Archive for September, 2009

When in Rome


…As they say, do as the Romans do! This is from the same folk that brought us Bridge the Divide in the Column on MNP. This time Above has filmed his experiences with a local Gladiator and graffiti done by the film maker.

Be sure to check out his page and FAQ, for tips on a levitation technique!



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Posted: September 16th, 2009
at 12:42pm by Koookiecrumbles

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Categories: myninjaplease,art,travel

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Art Theory: 40/40 Vision Lecture

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Posted: September 15th, 2009
at 5:22pm by Koookiecrumbles

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Categories: art theory

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A Made Up Sound // Shortcuts


Some of you may know about Dave Huismans, or 2562, some may not — that’s part of why I’m here. In my opinion, this guy makes some of the more forward-thinking dubstep I’ve heard, but Shortcuts is definitely not that. This compilation brings together some of his dopest beat experiments. If you want to hear something different (and very raw), pick this up — it’s some next shit. Apparently, all of these tracks were recorded in June 2004 while on a very disciplined work schedule. If you enjoy soulful, deep, yet tech’ed-out flavor; you’ll certainly be into this. This is phenomenal.

DOWNLOAD: A Made Up Sound - Untitled 18

::part of bang the box . net music blog ->

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Posted: September 15th, 2009
at 11:06am by Koookiecrumbles

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Categories: music

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Invisible, Hidden, Parallel Cities: Twitter Landscapes

By revealing the social networks present within the urban environment, Invisible Cities describes a new kind of cityaa city of the mind. The movie below byAChristian Marc Schmidt displays geocoded activity from online services such as Twitter and Flickr, both in real-time and in aggregate. Real-time activity is represented as individual nodes that appear whenever a message or image is posted. Aggregate activity is reflected in the underlying terrain: over time, the landscape warps as data is accrued, creating hills and valleys representing areas with high and low densities of data.

In the piece, nodes are connected by narrative threads, based on themes emerging from the overlaid information. These pathways create dense meta-networks of meaning, blanketing the terrain and connecting disparate areas of the city:>

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Posted: September 15th, 2009
at 8:53am by Koookiecrumbles

Categories: internets,maps

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Documentary- Space Tourists

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Posted: September 14th, 2009
at 1:54pm by Koookiecrumbles

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Categories: documentary

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New Work from Luis Fernando Uribe



Be sure to check out new work by Luis Fernando Uribe at the Aldo Castillo Gallery in Chicago- opening today! Like my ninja orangemenace stated we’ll see you there, us ninjas may or may not be seen…

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Posted: September 11th, 2009
at 5:05pm by Koookiecrumbles

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Categories: contemporary,art fridays,events

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A Dozen: Gregory Euclide

Gregory Euclide is an artist who "explores the way we experience nature and how this is tied to the cultural practice of constructing landscapes as idealized images." Currently living in the twin cities of Minnesota, he has been awarded two Minnesota State Arts Board Artist Initiative grants and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. Now, the interview:


Capture 1

What is your definition of family (do you come from a family of artists)?

I don’t have a definition of family. I know what our culture says a family is. I guess I think it is more of a network of people in a symbiosis and less of a blood line. Both of my parents are artistic/creative people. My mother gardens and creates stained glass windows. She can draw really well. My father is an art teacher. He’s more of a critical thinker than he is a fine artist. He builds houses, designs solar collectors, and landscapes. He is a good reference, because he literally knows a little bit about everything and a lot about many things.

Did you always know you wanted to be an artist?

I never thought of it as art, I just thought of it as play. I never decided to be an artist. I always enjoyed making things and I always enjoyed drawing. That enjoyment evolved to the present day. It’s an economic system that requires that what I do be called "art" and at an early age I learned that my work could be sold if it were displayed. In high school and college I started to display the work I was doing and was able to make money doing that instead of working at a gas station or factory.

Something Similar to Waves Inside but Lower than Breaking

What is your style or aesthetic base that you work from?
I’m interested in how my experiences in land can be translated into objects that possibly comment on the nature of that translation. Influences include graphic depictions from textbooks, the history of landscape painting and nature itself.

What mediums to you prefer to work with?

I try to develop a relationship between traditional art supplies and found objects. Increasingly I find myself drawn to materials that allow me to assemble them into larger constructions. This includes natural materials such moss and wood as well as synthetic materials like foam and paint. I am constantly looking around me for new materials that might be able to express something new in the work.

If I was the river I was only projecting

If I was the River I was only Projecting

Is there anything left inside after your create on the outside with your art?

Yes, I would say that there is something left. There’s a desire to approach the problem in a new way, which results in the drive to work again.

What artists move you to create new art?

The work I make comes as a direct result from being alive in the world today. I’m not so much inspired by other artists as I am by living in this culture. Seeing Coke bottles in the most remote corners of the world. Seeing water towers with idealized nature scenes. This makes me curious.

From This Distance Contained Gifts RAW

From This Distance Contained Gifts

What are your relationships with other artists like?

I am pretty isolated when it comes to contact with other artists. I am much more interested in music and nature than I am in art. I think it has something to do with being inside the art world that turns me off to it or demystifies it. Other things seem much more unknown to me, and therefore more interesting.

What problems have you encountered in publicizing your work?

It is hard to capture a sound bite of these works. The new work is deliberately not graphic. The photos never amount to the same experience as being present in front of the actual works. The works are meant to be experienced with the physical body. This type of work is inherently at a disadvantage in a marketplace that is driven by print media and still images.


Development Lines 1

How do you view the traditional relationship that galleries have with artists?

