Entries  (3001-3025 of 8161)

From Tree to Jar

Sunday, July 04, 2010 05:10pm on Annapolis Royal Heritage
Over the past few days I have noticed that there have been a great number of robins hanging around the large cherry tree on our property. Usually this means that the fruit is starting to ripen, but I had my doubts since this is very early to have ripe cherries in this part of Nova Scotia. After watching the birds flying back and forth, chasing each other and causing an amusing ruckus, I decided that I should wander over to the tree to investigate. Much to my surprise there were a fair number of cherries ready to pick. I should mention that these are black cherries which are perfectly good to eat. but they are not as sweet as bing cherries. At our house this fruit is usually used for jams, pies, jellies and a cherry sauce which goes well on pancakes. I refuse to admit that the cherry sauce was discovered only after a failed batch of jelly.

Knowing that the fruit was ready, I hustled myself back into the house where I created my annual berry picking apparatus. Essentially, the apparatus is a ice cream container with a string I can loop around my neck. This allows me to pick with both hands and not worry about spilling the fruit. While this is not great for strawberries, it works wonderfully for cherries, high bush blueberries and raspberries. Since the previous year's version usually disappears into the recycling bin by the first of October, I get the fun of creating a new piece of industrial art every summer. After about an hour of picking (while the fruit was ripe it was still somewhat sparse), I had enough cherries to head inside to get the rest of the process moving.

My least favorite part of the process is pitting the cherries. In fact, this is the only part of the process that I would actually consider work. I pit the cherries by hand. I have seen and tried many different pitting tools, but, for these little cherries, I still find fingers to be the most useful. The problem when pitting cherries is that the juice tends to spray all over the place. The flying juice is fairly heedless of clothing or anything else within spraying distance. An apron or old clothes are a necessity. If you take a look at the white plastic table covering you can see some of the juice spatter. The other element of pitting is that it is a fairly mindless and repetitive activity. Some background music or an interesting program on the radio help reduce the tedium.

This particular batch of cherries were destined to become jam. I have previously mused about jams and jellies as a viable culinary link between ourselves and our ancestors. I really have no need to make jam, I can easily purchase every flavour I could ever ask for. Despite this, I personally feel that it is important to maintain some of the authentic flavours and cooking techniques of previous generations. For me this includes eating locally grown products and making preserves. While this is a matter of choice rather than a matter of necessity, I still feel that this is a viable way to keep in contact with important traditions. Best of all, the efforts of a warm July day will be appreciated on a cold February morning when one of these jars is popped open.

All for now,
RGS




































Secrets of the Silk Road

Sunday, July 04, 2010 05:00pm on Museum Anthropology
A new exhibit at the Penn Museum ...

Bad at Sports Episode 253: Nils Norman

Sunday, July 04, 2010 01:23pm on Bad at Sports

This week: We talk with artist and visionary Nils Norman.

Nils Norman was born in Kent, England in 1966. He studied fine Art Painting BA Hons at St. Martins School of Art in London. After graduating in 1989 he moved to Cologne, Germany. There he lived for three years and collaborated with the artists Stephan Dillemuth and Josef Strau at their experimental storefront project Friesenwall 120, during this time Norman also set up a small gallery space in London, which later became Milch. In Cologne Norman worked for one year assisting the German painter Gerhard Richter in his atelier.

His first US exhibition was at the Pat Hearn Gallery in Chelsea (with Denis Balk and Simon Leung), after which he began to be represented by the late Colin Deland at American Fine Arts.

Norman founded an experimental space called Poster Studio on Charing Cross Road, London. This space was a collaborative effort with Merlin Carpenter and Dan Mitchell. In 1998 in New York he set up Parasite, together with the artist Andrea Fraser, a collaborative artist led initiative that developed an archive for site-specific projects.

Norman now lives and works in London. He exhibits internationally in commercial galleries, museum, and in public and alternative spaces. He writes articles, designs book covers and posters, collaborates with other artists, teaches and lectures in European and the US. Norman completed a major design project: an 80m pedestrian bridge and two islands for Roskilde Commune in Denmark in 2005 and is now working together with Nicholas Hare Architects on a school playground project for the new Golden Lane Campus, East London. He has recently finished an artist residency at the University of Chicago, Chicago, USA.

