November 2016) there have been many interesting collaborations and remixes where everyone influenced each other in a positive way, and a selection of images has been posted on the blog.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142548-Screen_Shot_2017-08-08_at_02.19.52.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What is Free The Pixels? Why do you think open source is important in digital art?</strong></p> <p><strong>WWW:</strong> <a href="https://www.facebook.com/groups/free.the.pixels/">Free The Pixels</a> is a Facebook group that allows digital artists to share their recent work and, through this act, they give permission for others to remix it without restrictions. It&rsquo;s a very inspiring and creatively nurturing community. I think crossbreeding and collaboration can be uplifting influences for artists. Appropriation and remixing are very exciting aspects of (digital) art making to me. I don&rsquo;t know if open source in digital art is important, but it definitely helps artists advance quicker with tools and images that are free to use and change.
</p> <p><strong>CP: 
Do you see your work as political?</strong></p> <p><strong>WWW:</strong> Everything is (unless it&rsquo;s not).</p> <p><strong>CP: There is an anarchic aspect to your work and how you present it. Do you agree? Do you see it as subversive?</strong></p> <p><strong>WWW:</strong> As I have several styles, not all are necessarily anarchic or subversive. The Perfect Users Project might appear to be, but that depends on your personal definition of anarchy. To me it&rsquo;s more about questioning consensus reality: finding and sharing new perspectives&mdash;and simply having fun.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142725-Screen_Shot_2017-08-08_at_00.34.28.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: Do you see your work as psychedelic?</strong>
</p> <p><strong>WWW:</strong> Some images may appear to be psychedelic, but what counts as psychedelic or not is an open question to me&mdash;many different styles and forms of art seem to depict other realities and dimensions and often warp visual and conceptual perception.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142747-3oz8xQ0eRCho0V02kg.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>CP: You often use optical illusions/effects in your work. Why are you interested in playing with people&rsquo;s perception?</strong></p> <p><strong>WWW:</strong> I&rsquo;m mostly interested in playing with my own perception and exploring ways to juice the technology. The act of scrolling is one aspect I engage with, through my moire / <a href="https://www.facebook.com/search/top/?q=%23scrollOP" target="_blank">#scrollOP</a> pieces&mdash;I enjoy putting them in the Facebook stream, as eye-catchers, in between the selfies, news articles, and advertisements. A break or holiday from regular content.

</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142851-artslant_scrollOP.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: You are very prolific, producing work everyday. How do you find the time?</strong></p> <p><strong>WWW:</strong> I don&rsquo;t have to do it: it&rsquo;s more a case of when I&rsquo;m inspired and &ldquo;in the zone&rdquo;&mdash;which just happens to be often! I love the act of making and sharing images and ideas and making time for it.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809142918-combo_digifable_artslant_wiwowu_Untitled-3.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: 
Can you talk a little about what you do besides making art?</strong></p> <p><strong>WWW:</strong> I love observing animals, insects, plants, humans, architecture and landscapes; also biking and listening to music or audiobooks; or studying a wide range of topics. But mostly to practice all kinds of creative skills and crafts, be it sewing or building installations.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809143003-Screen-Shot-2017-08-08-at-02.08.11.jpg" /></p> <p>&nbsp;</p> <p><strong>

CP: You are also interested in nature/the natural world. How does that influence your digital world?</strong></p> <p><strong>WWW:</strong> When you pay close attention, animals and plants can be great teachers and visually very interesting.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809143101-artslant-17201025_224976684643883_9040411586399408261_n.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What do you love most about the internet?</strong></p> <p><strong>WWW:</strong> The access to so much information: tools, audiovisuals, people, etc. Fifty years ago there would be library buses going from town to town, sharing books. Nowadays with a device + internet connection there are infinite rabbit holes of subject matter to go down&mdash;you name it, you can find information about it. There is so much to learn and there are so many skills being shared.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809143406-plethora_of_rabbit_holes_artslant_wiwowu_14720399_136584943483058_3239727255647490879_n.jpg" /></p> <p>&nbsp;</p> <p>A plethora of rabbit holes beyond the mental box.

