Archive for September, 2009

Who is Kay Redfield Jamison?

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Kay Redfield Jamison (born June 22, 1946) is an American clinical psychologist and writer who is one of the foremost experts on bipolar disorder as well as suffering from the disorder since her early adulthood. She is Professor of Psychiatry at the Johns Hopkins University School of Medicine and is an Honorary Professor of English at the University of St Andrews. She is also the author of a new book entitled Touched with Fire: Manic-Depressive Illness and the Artistic Temperament.

.:: wikipedia ->


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Posted: September 10th, 2009
at 1:20pm by Koookiecrumbles

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Ninja Homes: Quad Space


The typical architecture-school final thesis project tends to start as a theoretical written document, laying out a students individual thoughts and concepts on a particular architectural topic - which then evolves into a ‘paper architecture’ project, designed by the student and explained in drawings, diagrams, models, and maybe some animations.

Quad Space - the M-Arch thesis project of University at Buffalo students Michael-John Bailie, Paul Dudowski, Ernest Ng H.H., and Dan Stripp - is, as you can see, no ‘typical’ thesis project. Rather than leave the project on paper, the four students decided to test their ideas in the real world - through a fairly drastic/awesome renovation of a 400 SF 1850’s Buffalo home. From the team:

Quad Space is an insertion of an architectural academic exercise as a full-scale constructed exploration to spatially and structurally manipulate and define the division of four spaces within a 400 sqf house.


Project background, via Quad Space:

This thesis re-evaluates the operations of architectural exercises within the academia and its role and relationship with the social, communal and economic environment that it is based in. This thesis project will critically investigates the process of establishing an academic architectural research project as a full scale construction insertion in the city of Buffalo, through the physical manipulation and conversion of a derelict house into a habitable space.

This collaborative thesis project is strengthened and necessitated by the nature, scale and logistics of a full scale architectural construction exercise involving coordination, compromises and negotiations by four individuals, while also being challenged and contorted by the conventions of the academia and its definition of a thesis work as a purely individual exercise.

This thesis project operates within the space of two current economic situations: the first being the stagnant and derelict economic landscape of Buffalos domestic environment in which the insertion of this academic project, self-motivated and independently funded by architectural students/ designers/ builders/ owners creates a sense of iconography and raise awareness for innovative attitudes towards the re-considering the banal within such an urban landscape.

The second being that of the typical American view of domesticity, which the thesis acknowledges and provokes by challenging the perception of conventionally extensive spatial needs within the ideal American home and domestic landscape, by re-defining and re-interpreting conventional building codes requirements for minimal living.


The 4 students bought the existing structure for $6,500 at auction, and subsequently gutted the building and tore down an addition to prep for their project. The total cost of the renovation/redesign is estimated at $32,000 - with donations from a number of local construction-related companies.


From a programmatic standpoint, the project takes the existing 400 SF home and inserts 4 volumes [seen in diagram above] into the space - creating 4 private living spaces. Each of these inserted volumes pushes through the existing home, becoming visible on the exterior as a uniquely defined space. The interstitial space remaining between these insertions will then function as communal space, such as kitchen, bath, and living room. Check the Quad Space blog for some great photos of the process of cutting the existing facades and roof, then sliding the newly created volumes through from the inside - pretty sick.


Now, I know what you’re thinking - you want to see the finished product. AMNP has already arranged to stay in contact with one of the team members, and I look forward to bringing readers images of the completed project when the team wraps everything up - possibly with some of their thoughts on the process of collaborating on a thesis, actually building an academic project like this, and reactions to the completed structure. For those of you in NYC, the project will also be exhibited in September [images, obviously] as part of "Arch Schools: Visions of the Future", an annual exhibition at the Center for Architecture.

Head over to the Quad Space blog for more images and information on the project, and process photos documenting the construction.

.:Buffalo News article on Quad Space->

::info, images and quoted text courtesy of the Quad Space team::

.:view more of our Ninja Homes feature, here->

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Posted: September 9th, 2009
at 10:58am by orangemenace

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Categories: architecture,ninja homes

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Ninja Star Coat Hook


There is one section of Ninja life that is normally neglected in books, and that is a Ninja’s home life. You think they just hang up all their weapons in the closet? Heck no - those are a Ninja’s tools, for life. The Ninja uses his Katana to do everything from butter his bread to separate his laundry (lights from darks). He uses his hand claws to hold corn and peel potatoes. And, he uses his throwing stars for coat hooks. Until you spend your life training in the Ninja arts, we recommend picking up a Ninja Star Coat Hook or two. It’s just safer.