Happy 4th of July!

Sunday, July 04, 2010 11:08am on George Eastman House Blog

Hank Mayer, WATERSKIIERS, CYPRESS GARDENS, FLORIDA displayed August 5-26, 1968.

Image from the current Colorama exhibition. To view and album of images and share your own Colorama story, visit our Facebook page here.

Happy 4th of July!

Sunday, July 04, 2010 11:08am on George Eastman House Blog

Hank Mayer, WATERSKIIERS, CYPRESS GARDENS, FLORIDA displayed August 5-26, 1968.

Image from the current Colorama exhibition. To view and album of images and share your own Colorama story, visit our Facebook page here.

Happy 4th of July!

Sunday, July 04, 2010 11:08am on George Eastman House Blog

Hank Mayer, WATERSKIIERS, CYPRESS GARDENS, FLORIDA displayed August 5-26, 1968.

Image from the current Colorama exhibition. To view and album of images and share your own Colorama story, visit our Facebook page here.

Malcolm Tredinnick on some problems with working with our collection dataset

Sunday, July 04, 2010 10:20am on fresh + new(er)

Down at the recent Pycon we were excited to hear that Malcolm Tredinnick had taken the downloadable collection dataset from the Powerhouse and was using it to demonstrate some of the issues with working with (semi-)open datasets.

His presentation reveals what every museum knows – the datasets that exist in our collection databases are inherently messy. But we’re always working to improve the quality and structure of these datasets. Without them being publicly available to be worked on in new ways by non-museum people we’d never discover many of the flaws in them.

Here’s his presentation which is well worth watching if you are a developer or museum technologist and thinking of making your raw data available.

There’s some modifications and improvements coming to our downloadable data very soon – data release projects can’t just be a ‘set and forget’ arrangement.

Malcolm’s code for cleaning up our data is up on Github.

July 3rd Parade ~ Mt. Pleasant Utah 2010

Sunday, July 04, 2010 09:29am on Mt. Pleasant Pioneer Relic Home and Blacksmith Shop


July 1st Celebration

Sunday, July 04, 2010 09:27am on Clayton McLain Memorial Museum, CMMM, Cut Knife Museum
The sun shone on Tomahawk Park for Canada Heritage Day for another year.
It was a perfect day - weather wise! There was a good crowd. Hope everyone had a great time.
Entertainment by Back of the Bus in the evening was wonderful.
And of course the fireworks looked awesome over the waters of the pond.

Linking museums: machine-readable data in cultural heritage - meetup in London July 7

Sunday, July 04, 2010 08:08am on Open Objects
Somehow I've ended up organising an (very informal) event about 'Linking museums: machine-readable data in cultural heritage' on Wednesday, July 7, at a pub near Liverpool St Station. I have no real idea what to expect, but I'd love some feisty sceptics to show up and challenge people to make all these geeky acronyms work in the real museum world.

As I posted to the MCG list: "A very informal meetup to discuss 'Linking museums: machine-readable data in cultural heritage' is happening next Wednesday. I'm hoping for a good mix of people with different levels of experience and different perspectives on the issue of publishing data that can be re-used outside the institution that created it. ... please do pass this on to others who may be interested. If you would like to come but can't get down to that London, please feel free to send me your questions and comments (or beer money)."

The basic details are: July 7, 2010, Shooting Star pub, London. 7:30 - 10pm-ish. More information is available at http://museum-api.pbworks.com/July-2010-meetup and you can let me know you're coming or register your interest.

In more detail...

Why?
I'm trying to cut through the chicken and egg problem - as a museum technologist, I can work towards getting machine-readable data available, but I'm not sure which formats and what data would be most useful for developers who might use it. Without a critical mass of take-up for any one type, the benefits of any one data source are more limited for developers. But museums seem to want a sense of where the critical mass is going to be so they can build for that. How do we cut through this and come up with a sensible roadmap?

Who?
You! If you're interested in using museum data in mashups but find it difficult to get started or find the data available isn't easily usable; if you have data you want to publish; if you work in a museum and have a
data publication problem you'd like help in solving; if you are a cheerleader for your favourite acronym...

