This is a bunch of stuff
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The underground house at 3970 Spencer St. was built for comfort… with two hot tubs, a sauna and an in-ground pool in a room larger than some houses in the valley.
It was also constructed to withstand a nuclear blast. It had to be. Girard “Jerry” B. Henderson, who had the home built in 1978, planned to wait out the end of the world inside the structure. Now it’s on the market for $1.7 million, which includes the two-bedroom underground house, the one-bedroom underground guest house, the two-bedroom, two-story caretaker’s house, a four-car garage and more than 1 acre of surface property.
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“Guyton’s paintings are ostensibly monochromes. Made with an Epson large format printer, these works are printed on pre-primed linen intended for oil painting and not inkjet printing.
As such, the images, marks, and letters Guyton continues to employ are absorbed into the porous material and disperse the ink rather than allowing it, as in his previous works, to ‘sit on the surface.’
Upon discovering this difference in the ink’s interaction with the surface, the artist began to overprint his own paintings with a Photoshop-drawn rectangle ‘filled’ with the color black. By repetitively overprinting, an unexpected painterly process developed. As each piece is created, they transcribe a visual record of the printer’s actions: the trace of movement of the print heads, the varying states of their clogged-ness, the track marks of the wheels on wet ink all mixed with the scratches and smears on the paintings from being dragged across the floor to be fed back again into the printer.”
wow, love these!
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Here Come the Warm Jets
Exhibition, June 6 - 16, 2013.
Curated by Jeanine Jablonski
Upfor Contemporary Art (Opening fall 2013)
929 NW Flanders Street (map)
- René Allen
- Leif Anderson
- Steve Brown
- Will Bryant
- Mami Takahashi
First Thursday Reception: Thursday, June 6, 6 - 8pm
Exhibition Hours: Thursday-Saturday 12 - 5pm
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“An Unexplored Region” is now up on my site, having been successfully tattered at the Strange Utility symposium last weekend. Thanks to all who listened and participated in creating a community by splitting up the map much the same way the cabin on which it’s based was split to create Portland. If you got a page or happened to get some images of the melee that led to the destruction, please do send them along.
Cities are built foundationally on maps, and those maps survive as the urban fabric often beyond they do otherwise as documents. Portland’s first map, drawn in 1844, set up the city’s layout, but was itself lost and forgotten outside of the street grid it laid out within the city’s first two decades.
Drawing inspiration from Jorge Luis Borges’ “On Exactitude In Science,” Schumacher mapped the site of what was intended to be the city’s first permanent structure—a small shanty situated at the northernmost edge of the grid—and reprinted the landscape at its actual scale, representing the place that is itself the last piece of evidence of the lost map as its own map.
Like that first cabin, which had been carried away in pieces by floodwaters, visitors to the lecture could pull spreads from the book and carry them off with them to their respective cities, dissolving the map and the cabin again much as Borges’ fictional map was dissolved into the landscape it represented.
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Introducing "An Unexplored Region" …In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map wasUseless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars….
—Jorge Luis Borges, “On Exactitude in Science”
On Saturday, April 27, I’ll be speaking as part of the “Strange Utility: Architecture Toward Other Ends” symposium. During the talk, I’ll be introducing an exacting map of the most important single point on the territory that is the City of Portland—a point that’s now home to one of the city’s sketchiest parking lots nestled beneath the ramps of the Morrison Bridge. If you want to see me, or see 800 photos of an asphalt parking lot, or see me talking about 800 actual size photos of an asphalt parking lot as they’re reduced to tattered ruins, I’d like you to be there.
Because the talk and project are part of the “Strange Utility” symposium, registration is required, but is free for any member of the PSU community with an ODIN login or student at another university. Unfortunately, it looks like all the general public tickets are sold out, but if you have a student ID form some institution, it should get you in.
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Saying Wavy - MFA Candidate Graduate Exhibition
Charles Eames stated that design is, “…a plan for arranging elements in such a way as to best accomplish a particular purpose. The design is an expression of the purpose. It may (if it is good enough) later be judged as art.”
Excerpt from Eames Design; The Work of the Office of Charles and Ray Eames.
From my understanding art has always been viewed in higher recognition than design, and this is due mostly to the freedom of expression, exploration, and limitlessness of an artist.
Mathias Augustyniak (M/M Paris) writes, “Art has simply become more and more detached from the economy of everyday life; artists seem to insist on positioning themselves outside of the real world in this exclusive space called art.” What does this mean for designers using their creations as a vehicle for the kinds of personal expression and commentary that are usually seen as art’s preserve? What seems crucial to this investigation is that some sort of slippage occurs between where art is, how it looks, and what it does.
Exhibition Dates: Monday, April 8, 2013 – Friday, April, 19, 2013
Public Lecture: Wednesday, April 10, 2013. 6-7 PM, Shattuck Annex.
Opening Reception: Thursday, April 11, 2013. 5-8 PM, AB Lobby Gallery.
PSU Campus: Shattuck Hall Annex is located at SW Broadway & Hall, AB Lobby Gallery is located at 2000 SW 5th Avenue.
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OPB:
A coworker reported to me yesterday that the small tree in Mill Ends Park – the smallest city park in the world – seemed to be missing. She said there appeared to be a hole in the ground where the tree had been.
Could it be that the only tree in this two-foot diameter park was stolen?
Indeed, said Mark Ross of Portland Department of Parks and Recreation, “someone yanked it out.”
Thanks to Krystal for that news.
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In an evening of short presentations, A+D community members have five minutes to share stories about five things that influence their creative work. Come hear stories about images, objects and experiences relating to inspiration, creativity, and visual culture.