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Posted: September 8th, 2009
at 11:53am by Koookiecrumbles

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Categories: clothes,gear

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Documentary: London Underground Map

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Posted: September 7th, 2009
at 12:47pm by Koookiecrumbles

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Zoo Mandala by Allen Vandever


This auction is for a limited edition (1 of 50), signed print of the Zoo Mandala by Allen Vandever. The print is 12″ X 9″ and $45.00. Shipping is free with every order.

The artist has provided the following statement about his work with mandalas:

In various spiritual traditions, mandalas may be employed for focusing attention of aspirants and adepts; as a spiritual teaching tool; for establishing a sacred space; and as an aid to meditation and trance induction. I am creating mandalas from photos that I have taken; everything from the city streets to the beaches of Hawaii. I hope you will enjoy these images for years to come.

Contact or view the auction to make an order. Thanks!

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Posted: September 7th, 2009
at 12:35pm by Koookiecrumbles

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Categories: contemporary,auctions

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Muzak Video Sundays 9.6.09

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Dead Pirates - Wood

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Black Sheep - The Choice Is Yours

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Duane Eddy - Shazam

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The Sound Providers - Night Steps

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Brian Eno & David Byrne - Strange Overtones

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Pharoahe Monch - Push

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Posted: September 6th, 2009
at 12:04pm by Koookiecrumbles

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Categories: muzak video sundays

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A Dozen: Henrique Oliveira

Welcome back to another edition of A Dozen. Welcome to Henrique Oliveira as well. The show Tapumes, which is featured below was on display from March 26th - August 11th, 2009 at the Rice Gallery in Houston, Texas. Oliveira uses salvaged wood collected from the streets of Sao Paulo to create large scale installations. And now here is the interview…


Tapumes 2006 Site specific installation

Fiat Mostra Brasil, Pavilh o da Bienal, Sao Paulo. Wood.

4m x 18,4m x 1,2m; (13,15ft x 60,5ft x 3,9 ft). photo: Mauro Restiffe

Please describe your mission as an artist.

I don’t see my work as a mission, but just as something that can create a situation of interest for the viewer. I try to do something I like and it will be excellent if someone else can experiment a similar feeling more or less a kind of emotion that some art works, movies or music can bring.

What separates your work from others?

Usually a peace of wall is enough to do it, but to be sure I try to do something different than what I have seen, something that can only be reached out of a constant work towards the development of language.

How have you been influenced by your travels?

Traveling is the time of observing things, cultures, people and their ways of living. The influence of such experiences, usually, takes a long time to show up in an art work. Except when you intentionally take some element from a trip, it all comes slowly to form a background. Influence doesn’t respect hierarchies, I can have a very strong impression of a banal happening when I’m flicking a magazine in a waiting room, and can travel around Asia for two months and don’t get a moment that keeps my thoughts so attached to it.


Tapumes Gallerie Vallois

Paris - 2008 wood and PVC

3,2m x 6,2m x 0,9m; (8,42ft x 16,3ft x 2,36ft)

Which places have inspired you the most?

The streets of Sao Paulo have inspired me to the aspects most disgusting of my work; but I think that, creating interesting things out of only one source of influence doesn’t happen very often. I see my work as a crossover of this urban experience which happened more recently in my life, with the earlier way of life that I had in the interior of Brazil, in contact with nature.

In a work like Tapumes, how did you achieve the desired effect?

It was a long process that started when I decided to use plywood as a support for painting. Then I noticed the surfaces were very rich in textures and, the laminates, when broken, suggested me a brushstroke shape. At this moment I started to use old plywoods on collages to suggest big paintings relating to architectonic sites, which I explored in tension against the building walls. I wanted to bend the plywood boards.

As I started to exploit the flexible properties of this material, I felt it necessary to use something more plastic. Them I started to build them using PVC tubes first, (Tapumes Paralela 2006), and next another kind of wood that we call bend board (Tapumes Fiat Mostra Brasil 2006). In some cases I use only the last, in others I combine it with the tubes, screwing it to a kind of wire structure. It provides a first surface and the used plywood is used like a skin, covering it.