</p> <p><strong>CP: What do you have coming up?</strong></p> <p><strong>WWW:</strong> Perfect Users will be participating in The Wrong &ndash; Digital Art Biennale, a worldwide digital art extravaganza running from October 1&ndash;January 31&mdash;a celebration of digital art on an unprecedented scale. The Wrong Perfect Users is a further twist in the themes we already explored as a group and will continue to search for the meta-dynamics of performance, process, and presentation. It will fly like a cmeta.</p> <p>(or not)</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170809143437-wrong-artslant-.jpg" /></p> <p>&nbsp;</p> <p>I&rsquo;d like to thank <a href="https://www.facebook.com/adrian.pickett.75" target="_blank">Adrian Pickett</a> for his meaningful feedback and support while answering this interview. Thanks to him it became an inter-interview.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;s happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 09 Aug 2017 09:47:01 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Designing Resistance in Poland: How a Simple Poster Became a Viral Symbol of Protest <p><span><a href="http://lukarayski.com/" target="_blank">Luka Rayski</a> is a Polish artist, illustrator, and designer. In 2016 he was asked to contribute a piece of work on the subject of democracy to a project called <a href="https://www.facebook.com/demokracjailustrowana/" target="_blank">Demokracja Ilustrowana</a> (Democracy Illustrated). The poster he designed has rapidly become the ubiquitous symbol of the resistance against the expanding influence of the far right in Polish politics. Rayski&rsquo;s design brilliantly deconstructs the word <em>konstytucja</em>&nbsp;(constitution) highlighting, in the colors of the Polish flag, the words for &ldquo;you&rdquo; and &ldquo;me&rdquo; hidden within it. This simple, universal message of unity has proved to have broad appeal across a huge cross section of the Polish population.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807181918-20245685_2012463902320386_197894951924417481_n.jpg" /></p> <p style="text-align: center;"><span style="font-size: 10px; text-align: center;">Image courtesy of Demokracja Ilustrowana.</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong><span>Christian Petersen: Can you give a synopsis of the current political situation in Poland for people that might not be aware?</span></strong></p> <p><strong>Luka Rayski:</strong> There&rsquo;s many similarities to the current US situation. Far right populists came to power and they&rsquo;re <a href="http://www.cnn.com/2017/07/21/europe/poland-judicial-bill-pass-upper-house/index.html" target="_blank">dismantling the rule of law</a>. The nation is divided in two. The half of the country my friends and I are in is scared shitless, scared that we might lose freedoms and rights the generation before us fought for.</p> <p><strong><span>CP: How you you describe your own political interests?</span></strong></p> <p><span><strong>LR:</strong> I don&rsquo;t have a favorite political party. I only have a couple of least favorite ones. I&rsquo;m a proud EU citizen. I read and think about politics a lot.</span></p> <p><strong><span>CP: How young were you when you first became aware of the concept of &ldquo;politics&rdquo;? Was there a specific event?</span></strong></p> <p><span><strong>LR:</strong> In 1991, when I was 9, I was spending the summer at the seaside in Poland when the Soviet Union collapsed. I had no idea what it meant, of course, but I remember seeing my parents and their friends bent over the new map of Europe that came with the newspaper. They were very emotional and I knew that whatever was going on, it was more than important.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807182440-20246495_10155215604502839_8622248749473714498_n.jpg" /></p> <p style="text-align: center;"><span style="font-size: 10px; text-align: center;">Image courtesy of Demokracja Ilustrowana.</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong><span>CP: When did you first recognize the concept of &ldquo;graphic design&rdquo;?</span></strong></p> <p><span><strong>LR:</strong> Both of my parents and my only sister are graphic designers so it was always hard for me to imagine life without that concept. However, all the distinctions such as drawing vs. painting, art vs. design, bother me. I believe categories sometimes limit your freedom.</span></p> <p><strong><span>CP: When did you first start to experiment with graphic design?</span></strong></p> <p><span><strong>LR:</strong> I did stuff since I was a kid. I started working with clients around 2002. I&rsquo;ve been working freelance since then.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><span><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807184411-Artboard_1.jpg" /></span></p> <p style="text-align: center;"><span style="font-size:10px;">From left to right:&nbsp;Illegal abortion market in Poland <span style="text-align: center;">&ndash;</span> Polityka magazine,&nbsp;Poster designed for DŁUG / DEBT &ndash; Polish Poster Exhibition at The Living Theatre, NYC,&nbsp;Illustration for story in Polityka magazine.</span></p> <p style="text-align: center;">&nbsp;</p> <p><span><strong>CP: Poland has an incredible, unique tradition of design and illustration. Why do you think that is? What aspects of that tradition have influenced your own work?