If art is not going to be a commodity, then who is going to make sure that those who create these things will have food. Art is a commodity and therefore requires some sort of system of distribution. Galleries, museums and fairs all have a vested interest in keeping art as something we buy. Some galleries work for you & some galleries work for money. I like to work with galleries that are first and foremost concerned with my work and my ideas. David Smith of the David B. Smith Gallery has always been supportive of my intentions as an artist. I feel like we have a symbiosis.

What avenues apart from selling your work have proven to be effective in monetizing your creativity?

I am not that concerned with money. I just want to be able to eat food that is produced in a respectful way. I want to be able to walk outside and feel safe. I don’t think about money until I have to pay for the supplies and the electricity. Thankfully I have teaching jobs that pay the bills and I am somewhat free to create what I like.


Dispersed on Shelves

What first hand advice would you give to an upcoming artist?

I can’t imagine giving any other advice than to do what you do, and to know whom you are doing it for. Personal happiness is much more interesting than fame or money.

How do you see your work evolving in the future?

If I knew, I would be doing it now. I suppose I will continue to explore the relationship between the cultural construction of landscape and my personal experience in nature. And the trend seems to be to swing back and forth between the flat work and the relief work, combining them and making the distinctions between the two more subtle.

walking-away-on-the-build-upafternoon at mvnwr

Walking Away on the Build Up Afternoon at MVNWR

::all images courtesy of Gregory Euclide ::

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Posted: September 11th, 2009
at 10:47am by Koookiecrumbles

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Categories: contemporary,a dozen

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Boston Squared

Geometry riddle: When is a square not a square?

Answer: When it's in New England.>

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Posted: September 11th, 2009
at 8:36am by Koookiecrumbles

Categories: maps

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the Industry: Daniel Cooney

This week for the Industry, we talk with Daniel Cooney of Daniel Cooney Fine Art who talks about his experiences with online auctions, his gallery and photography. His newest exhibition by Tim Roda, entitled Family Matters, opens today, September 10th, and runs through October 31st.

timrodaApril 08SM

Tim Roda, April

Please describe the art and artists that you expose in your gallery.

It has been my mission since I opened the gallery just over five years a go to consistently show the best in emerging and under recognized artwork including lesser known bodies of work from established artists. Most of the shows I have are debut exhibitions or by artists that I was the first to show.

How do you feel about the various barriers of inclusion that exists between galleries and emerging new artists?

I know it can seem like an impossible feat to find the right gallery for an emerging artist but artists often don’t understand that a gallery is a business and taking on an emerging artist is a big risk. This is part of the reason that I and 4 of my colleagues have started an organization called Project 5. One of the benefits we offer to emerging artists is a portfolio review with New York City dealers. Our website is

timrodaUntitled # 172

Tim Roda, Untitled #172

Do you see any paradoxes between the marketing industry and the promotional/networking side of the art industry?

Well, I don’t know a lot about the marketing industry but I imagine the basics are the same. You need to promote your gallery and your artists as best you can within the budget you have.

What advice would you give artist’s younger than 40?

As with any artist I always say that putting your work before everything is the key. If you spend your time making work the shows and exposure will follow. Unfortunately, many artists spend much of their time promoting themselves and not making the work.

How do you use auctions to sell photography?

I’ve been working with since they started over 6 years a go. We have been very successful in creating a niche in the photographic market that many of the live houses ignore. That is the under $5000 market. There is a lot of incredible photography in that range. This past fall I started the Emerging Artists Auctions which have also been very successful. All reserves are set at $200 and the work is really amazing. Many high end collectors have caught on to the auctions and we have successfully placed many emerging artists in very prestigous collections.


Tim Roda, Centaur

What are the upsides and downsides to selling online?

There is mostly just upsides. It widens my audience beyond what I would ever reach here at the gallery. I have clients in China, Belgium, England, Alabama, Iowa and Florida that never visit New York but I have solid relationships with due to the auctions. There is also a lot of cross over between my auction clients and my gallery clients. Many people find out about the gallery because they find the auctions and then start to buy the artists I represent in addition to the material I sell online.

How do you allow art to appreciate in the current economic climate?

If you can, it is a great time to buy and invest. There is less competition and just as much material available. Dealers are more likely to give more generous discounts now than a year and a half ago.

Do you find that with collectors who mainly focus on photography are interested in different mediums for collecting purposes?

I also show drawings here at the gallery and sell them in my online auctions. I find that photography collectors generally have no problem collecting drawings in addition to the main focus of their collection.

How do you know that a photo or painting is "beautiful"?

I only know what I like. I have often had other people tell me they thought something was beautiful that I just didn’t like. I’m sure I have thought something was beautiful and might have been the only one who thought so…


Grant Willing, Tree

What problems do you see with in the art world?

There are a lot of problems but there are also many wonderful aspects of the art world. One problem that has always bothered me is the people who are in it for the wrong reasons. People that don’t really love art but love the "scene." That can be artists, dealers, collectors etc.

How would you go about fixing these problems?

I think this is an issue that we have to live with.

How do you move along (or past) current art market trends to display new styles (or undiscovered styles)?

I keep looking. One of the best parts of my job is finding work that is unusual and fresh. It barely ever happens but when it does it is exhilerating. For example, I think that my fall show by Tim Roda is exceptional. He handles the medium of photography unlike any photograher I know. Additionally, the work is conceptually and emotionally strong. Perfect!

:: All images courtesy of Daniel Cooney Fine Art

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Posted: September 10th, 2009
at 1:22pm by Koookiecrumbles

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Categories: photo,the industry

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