Another Bouncing Ball

 Vvoitek Ziemilski

Annie Leibovitz, Whoopi Goldberg

Sharon Shapiro

Juniper Shuey

Steven Miller, from Decode Books’ Milky at Platform

Steven Miller, again:

A Lawrence Weiner installation at a football stadium is impressive, along with everything else opening soon at the Dallas Cowboy’s stadium, previous post here.

What is even less likely to materialize in a football stadium is art that critiques the game as effectively as Grant Barnhart‘s does.

Detail:
George Carlin on the difference between baseball and (American) football here.

Only in Texas do both reactionary politics and advanced art dominate.

Exhibit A is the Dallas Cowboys Art Program in its recently completed stadium. Instead of tapping LeRoy Neiman, somebody the state’s most famous politician is sure to have heard of, aritsts in the lineup are largely but not exclusively abstract or text based:  Franz Ackermann, Annette Lawrence, Olafur Eliasson Ricci Albenda, Mel Bochner, Daniel Buren, Teresita Fernandez, Terry Haggerty, Trenton Doyle Hancock, Jim Isermann, Dave Muller, Matthew Ritchie, Gary Simmons, Lawrence Weiner, Doug Aitken, Wayne Gonzales, and Jacqueline Humphries.

I’m dazzled. There’s a press tour Aug. 11. Press release here.

Martha Stewart is a satire waiting to get out. Not too far beneath the surface of her hints for gracious living are lunatic assumptions about the value of women’s time. Performance artists have spotted the lunacy and exploited it, including Karen Finley, who advised women to save hairs from shower drains and weave them into bath mats: waste not, want not.

Mike Simi is not about to waste his time weaving, although he too is interested in what can be salvaged from the bathroom.

Lint Roller Series: Bathroom Rug

Els Vanden Meersch as a bee, making honeycomb:

Ben Beres as a cat (SuttonBeresCuller):

Bryan Zanisnik – mom and dad as stars in the night sky, with nuclear cooling towers as background shadows and the demised World Trade Center at her feet.

Mandy Greer as a spider:

Fred Muram as a horse, after John Baldessari :

Darren Waterston as a jellyfish:

Susan Robb as an animal made of land:

Claude Zervas as many bears:

Dan Webb as a dandelion:

Gretchen Bennett as her own forest:

Last month’s edition of Flat Stanley’s Steamroller Print Initiative produced prints by Tina Randolph that will be part of Georgetown’s Art Attack on Saturday.

(Last time I checked, the link for Art Attack says July 11, but a similar event takes place Aug. 8, same place. Info on this month’s activities after the jump.)

[Read more…] about Steamrolling into art

I’m convinced. Via

I can’t believe Jen Graves and I are arguing about William Hogarth. My comment was an incredulous, take-it-for-granted, passing swipe in parenthesis in a story about my misgivings on the appointment of Jo-Anne Birnie Danzker as director of the Frye Art Museum:

(Graves also wrote Danzker’s exhibit, William Hogarth: Nationalism, Mass Media and the Artist,
was “awesome-sounding.” Awesome? Hogarth is an illustrator in the worst
sense of the word. He belongs in picture books accompanying stories.)

Her response:

I cannot even address a person who dismisses Hogarth.

Maybe it’s generational. Nobody from my time and place countenances the didactical moralism of Hogarth, the 18th-century’s Norman Rockwell.  It’s hardwired. You can have them both, Jen.

Via.

An Egyptian bust from 1500 B.C. to 1050 B.C. at Chicago’s Field Museum is getting heavy traffic thanks to its resemblance to Michael Jackson.

After Surrealism exhausted all of its possible permutations, it reemerged in Japan as amine and bounced back elsewhere as a delicate version of Pop with a punk twist.

Born and raised in Japan, Toshi Asai has the troubling delicacy down cold. She draws madonnas from a tattoo parlor, outer-space Virgin Marys and their animal companions.