</strong></span></p> <p><span><strong>LR:</strong> It&rsquo;s true! My guess is that during the communist era (WWII&ndash;1989), state censorship pushed artists of all genres to be smarter than their censors. A lot of thinking had to be put into the work so it could outsmart them. Designers had to &ldquo;smuggle&rdquo; ideas into their work. You have to develop great skills to be capable of delivering a speech with your mouth shut. And so we have a paradox: captivity has fueled freedom of expression.</span></p> <p><strong><span>CP: Can you name a few of you favorite polish designers/illustrators?</span></strong></p> <p><span><strong>LR:</strong> There&rsquo;s too many! <a href="http://culture.pl/en/artist/henryk-tomaszewski" target="_blank">Henryk Tomaszewski</a>&rsquo;s posters and drawings are brilliant. His student and my stepdad <a href="http://culture.pl/en/artist/mieczyslaw-wasilewski" target="_blank">Mieczysław Wasilewski</a> obviously had the greatest impact on me. From my generation, I want to name <a href="http://edgarbak.info/" target="_blank">Edgar Bąk</a>, a friend and an outstanding graphic designer who, along with Marianna Grzywaczewska, runs <a href="https://www.facebook.com/demokracjailustrowana/" target="_blank">Demokracja Ilustrowana</a> and helped preparing the grey background version of the poster.</span></p> <p><strong><span>CP: When did you first make work that you would define as &ldquo;political&rdquo;?</span></strong></p> <p><span><strong>LR:</strong> Everything is political. There&rsquo;s no escape from that. Every time you go out and interact with other people, it&rsquo;s political. Same with putting your work out into the world. In the more strict meaning of the word &ldquo;political,&rdquo; I never make anything that would try to support any group in political power specifically. I think of the konstytucja poster as my emotional commentary on politics.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807184642-20229022_1991086924454877_8369943626318670257_n.jpg" /></p> <p style="text-align: center;"><span style="font-size:10px;">Image courtesy of Demokracja Ilustrowana.</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong><span>CP: When and why did you decide to make the konstytucja poster?</span></strong></p> <p><span><strong>LR:</strong> It was in the summer of 2016, when Marianna Grzywaczewska asked me to contribute to her project called Demokracja Ilustrowana. The invited artists were asked to design a poster on the topic of democracy.</span></p> <p><strong><span>CP: Can you explain a little about the idea behind the poster and its specific graphic layout?</span></strong></p> <p><span><strong>LR:</strong> It&rsquo;s quite banal&mdash;it&rsquo;s the word &ldquo;konstytucja&rdquo; (constitution), syllabized: kon - sty - tuc - ja, with &ldquo;ty&rdquo; (you) and &ldquo;ja&rdquo; (me) highlighted. I feel like it&rsquo;s self-explanatory. &ldquo;You&rdquo; and &ldquo;me&rdquo; are IN the constitution, duh.</span></p> <p><span><strong>CP: How did you distribute it?</strong></span></p> <p><span><strong>LR:</strong> That&rsquo;s the most amazing part of the story! It was all team work&mdash;it started with my friend Mateusz Halawa who fundraised and printed tons of the poster. The first night, in front of the Senate we discovered that instead of taping it to walls it worked much better if we handed it to people. </span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807184853-20246250_1481322628580485_4074143743783029803_n.jpg" /></p> <p style="text-align: center;"><spa style="font-size: 10px; box-sizing: border-box;">Image by<span style="font-size: 10px;">&nbsp;</span><a href="http://bartekmuracki.com/en/" style="font-size: 10px;" target="_blank">Bartek Muracki</a><span style="font-size: 10px;">.</span></spa></p> <p style="text-align: center;">&nbsp;</p> <p><strong><span>CP: When did you first start to realize that its popularity was spreading?</span></strong></p> <p><span><strong>LR:</strong> That first Friday night at the <a href="http://www.cnn.com/2017/07/21/europe/poland-judicial-bill-pass-upper-house/index.html" target="_blank">Senate demonstration</a>, we distributed seven thousand copies within a few hours. The next day my friends were ready with three times that. Every day more copies were being printed thanks to the generosity of regular people. Then the <em>Gazeta Wyborcza</em> (a daily newspaper) put it on its back cover&mdash;which was another 50,000 copies. We decided to give the poster a <a href="https://creativecommons.org/publicdomain/zero/1.0/" target="_blank">Creative Commons Zero License</a>, meaning anyone can do anything they want with it without asking for permission. Last time I checked we had 12,000 downloads of the print-ready <a href="http://demokracjailustrowana.pl/konsTYtucJA.pdf.zip" target="_blank">.pdf</a> from <a href="http://demokracjailustrowana.pl/" target="_blank">demokracjailustrowana.pl</a>. It spun out of control.</span></p> <p><strong><span>CP: Why do you think it&rsquo;s been such success? Why have people embraced it so strongly?</span></strong></p> <p><span><strong>LR:</strong> The &ldquo;constitution,&rdquo; &ldquo;you,&rdquo; &ldquo;me&rdquo; pun is very capacious. It appeals to hipsters, elderly people, working class, middle-class, intellectuals, all kinds of people. Nobody is excluded from the message it carries. The design and colors are very modest, and the format, A3, is in a nice dialogue with the human body. It&rsquo;s a perfect &ldquo;shield&rdquo; for a protester.