Put another way, this event is for you if you're interested in publishing and sharing data about their museums and collections through technologies such as linked data and microformats.

It'll be pretty informal! I'm not sure how much we can get done but it'd be nice to put faces to names, and maybe start some discussions around the various problems that could be solved and tools that could be
created with machine-readable data in cultural heritage.

July 4: Today’s Events at the Folklife Festival

Sunday, July 04, 2010 07:00am on Around The Mall
Folklife1

2010 Smithsonian Folklife Festival. Photo courtesy of Brandon Springer

Sunday, July 4 — Happy Independence Day!

MEXICO

Cuentacuentos (Story Telling)

12:00 PM-1:00 PM Instrument-making Traditions

1:00 PM-2:00 PM The History of Tequila

2:00 PM-3:00 PM Corn Traditions

3:00 PM-4:00 PM Design and Meaning in Weaving

4:00 PM-4:45 PM Craft Traditions and the Economy

4:45 PM-5:30 PM Conversations with the Wixárika

La Cocina (The Kitchen)

11:00 AM-12:00 PM Wixárika Cooking Traditions

12:00 PM-1:00 PM Xochimilco-style cooking: Tamal de Frijol

1:00 PM-3:00 PM Workshop: Tortilla-making

3:00 PM-4:00 PM Jalisco-style Cooking: Carne a la Mexicana

4:00 PM-4:45 PM Oaxacan-style Cooking: Tlayudas

4:45 PM-5:30 PM Oaxacan style Chocolate

La Fonda (The Inn)

11:00 AM-12:00 PM Mariachi Tradicional Los Tíos

12:00 PM-1:00 PM Palo Volantín Ceremony at El Palo

1:00 PM-2:00 PM Cardencheros de Sapioriz

2:00 PM-3:00 PM Trío Santa Quilama

3:00 PM-4:00 PM Son de Madera Trio

4:00 PM-4:45 PM Palo Volantín Ceremony at El Palo

4:45 PM-5:30 PM Los Verdaderos Caporales de Apatzingán

El Salón de México (The Hall of Mexico)

11:00 AM-12:00 PM Grupo de Fandango de Artesa Los Quilamos

12:00 PM-1:00 PM Chinelos de Atlatlahucan

1:00 PM-2:00 PM Hamac Cazíim

2:00 PM-3:00 PM Los Verdaderos Caporales de Apatzingán

3:00 PM-4:00 PM Hamac Cazíim

4:00 PM-5:30 PM Encuentro: Cardencheros de Sapioriz and Mariachi Tradicional Los Tíos

ASIAN PACIFIC AMERICANS

Asian Fusions

11:00 AM-11:45 PM Martial Arts Traditions: Korean American

11:45 PM-12:30 PM Martial Arts Traditions: Filipino American

12:30 PM-1:15 PM Wrestling: Mongolian American

1:15 PM-2:00 PM Wrestling: Burmese American

2:00 PM-3:30 PM Martial Arts Traditions: Making Connections

3:30 PM-5:00 PM Wrestling: Making Connections

5:00 PM-5:30 PM Teachings

Tea House

11:00 AM-11:45 AM Cooking for the Mongolian American Community

11:45 AM-12:30 PM Cooking for the Thai American Community

12:30 PM-1:15 PM Cooking for the Filipino American Community

1:15 PM-2:00 PM Cooking for the Korean American Community

2:00 PM-3:30 PM Noodle Dishes: Making Connections

3:30 PM-5:00 PM Rice Dishes: Making Connections

5:00 PM-5:30 PM Dessert!