Organized by Graphic Design Professor Kate Bingaman-Burt and and Graphic Design Adjunct Professor and PSU MFA Alumni Sean Schumacher.WHERE: Room 320, Art Building, 2000 SW 5th Ave, 3rd Floor
Featuring short talks by A+D students & alumni
Steve Brown
Will Bryant
Martie Flores
Lori Gilbert
Ariana Jacob
Avalon Kalin
Tina Snow Le
Belin Liu
Lea Loo
Kathleen Marie
Ralph Pugay
Aaron Rayburn
Manny Reyes
Sean Schumacher
Ethan Allen Smith
Krystal South
Chloé Womack -
A long time ago in what feels almost like another life, I was a newsreader on my high school’s morning announcements. What we covered as news might, to any observer, appear to simply parroting bland paragraph-length announcements about the lunch room’s meal-of-the-day, updates on clubs and activities no one actually cared about or participated in, and what sports were being played that night but would never to be reported on again. It was a bizarre two and half years covering the prom-and-parking-permit beat every morning, but like all things as timely as the text on our DIY TelePrompTer was, it had to end eventually.
As it turns out, having to write up a list of projects I’ll be a part of in the next few months has snapped my brain back into those days reading announcements, because I can’t think of any way to list these that doesn’t result in me mentally reciting them like a knockoff Peter Jennings with a slight stammer in an oversized blazer. If it helps to imagine me like that as you read this list of important events I will be participating in this spring, more power to you.
- Portland State University’s Art Department is now officially the School of Art and Design (and is currently in search of a good director through this lovely responsive site somebody built), but the celebration of the switchover, Say My Name, Say My Name, won’t be happening until early next month. In AB 320 on March 6, from 5–7pm, I’ll be one of many speakers presenting five slides in five minutes as part of the 5×5 event. Can I talk this fast and use this few slides? Probably not, but I will try to stuff as many words as I can in anyway (caveat: they may not all make sense or be actual words).
- In April, I’ll be presenting the results of a pretty large project as part of the Strange Utility: Architecture Toward Other Ends symposium put together by the PSU School of Architecture’s Nora Wendl and the University of Georgia’s Isabelle L. Wallace. It promises to be one of the more unusual, significant, largest-scale dives into fantastical Borgesian geo-historicity I’ve ever attempted, and I say having in the past year written a place-names dictionary by hand. My presentation will be on Sunday, April 27 during the 1:00–2:45pm block in Shattuck Hall Annex here at PSU.
- In May, from the 17th through the 19th, I’ll have a project in the 2013 Open Engagement conference on the PSU campus exploring where the method by which Portland got its name intersects with both the preferred form of London coffeeshop in the 18th century and the take-a-penny leave-a-penny trays you see in every convenience store. I promise to be over-caffeinated and twitchy, even though I’ll only be pushing coffee instead of drinking it myself.
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SUBMISSION:
Telephone
A layout created by optical character recognition of a student newspaper gossip column on scratched microfilm dated December 17, 1954, reprinted on newsprint. This work was produced for further reproduction in another contemporary student publication.
Hello, you!
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Photograph of a copy of DDDDoomed, Or, Collectors & Curators of the Image - A Brief Future History of the Image Aggregator by R. Gerald Nelson unopened, published on Tumblr for online distribution by artist, also entitled, “set it free” 2011
“And as if each viewer’s history and state of mind were not already enough to drastically scramble any possibility of an image being interpreted in a manner that was intended by its creator; the always-altering and heterogeneous environments of the Internet had made it even more exponentially possible for an image’s meaning to be (mis)translated in ways that were never imagined by the image’s creator.” p. 33
reblogged on Tumblr 445 times, where the title of the book, author and quotation were removed by users in the process.(via sympathyfortheartgallery)
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Meriç Algün Ringborg - The Library of Unborrowed Books (2012)
There is a selection made of what books accompany us into the future. Within education, for instance, the establishment of a canon is clear – it is the venue for the particular echo that determines what books persevere, those that are to be kept in the loop and read again by the next generation. This comes natural, a selection is necessary, and it’s made in different instances either conscious or unconscious. Nevertheless, the books that are left behind — those deemed useless or for unknown reasons are abandoned — still exist in physical form, organized and systematized within the one institution representative of knowledge in all its forms, the library.
The Library of Unborrowed Books bases itself on the concept of the library as an institution manifesting language and knowledge, of the passing of awareness and the openness to all types of people and literature. This work, however, comprises all the books from a selected library that have never been borrowed. The framework in this instance hints at what has been disregarded, knowledge essentially unconsumed, and puts on display what has eluded us.
Why these books aren’t ‘chosen,’ why they are overlooked, will never be clear but whatever each book contains, en masse they become representative of the gaps and cracks of history, or the bureaucratic cataloging of the world and the ambivalent relationship between absence and presence. In this library their existence is validated simply by being borrowed, underlining their being as well as their content and form by putting them on display in an autonomous library dedicated to the books yet to have been revealed.
(via theparisreview)
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A new palimpsest from two sides being included for a show at Kleven Contemporary back in Las Vegas based on used books and the inadvertently editorial marks they pick up over time. The first 17 pages from this edition from 1956 has been recopied, excising of all content and context but for what was noted by previous owners as important along with their direct additions and commentary within the margins.
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Tomorrow, my apartment window’s bronzed shoes begin a new conversation, one where I’m present with them only in the past tense, reaching out to the next person that will occupy this space. It’s a dialogue that the rest of the building has been having for 94 years: one marked by a plurality of lives and personalities, each leaving marks only as indelible as the building itself, and each action always waiting to be noticed and remarked upon.
Goodbye, King Albert.