</span>&nbsp;I was lucky to be given a chance to contribute to the cause, but first of all I&rsquo;m grateful to the many people who made this possible: Marianna Grzywaczewska and Edgar Bąk from Demokracja Ilustrowana and Mateusz Halawa, who started and coordinated the entire action. The printing house people (who wish to remain anonymous) are real heroes. Their contribution fills me with hope in people.</p> <p><strong><span>CP: Have there been any negative reactions to it?</span></strong></p> <p><span><strong>LR:</strong> Some. Some people started posting hateful remixes of the poster&mdash;such us &ldquo;prostytucja&rdquo;(prostitution). It only ensured us that the design is powerful enough. Most of the hate mail made us laugh.</span></p> <p><strong><span>CP: Have you worked on any posters since that one? Do you plan to make more?</span></strong></p> <p><span><strong>LR:</strong> I made a few, and I plan on making more : )</span></p> <p><strong><span>CP: Would you say that there a movement of similarly minded designers/illustrators/artists in Poland?</span></strong></p> <p><span><strong>LR:</strong> I&rsquo;m not sure, I see it as a rather fragmented community but I think it&rsquo;s for the better. During the recent protests there has been a wave of really cool designs visible in the streets&mdash;many of them masterful and interesting, but very different from each other. Diversity!</span></p> <p><strong><span>CP: I don&rsquo;t think that there&rsquo;s such a strong living tradition for political art and design in the west anymore. Why do you think that is?</span></strong></p> <p><span><strong>LR:</strong> I&rsquo;m not sure I agree with you on this. I lived in NYC for a couple of years and many artists I met consider themselves activists. Maybe Poland is still far behind the west; our democracy is more fragile and our discourse here is more dramatic. Our slogans are more general and thus capable of uniting larger parts of society. In the US, where the constitution seems pretty unthreatened, there are many divisions on the left, and many controversies regarding topics such as identity politics. Some of those problems are lightyears ahead of Poland.</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170807185110-4.jpg" /></p> <p style="text-align: center;"><span style="font-size:10px;"><em>Untitled</em>, 2016, 11x14 in., acrylic on wood panel. Courtesy of the Artist.</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong><span>CP: What else are you working on?</span></strong></p> <p><span><strong>LR:</strong> I am preparing my first solo show on Polish soil! The opening is in November in <a href="http://www.galeria-szydlowski.pl/gallery.html" target="_blank">Szydłowski Gallery</a>&nbsp;in Warsaw. It&rsquo;s going to be just paintings. I&rsquo;m very excited.</span></p> <p>&nbsp;</p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times="">&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;" target="_blank">Christian Petersen</a></p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times=""><em style="box-sizing: border-box;">Christian Petersen is the online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" rel="nofollow" style="box-sizing: border-box; background-color: transparent; color: rgb(51, 122, 183); text-decoration-line: none; cursor: pointer; -webkit-tap-highlight-color: transparent;" target="_blank">Digital Sweat Gallery</a>.&nbsp;He writes ArtSlant&rsquo;s bi-monthly Web Artist of the Week column.</em></p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times="">&nbsp;</p> <p background-color:="" font-size:="" new="" style="box-sizing: border-box; margin: 0px 0px 11px; font-family: Georgia, Times, " times=""><span style="font-size:10px;"><em style="box-sizing: border-box;">Image at top</em><em style="box-sizing: border-box;">&nbsp;by</em>&nbsp;<a href="http://bartekmuracki.com/en/" target="_blank">Bartek Muracki</a>.</span></p> Tue, 08 Aug 2017 06:10:32 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Nari Kim Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/47911-under-the-radar-graham-macaulay-al-anood-al-obaidly-nari-kim" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/480581-narikimstudio" target="_blank">Nari Kim</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>My work creates absolute, non-hierarchical situations. In that way, I hope my audiences see/experience absolute, non-hierarchical situations which they might never experience in their everyday lives, and I hope these experiences have a positive effect on their lives.</p> <p>Hierarchy and sign are social byproducts which are derived from a male-dominated history. Because signs decide the class structure between objects and persons, I attempt to erase or decontextualize sign in objects. I indiscriminately aggregate objects which are defined by a male-dominated society. I interpret these objects democratically, and assemble these objects for female-centered situations. I see objects and images as phenomena which need to be broken down.&nbsp;</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I believe an artist&rsquo;s responsibility is to exhibit works which succeed conceptually and/or visually. Ideally, artists should do their best to live up to the values implied by their work.</p> <p><strong>Show us the greatest thing you ever made (art or not)?</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170807074734-NariKim_ArtSlant_01.