Talkstory

11:00 AM-11:45 AM Asian Pacific American Veterans in WWII

11:45 AM-12:30 PM Multiracials and the Legacy of War

12:30 PM-1:15 PM Peace and Healing: Integrating Asian and European Medical Traditions

1:15 PM-2:00 PM Peaceful Warrier: Sen. Spark Matsunaga’s Quest for a U.S. Institute of Peace

2:00 PM-2:45 PM Margin to Mainstream: Recent APA Vet Stories

2:45 PM-3:30 PM Sen. Spark Matsunaga’s Legacy

3:30 PM-4:15 PM Local Lives, Global Ties: Today’s Vets Tell Their Stories

4:15 PM-5:30 PM Learning the Vietnamese Language

SMITHSONIAN INSIDE OUT

The Commons

11:00 AM-11:45 PM Working Together: CFCH Interns

11:45 PM-12:30 PM Tales from the Vaults: Rinzler Archives

12:30 PM-1:15 PM My My Smithsonian: Curating Folklife Festivals

1:15 PM-2:00 PM Safe & Sound

2:00 PM-2:45 PM What’s My Line?: Unusual Specialties

2:45 PM-3:30 PM Tools for the 21st Century

3:30 PM-4:15 PM Research & Outreach: Folkways Filming in South America

4:15 PM-5:00 PM Beyond the Mall

5:00 PM-5:30PM Expeditions & Explorations

What’s in the workshop #13

Sunday, July 04, 2010 04:50am on Powerhouse Museum - Photo of the Day

We recently found this very delicate looking 3D diorama sitting in the workshop juxtaposed by its industrial surroundings.

I often think our workshop is quite a magical place. They seem to be able to build anything. Want a dividing wall put down that 20mtr exhibition space? yep, no problems. Want to make a complete replica of a fashion design studio? it can be done. Want to paint every mannequinn in the Museum black? yes we can do that too!

The 3D diaroma they are working on is shaping up to be beautiful and will be on display in the upcoming ‘Tinytoreum’

Photography by Paula Bray
© All rights reserved
Post by Erika Dicker, Assistant Curator

Happy Fourth of July!

Sunday, July 04, 2010 02:44am on CATALINA ISLAND MUSEUM COLLECTIONS

Happy Fourth of July from the Catalina Island Museum!

The museum staff will be marching in the parade today, so make sure to come out and wave!


Happy Fourth of July!

Sunday, July 04, 2010 02:44am on CATALINA ISLAND MUSEUM COLLECTIONS

Happy Fourth of July from the Catalina Island Museum!

The museum staff will be marching in the parade today, so make sure to come out and wave!


Go See – Denmark: Sophie Calle at the Louisiana Museum of Modern Art, through October 24th, 2010

Saturday, July 03, 2010 11:00pm on AO Art Observed™


Sophie Calle, Photograph by Jean-Baptiste Mondino, courtesy the Louisiana Museum of Modern Art.

Currently on view, through October 24th, at the Louisiana Museum of Modern Art in Denmark is a new exhibition from Sophie Calle. One of France’s most well known contemporary artists, Calle has most recently made her imprint on New York with her 2009 exhibition at the Paula Cooper Gallery with “Take Care of Yourself,” a body of work created for the French Pavilion of the 2007 Venice Biennale.

Organized by Whitechapel Gallery, London in collaboration with the Louisiana Museum of Modern Art and De Pont Museum of Contemporary Art in Tilburg, Holland, Louisiana Contemporary: Sophie Calle presents a number of playful works from 1979-2009, which blur the line between art and reality. Dabbling in adult affairs with the demeanor of an innocent, playing child, Calle often takes on the role of an undercover detective. Her conceptual works entice viewers with undertones of voyeurism, humour and subtlety.


Installation shot, courtesy The Louisiana Museum of Modern Art.

More text and images after the jump…

Curated by Mette Marcus, this exhibition offers a look at some of the artist’s most well-known works that play with the human perception of reality and mix the private with the collective. Often draw on journalism, anthropology or psychoanalysis, her works take their point of departure in literature, the diary or the photo-novel.

Some of the works on view include The Sleepers (1979), in which the artist lends her own bed to both acquaintances and strangers to photograph them while asleep. Couldn’t Capture Death (2007) follows her mother’s last minutes on film. Other works shown include: The Address Book (1983/2009), Anatoli (1984), and Souci (2009). The Louisiana’s own work Where and When? Berck (2004/2008), which the museum acquired for the collection in 2008, will also be shown.