The used plywood is collected from the streets. I take them to my studio and pile off the layers, separating them by color, size, etc. In some works I control the color pouring diluted paint on the wood, getting them moist in order to make it easier to be manipulated.

CentroBrit mau2

Whirlwind for Turner 2007

Site specific installation created after the painting Snow Storm by William Turner.

11 English Culture Festival, British Council, Sao Paulo.

Wood. 4,35m x 6,92m x 2m; (14,3ft x 22,76ft x 6,57ft). photo: Mauro Restiffe

How do you view painting in terms of its relationship with other mediums?

I think painting is a medium that has its own logic. It is a language capable of re-inventing itself, but it can also be seen as concept that goes beyond its medium condition and can be applied in order to organize other kinds of more physical realities.

What is the difference between the second and third dimension in your eyes?

I think the difference is in the window that frames the images in my paintings. More than any other quality, this device is what makes things be seen as bi-dimensional. This is the reason why my paintings don’t function so fine in photographs as my installations. The physical dimension of my paintings are part and parcel of the process of comprehension of it. They are the tracks to the process of construction that unfolds the sense of the work.

What materials do you find yourself using?

Basically woods for tri-dimensionals and acrylic on canvas for paintings. But I have tried other types of woods, metal, bee wax, cement, polyurethane and found objects in my sculptures.


Tunnel 2007

Instituto Ita Cultural, Sao Paulo.

Site specific installation Wood, PVC and bee wax. 2m x 30m x 3m; (6,57ft x 98,68ft x 9,86ft).

Created for the exhibition Future of the Present, this work was an environment where the visitors could walk through and feel the smell of the materials. The instability of the wooden floor that moved slightly, provoked a sound. Tunnel had an entrance (left part of the image) that led to ramifications (right) which conducted the spectator to a small room covered with bee wax, or to a close space, or to a narrow passage to the other side of the museum room.

What artist or work would you compare yourself to (if you had to do it)?

Alberto Burri, Anish Kapoor and Frank Stella. In Brazil, Nuno Ramos, Ernesto Neto and Adriana Varejao.

What challenges face the emerging artist?

Many, but the most import I believe, is to reach a situation of economic independence to permit you dedicate exclusively to your work and do whatever you want.


Untitled 2008

Acrylic on canvas.

1,9m x 1,7m; (6,25ft x 5,59ft).

What defines the audience or rather who would you like to see your art?

I don’t have much idea of how my audience looks like, but I wish my work could be appreciated by as many people as popular music is.

Where would you like to see your work displayed?

At home. But I don’t have enough room yet.

::all images courtesy of Henrique Oliveira ::

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Posted: September 4th, 2009
at 12:01pm by Koookiecrumbles

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Categories: contemporary,a dozen

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the Industry: Christian Viveros-Faune

This week, the Industry talks with Christian Viveros-Faune- ex-gallerist, critic and art fair organizer of VOLTA NY and NEXT. VOLTA NY will take place March 4th - March 7th, 2010 and NEXT will happen April 30th - May 3rd, 2010.


Please describe your professional aspirations.

I suppose my ultimate aspiration is to be able to come up with a practice that fuses my curatorial efforts and my art criticism into pretty much a seamless package. As NEXT Curatorial Advisor alongside my pal Kavi Gupta and our associate Jessica Cochran, we’re really looking to put together the best possible international exhibition of emerging galleries the country has to offer. That means, at this point, rejiggering the art fair model significantly from a supermarket for art to something more approaching an exhibition, complete with a bona fide edge and independent curatorial commentary (witness CONVERGE, our contemporary curators? forum, which we started in 2009 and are expanding in 2010). I think NEXT has been very original and forward-looking in this respect, and we owe it to the fair and our exhibitors to continue pioneering in that direction.

Where and when did you initially find yourself interested in art as a career?

I was hooked the first time I entered an artist’s studio. I was a young literary type and was bowled over to find that folks routinely shaped materials and smudged dirty cloth to arrive at the kind of meaning I found in books. As for a career, it took a while and I made all the wrong moves. I suppose somehow some of things I did stuck, and so here I am.