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>iPad Drawing (Still Life #6)</em>, 2016, plastic, flexi glass, acrylic on iPad protection flim, iPad holder for car, black and white print on vinyl, 64 x 48 x 9 in. Photo: Donnie Kim</span></p> <p>&nbsp;</p> <p>iPad Drawings are my favorite work I have made so far. <em>iPad Drawing (Still Life)</em> (2014-present) is a series in which images are drawn on an iPad screen while the iPad&rsquo;s drawing application runs. The colored images are drawn by hand. The black and white images are created by the iPad&rsquo;s drawing application. The iPad&rsquo;s drawing application captures brush movement as colored images are drawn on top of the screen. The gesture of touching a smartphone and seeing the images in real-time are captured and visualized. Selecting the images which are to be drawn is determined based on Google search results. I draw each image in equal composition.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20170807074716-NariKim_ArtSlant_02.jpg" /></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>I have works for which tentative plans exist, but I don&rsquo;t think of these ideas as works I will never make. I think every artist&rsquo;s ideas have some potential value. In my experience, sometimes I cannot solve a certain problem which creates an obstacle for turning an idea into a fully realized work in the present moment, but the idea remains in my mind and it may lead to unpredictable and positive results in the future. The idea may help me create other works and/or the problem with the idea may eventually be resolved sufficiently to create a work. &nbsp;&nbsp;</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>Here are some artists whom I have worked with who are making great work: <a href="http://www.michaelblake.co/" target="_blank">Michael Blake</a>, <a href="http://mkawstudio.com/home.html" target="_blank">Miatta Kawinzi</a>, <a href="http://rayferreira.net/" target="_blank">ray ferreira</a>, <a href="http://www.ad-acta-lewin.com/#/researchrequest/" target="_blank">Elizabeth Tannie Lewin</a>, and <a href="http://erikpattonstudio.com/" target="_blank">Eric Patton</a>.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <div> <hr align="left" noshade="noshade" size="0" width="100%" /></div> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>Resolution Study (Dancing Water)</em>, 2016, Ironing board, inkjet prints on transfer paper for iron, fabric, laptop, speaker, video clip from YouTube&nbsp;, 67 x 51 x 112 in.&nbsp;All images: Courtesy of the artist)</span></p> Mon, 07 Aug 2017 00:48:14 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Lillian Paige Walton | Shamona Stokes | Jung ji Lee <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/477888-lillian-paige-walton?utm_source=LillianPaigeWalton&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Lillian Paige Walton &ndash; New York</span></span></a></p> <p><a href="https://www.artslant.com/ny/works/show/1033734?utm_source=LillianPaigeWalton&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1033734/u3azr9/20170301214811-Walton_image09.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1033735?utm_source=LillianPaigeWalton&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1033735/mf2ji7/20170301214855-Budsie_1.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1033744?utm_source=LillianPaigeWalton&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1033744/mf2ji7/20170301220452-USBLUES_Wads_20.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/1033738?utm_source=LillianPaigeWalton&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1033738/mf2ji7/20170301215057-kossak2.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/488731-shamona-stokes?utm_source=ShamonaStokes&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Shamona Stokes &ndash; Jersey City, NJ</span></a></p> <p><a href="https://www.artslant.com/ew/works/show/1057312?utm_source= ShamonaStokes&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057312/u3azr9/20170728215719-DSC01636_R2_select.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1057306?utm_source=ShamonaStokes&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057306/mf2ji7/20170728215539-stokes_theid_1.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1057308?utm_source=ShamonaStokes&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057308/mf2ji7/20170728215541-stokes_moondmaiden_1.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1057307?utm_source=ShamonaStokes&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1057307/mf2ji7/20170728215540-stokes_meridianman_1.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/20219-jung-ji-lee?utm_source=JungjiLee&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Jung ji Lee &ndash; Los Angeles</span></a></p> <p><a href="https://www.artslant.com/ew/works/show/537936?utm_source=JungjiLee&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/537936/u3azr9/20120124210359-n2u_68.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/740945?utm_source=JungjiLee&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/740945/mf2ji7/20130919084527-konodama202.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/853537?utm_source=JungjiLee&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/853537/u3azr9/20140918225913-konodama-egg3.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/748004?utm_source=JungjiLee&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/748004/mf2ji7/20131012064050-konodama206.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; 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