For her exhibition Take Care of Yourself, Calle invited a wide variety of women, including a ballet dancer, a lawyer, a police officer, a lawyer, and well known actresses, to use their various professional skills to give their interpretations of an e-mail where the artist’s lover ends their relationship. The results are poetic, touching and humorous statements which together form a significant installation.


Sophie Calle, Etoile dancer at the Opéra de Paris, Marie-Agnès Gillot, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, Headhunter, Christiane Cellier, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, Public writer, Rafaèle Decarpigny, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, School Teacher, Laure Guy, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.

In her profile of the artist for The New York Times’s T Magazine, Daphne Merkin ponders, “[Is she] a genuine original who has converted the stasis of visual art into the ongoing drama of literary narrative, creating a kind of three-dimensional writing? Or is she perhaps simply an inspired exhibitionist who has been mining her life over the past 25 years as material for loosely conceptualized, viewer-friendly installations…?” She continues, “Hers is a very contemporary instance of personal mythologizing, of using the material of her own life as paradigmatic. Her art bears the traces of other influences (Vito Acconci,Cindy Sherman, Orlan and Christian Boltanksi, to name a few) yet manages in its deliberate and singular accessibility to resound with the inner performative self in all of us. At the same time, she is as an embodiment of the postmodern instinct to de-authenticate and expose, showing up her own — and, by implication, our — reality as no more than a simulacrum.”

Although Rosalind Krauss anointed Calle as “true avant-garde,” not everyone is a fan of Calle’s. As Merkin notes, “New York Times art critic Roberta Smith is both intrigued and put off by Calle’s work, characterizing it as ‘irksomely French’ and finding it ‘intense and charged’ at times and derivative or dated at others’…” Stephen Bayley, a critic for The Observer in London, comments that ‘’her obsessiveness is in itself something remarkable, but I’m not convinced of what aesthetic value it has. It’s probably more in the territory of mental disorder than art.” The New Yorker’s art critic, Peter Schjeldahl, also writes her off: “I’ve never been a fan of her art, as art. It’s derivative of conceptual and performance stuff of the ’70s.”


Sophie Calle, Où et quand? Berck, 2004/2008, text, photo, video, and fluorescent tubes. Image courtesy the Louisiana Museum of Modern Art. Acquired with funding from The Augustinus Foundation.

Born in 1953, Sophie Calle is the 2010 recipient of the Hasselblad Award, the highest honor in the field of photography. Her work has been shown in international venues including the Institute of Contemporary Art (Boston), the Centre Georges Pompidou (Paris), the Musée d’Art Moderne de la Ville de Paris, the Museum Boymans van Beuningen (Rotterdam), the Tel Aviv Museum of Art, and the Hara Museum of Contemporary Art (Tokyo), among others.


Installation shot, courtesy The Louisiana Museum of Modern Art.


Installation shot, courtesy The Louisiana Museum of Modern Art.


Installation shot, courtesy The Louisiana Museum of Modern Art.

-J. Lindblad

Related Links:
Exhibition Site [Louisiana Museum of Modern Art]
I Think, Therefore I’m Art [T Magazine]
Sophie Calle: Stalker, Stripper, Sleeper, Spy [The Guardian]
Venice Biennale 2007: Intimations of Mortality [NY Times]
Visual Art Review: Sophie Calle at Whitechapel [The Guardian]
Art in Review: Sophie Calle “Exquisite Pain” [NY Times]

All This Might Never Have Happened [NY Times Book Review]


Go See – Denmark: Sophie Calle at the Louisiana Museum of Modern Art, through October 24th, 2010

Saturday, July 03, 2010 11:00pm on AO Art Observed™


Sophie Calle, Photograph by Jean-Baptiste Mondino, courtesy the Louisiana Museum of Modern Art.

Currently on view, through October 24th, at the Louisiana Museum of Modern Art in Denmark is a new exhibition from Sophie Calle. One of France’s most well known contemporary artists, Calle has most recently made her imprint on New York with her 2009 exhibition at the Paula Cooper Gallery with “Take Care of Yourself,” a body of work created for the French Pavilion of the 2007 Venice Biennale.