What is Art Chicago and NEXT?

Art Chicago is a major international art fair for largely established galleries. NEXT is the younger, hipper equivalent. We’re the jeans to their suit, the sports-car to their sedan, the kunsthalle to their Gehry museum.

What range of artists/art do you find there?

Most of the established, expensive art is with Art Chicago and their presentation is as it should be given the context, sober and polished in the best possible way. We’re scruffier by design, as what we’re often trying to register are new ideas shaped into newfangled expressions.


What is your role in these exhibitions?

I am the Curatorial Advisor for NEXT. That means, essentially, that I engineer a significant amount of the design of the fair, year and year out, both in terms of its ideas as well as the artists and galleries we bring in. Both Kavi and I do a significant amount of work to bring in artists and galleries that we think collectors, the city and its institutions will respond to.

How do you envision the current art scene here in Chicago?

It is alive and kicking. Chicago has great institutions, super art schools, terrific collectors, fantastic galleries, a long history of having produced important artists and a hunger to top itself that I think it has only begun to satisfy. As far as NEXT and Art Chicago are concerned, what we’re after is making sure that we play a significant role in expanding and enriching the Chicago art scene, in all its manifestations, as much as possible.

VOLTA  New York 2009

What benefits can exhibiting at an event like NEXT give to an emerging artist?

Simple. It can expose him or her to tons of attention from collectors, museums, other galleries, peers and the public at large. The unassailable truth about art fairs is that they often pack months or even years of activity and contacts into a single four day event. For this reason, art fairs remain inevitable.

What can you say about the passion that drives artists to continue to produce fantastic work?

That energy and the parallel passion of the other players in the art world- curators, collectors, institutional folks, gallerists is what makes our very global Lilliput go round and round. Without that, everything simply grinds to a halt. Bracket the Charles Saatchis and Richard Princes of the world, and there are always better, faster ways to make a buck. Artistic passion and the innovation it engenders is the best antidote to what would otherwise be absolute stasis given the present economy.

VOLTA  New York 2009

Are there any victims in the art world (it can be pretty competitive)?

Sure there are victims, but there are many more successes. Anyone who manages to make a living from culture or even come close to it should count him or herself a success. No one needs art, after all. It is not like bread or chairs or aspirin. It has absolutely zero use value. I really think this is a time to consider silver linings across the board in art as in other things, so I?d rather talk about successes. The only victims I know of are folks who somehow miss this logic.

What cities and neighborhoods do you feel offer the best environments for an artist?

Well, that depends of the sort of artist we are talking about. The folks we entertain at NEXT probably thrive best in certain supercharged urban environments where rents are cheap, companionship is easy and bars are plentiful. Still, there are folks who are capable of working in their barns out in the country. I always figure the exceptions confirm the rule. As Charles Starkweather once said, it takes all kinds.

VOLTA  New York 2009

Does art need to be shown, or do you think it just has to be seen?

Art needs to be exhibited. It doesn’t do anyone much good, the artist especially, if it just sits in the studio. Also, a Rembrandt painting is not the same object at the Art Institute as it is in a bus station toilet, for a host of reasons too complicated to go into here. Exhibition and art have gone together like bread and butter since before Lorenzo de Medici commissioned his first Madonna.

Which artists make your favorite art?

I have very catholic tastes and that is in no way to evade the question. I suppose in my job I have to, but smart work appeals to me independent of content or medium. I suppose like a lot of people I especially enjoy art that shows me something I didn’t know before, something new. At this time, for example, when folks seemed poised for some kind of breakthrough socially, politically- and why not artistically? I find myself looking for work that gives me a glimpse into tomorrow. That is, I realize, a very tall order. I keep looking, though.

::images courtesy of NEXT Art Fair and VOLTA NY

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Posted: September 4th, 2009
at 10:19am by Koookiecrumbles

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Categories: contemporary,the industry

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Cover Artwork : Samon Kawamura


Artwork and Art Direction for Samon Kawamura’s new album on JAZZY SPORT (Japan) and Nesola/FOUR Music/Sony BMG

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.:: no more sleep ->

:: video from samonkawamura ::

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Posted: September 3rd, 2009
at 7:34pm by Koookiecrumbles

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Categories: music,design

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