Organized by Whitechapel Gallery, London in collaboration with the Louisiana Museum of Modern Art and De Pont Museum of Contemporary Art in Tilburg, Holland, Louisiana Contemporary: Sophie Calle presents a number of playful works from 1979-2009, which blur the line between art and reality. Dabbling in adult affairs with the demeanor of an innocent, playing child, Calle often takes on the role of an undercover detective. Her conceptual works entice viewers with undertones of voyeurism, humour and subtlety.


Installation shot, courtesy The Louisiana Museum of Modern Art.

More text and images after the jump…

Curated by Mette Marcus, this exhibition offers a look at some of the artist’s most well-known works that play with the human perception of reality and mix the private with the collective. Often draw on journalism, anthropology or psychoanalysis, her works take their point of departure in literature, the diary or the photo-novel.

Some of the works on view include The Sleepers (1979), in which the artist lends her own bed to both acquaintances and strangers to photograph them while asleep. Couldn’t Capture Death (2007) follows her mother’s last minutes on film. Other works shown include: The Address Book (1983/2009), Anatoli (1984), and Souci (2009). The Louisiana’s own work Where and When? Berck (2004/2008), which the museum acquired for the collection in 2008, will also be shown.

For her exhibition Take Care of Yourself, Calle invited a wide variety of women, including a ballet dancer, a lawyer, a police officer, a lawyer, and well known actresses, to use their various professional skills to give their interpretations of an e-mail where the artist’s lover ends their relationship. The results are poetic, touching and humorous statements which together form a significant installation.


Sophie Calle, Etoile dancer at the Opéra de Paris, Marie-Agnès Gillot, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, Headhunter, Christiane Cellier, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, Public writer, Rafaèle Decarpigny, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.


Sophie Calle, School Teacher, Laure Guy, Detail from “Take care of yourself,” 2007. Image courtesy ADAGP Courtesy Galerie Emmanuel Perrotin, Paris/Miami; Arndt & Partner, Berlin/Zürich; Koyanagi, Tokyo; Paula Cooper Gallery, NY.

In her profile of the artist for The New York Times’s T Magazine, Daphne Merkin ponders, “[Is she] a genuine original who has converted the stasis of visual art into the ongoing drama of literary narrative, creating a kind of three-dimensional writing? Or is she perhaps simply an inspired exhibitionist who has been mining her life over the past 25 years as material for loosely conceptualized, viewer-friendly installations…?” She continues, “Hers is a very contemporary instance of personal mythologizing, of using the material of her own life as paradigmatic. Her art bears the traces of other influences (Vito Acconci,Cindy Sherman, Orlan and Christian Boltanksi, to name a few) yet manages in its deliberate and singular accessibility to resound with the inner performative self in all of us. At the same time, she is as an embodiment of the postmodern instinct to de-authenticate and expose, showing up her own — and, by implication, our — reality as no more than a simulacrum.”

Although Rosalind Krauss anointed Calle as “true avant-garde,” not everyone is a fan of Calle’s. As Merkin notes, “New York Times art critic Roberta Smith is both intrigued and put off by Calle’s work, characterizing it as ‘irksomely French’ and finding it ‘intense and charged’ at times and derivative or dated at others’…” Stephen Bayley, a critic for The Observer in London, comments that ‘’her obsessiveness is in itself something remarkable, but I’m not convinced of what aesthetic value it has. It’s probably more in the territory of mental disorder than art.” The New Yorker’s art critic, Peter Schjeldahl, also writes her off: “I’ve never been a fan of her art, as art. It’s derivative of conceptual and performance stuff of the ’70s.”


Sophie Calle, Où et quand? Berck, 2004/2008, text, photo, video, and fluorescent tubes. Image courtesy the Louisiana Museum of Modern Art. Acquired with funding from The Augustinus Foundation.

Born in 1953, Sophie Calle is the 2010 recipient of the Hasselblad Award, the highest honor in the field of photography. Her work has been shown in international venues including the Institute of Contemporary Art (Boston), the Centre Georges Pompidou (Paris), the Musée d’Art Moderne de la Ville de Paris, the Museum Boymans van Beuningen (Rotterdam), the Tel Aviv Museum of Art, and the Hara Museum of Contemporary Art (Tokyo), among others.


Installation shot, courtesy The Louisiana Museum of Modern Art.


Installation shot, courtesy The Louisiana Museum of Modern Art.


Installation shot, courtesy The Louisiana Museum of Modern Art.

-J. Lindblad

Related Links:
Exhibition Site [Louisiana Museum of Modern Art]
I Think, Therefore I’m Art [T Magazine]
Sophie Calle: Stalker, Stripper, Sleeper, Spy [The Guardian]
Venice Biennale 2007: Intimations of Mortality [NY Times]
Visual Art Review: Sophie Calle at Whitechapel [The Guardian]
Art in Review: Sophie Calle “Exquisite Pain” [NY Times]

All This Might Never Have Happened [NY Times Book Review]


A Quick Trip to the Nascar Hall of Fame

Saturday, July 03, 2010 10:22pm on Museum Planning


From the New York Times, July 3, 2010, By Robert Peele

A Quick Trip to the Nascar Hall of Fame

“In short, I was impressed. Glory Road, the sweeping exhibit that greets fans as they enter the museum’s Great Hall, features 18 classic Nascar vehicles parked on a track whose banking gradually increases as the cars progress into the modern era. It’s the museum’s green flag, in a sense, and it offers a neat snapshot of the history of stock car racing. Not surprisingly, cars from the sport’s earlier decades — back when they actually looked like stock cars, in other words — were the highlights. Favorites included Herb Thomas’s 1952 Hudson Hornet, Fireball Roberts’s 1963 Ford Galaxie and the Plymouth Belvedere in which Richard Petty won 27 races, including 10 in a row, in 1967.”

Andrew and Toner on the Sydney Observatory Easter Island eclipse tour discover the cosmology of the Inca

Saturday, July 03, 2010 09:17pm on Sydney Observatory - news and views on astronomy from Sydney

The view eastwards to the thirteen pillars of the Chankillo solar observatory at sunset. The Sun’s position against the pillars indicates the time of year, particularly at the solstices. Photo Melissa Hulbert

Lima is a city of 9 million built on a desert which meets the ocean, It is from here that we explore coastal Peru, a spectacular landscape which, when you look inland from the sea, could be on Mars. Our destination, Chankillo, is the oldest solar observatory in South America. Melissa had researched this area especially for our tour, it is well off the beaten track and we were alone in a windy desert with magnificent ruins which date from around 300BC. Our guide to
the local cosmology, astronomy educator, Carlota Pereyra, led us to where you can view the sunset over one of thirteen pillars constructed on the top of the ridge. A spectacular full moon rose in the east and then we viewed the Southern
Cross. The Two Pointers are known to the Peruvians as the eyes of a Llama within a major ‘dark-cloud’ constellation of that animal.

Local archaeologist Victor shows the group how the solar observatory works. Photo Toner Stevenson

Our next stop is the spectacular Sacred Valley of the Incas, with spectacular cliffs, mountaintops reaching 6,400 metres topped with snow, and the fast running Wilcamayu (Sacred River) and it is here we are steeped in the deep connection the Peruvians have with the mystery and wonder of the natural environment. Cusco Planetarium astronomers, Professor Erwin Salazar, Annamaria Milla and Roberto Balance bring their telescopes to our hotel and we view the night sky. Before the Moon rose we identified the Milky Way, seen also as a sacred river, dark constellations such as the fox, the serpent and the great and baby Llama.

Inca stonework at Ollantaytambo. Photo Andrew Jacob

Via small winding roads, passing locals dressed in colourful traditional Andean wear, we reach the great fortress of Ollantaytambo, our first experience of the might and mystery of the Inca Empire. Built in the 13th Century and abandoned when the Spanish conquered the Incas in the 16th Century, the extensive terraced hills and precision of the stonework hold wonders such as the Temple of the Sun. For the members of our intrepid solar eclipse group, this is the start of great thigh muscle development and adjustment to the altitude.

Dr Andrew Jacob, a Sydney Observatory astronomer, and Toner Stevenson, the manager of Sydney Observatory

Service Flags of the U.S.

Saturday, July 03, 2010 07:17pm on Mt. Pleasant Pioneer Relic Home and Blacksmith Shop


Native Americans & Human Rights

Saturday, July 03, 2010 04:03pm on Museum Anthropology
A pretty powerful story about a conference of Native American leaders to talk about human rights violations in the U.S. Note particular reference to the struggle of Apache communities to gain back sacred objects from museums.Also, check out this blog posting on a new book, Indigenous Cosmopolitans.

Sorry, We’re closed.

Saturday, July 03, 2010 03:59pm on Hankblog

The Henry Art Gallery will be closed on the 4th of July in observation of the federal holiday. So go eat a hotdog and watch the fireworks at GasWorks Park. We will welcome you back with open arms on Wednesday July 7th, that’s right we’re now open again on Wednesdays!


Den Bach runter: Unwetter in Wachtberg

Saturday, July 03, 2010 01:21pm on Kulturelle Welten : Kurzversion
Eigentlich wollten wir ja das heutige Spiel gegen Argentinien auf dem Campingplatz in Rolandswerth sehen. Doch der Himmel zog sich zu, der Regen wurde stärker und so blieben wir lieber in unserer Hütte.

15 Minuten vor dem Spiel:

Regentropfen, die an unser Fenster klatschten.

Margaret Peel 1917

Saturday, July 03, 2010 11:05am on Mt. Pleasant Pioneer Relic Home and Blacksmith Shop
photo was taken on the porch of Henry and Wilhemina Ericksen's home.


2,168 Albums Later: The Legacy of Moses Asch

Saturday, July 03, 2010 11:00am on Around The Mall
Moses Asch, seen here in his office, xxxxx

Moses Asch, seen here in his office, founded Folkways Records in 1948. Photo by by Diana Davies, courtesy of Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

When Moses Asch (1905-1986) founded a tiny record label called Folkways with Marian Distler (1919-1964)  in 1948, he wanted to be a resource for musicians to document the “entire world of sound.”

And by that, he really did mean the entire world. Between the label’s founding and Asch’s death in 1986, Folkways released 2,168 albums, ranging from contemporary, traditional and ethnic music; documentary recordings of people, communities, natural sounds and current events; and poetry and spoken word in a number of different languages. Asch, a Polish immigrant, also helped the label become an important part of the American folk music revival, helping artists like Pete Seeger, Woody Guthrie, Ella Jenkins, Bernice Johnson Reagon and the pioneering bluegrass duo Hazel Dickens and Alice Gerrard launch or enrich their careers.

Today, the Folkways label, now owned by the Smithsonian, continues to produce records that honor Asch’s globally-minded spirit. Since 1987, they’ve added more than 300 new albums—including some of the most comprehensive albums on American bluegrass and jazz—while keeping all 2,168 albums of Asch’s in print.

This Saturday, the Folklife Festival will celebrate Asch’s dedication and vision at the Ralph Rinzler Memorial Concert, an annual series that honors the founder of the festival’s colleagues and traditions. Starting at 6 p.m., Dickens, Gerard, and Reagon, all of whom recorded with Asch during his lifetime, will perform.

Dickens and Gerrard broke the generational boundaries of bluegrass music, a genre that was traditionally dominated by men. They recorded 26 tracks with Asch in the mid-1960s, which were also included in the 1996 Smithsonian Folkways Recordings release of Pioneering Women of Bluegrass.

Reagon got her start with Asch—she recorded her first  solo album, Folk Songs: The South, with Folkways in 1965. Reagon, also a civil rights activist and scholar, will perform with the group the Freedom Singers.

Come down to The Mall this weekend to hear the groundbreaking artists, whose careers, in part, were helped along by a man who wanted the world to hear every kind of music.

The Ralph Rinzler Memorial Concert will begin at 6 p.m. on Saturday on the Asian Fusions stage

Montreal Burger Report Episode 63: Burger de Ville

Saturday, July 03, 2010 10:42am on Internet Archive - Collection: zekesgallery

Episode sixty three of the Montreal Burger Report. In today's episode Chris Zeke Hand and Linda Extra Pickles Besner continue talking with Red Whaba proprietor extraordinaire of the latest and greatest entry on the Montreal Burger Scene....

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