SPACES is launching a new critical initiative, Kid Art Reviews, where we ask a child between the ages of 5-12 to comment on a current exhibition in the gallery. The review and conversation with SPACES staff is then posted for all to enjoy. If your child is interested in being an Art Reviewer, get in touch with us at email@example.com, or give us a call at 216-621-2314.
For this first edition of Kid Art Reviews our guest reviewer is Celia, a 12 year old who really enjoys visual arts. We asked her what she thought of the exhibition and this is what she said.
Questions about a Specific Piece in the Exhibition
(SPACES) What is your favorite piece in the show and why is it your favorite?
(Celia) TAG's "Gig Economy" website because it is interactive. I like how it uses humor and how it focuses on specific politics. I like seeing how humor interacts with serious issues.
(SP) If you could eat this piece what would it taste like? Would it be spicy, tart, sweet, salty, bland, etc.?
(CE) Sweet & Sour: The humor makes it funnier so it lightens up the issues a little bit but the way it references the issues also makes it a little sour.
(SP) If this piece was a person you didn't know would you want to say "hi" to them or get to know them? Would they be friendly or shy?
(CE) Get to know them; they'd be sarcastic. I think they would be sarcastic because they used things you wouldn't be used to seeing on a website such as Antarctica and McDonalds-which a lot of people make fun of-so I can see some sarcasm there.
(SP) Does this piece remind you of anything you have seen before?
(CE) No, this is very new to me. SPACES is a really nice art gallery for me to go to, I just prefer it to other galleries because I prefer things that are interactive and actually puts an influence on you.
Questions about the Exhibition, in General
(SP) If you could sum the show up in one word what would that word be?
(CE) Extravagant, because they did all these projects and were able to put them into one exhibition.
(SP) Does this show make you want to do anything? Go ride a bike, take a nap, throw rocks, have a sandwich, draw, watch TV, play, etc.
(CE) Draw and go on the Internet. The website reminded me of a lot of Internet references which made me want to look at some political things.
(SP) If there was one thing you could say to the artist what would that be?
(CE) "May God bless you." I'm just messing around, because they are amazing. It's just a joke really, so it's not anything serious.
(SP) If there was one question you could ask the artist what would that be?
(CE) Nothing. I'd be too speechless to talk. I'm a little bit starstruck and their work is pretty amazing.
(SP) Out of 5 Truman's how many Truman's would you give this show?
(CE) Six, I thought the show deserved a good rating and I really liked the dog Truman and wanted to draw him.
(follow this link to see the Reviewer in action, and to see the drawing of Truman, http://bit.ly/1mIMkqK)
Celia Reviewing the exhibition
Keywords: art, kids, mystery art shopping, review, spaces, tag
Author: Christina Vassallo, Executive Director
Category: Kid Art Review
We need volunteers for our benefit Optical Delusions Saturday, November 01, 2014. Prior to the benefit we'll be working on decorations, cataloging and hanging artwork, and soliciting donations of food and money. During the benefit we'll need people to help staff check-in, check-out, coat check, the auctions, food tables, and other various areas. If you volunteer up to 4 hours, you will receive one free ticket to the Optical Delusions Dance Party (8 p.m.). Please complete the form below and pitch in to help out SPACES!
Once you submit the form, we'll be in touch.
Check out last years benefit images http://flic.kr/s/aHsjCKFXBA
Keywords: benefit, volunteers
Author: Maya Tener,
ArtWood Derby Fastest Car:
WINNER... Michael Klasa and his car Space Is The Place!
your car has a need for speed!
ArtWood Derby - Best in Show:
WINNER... Ethan Loderstedt and his car Mine Wood Derby
your car might not be the fastest or the prettiest but it blew the judges socks off!
Artwood Derby - Hottest Mess:
WINNER... Jack Reese and his car The Dirty Bicep
your car might not move but looks good going nowhere!
Artwood Derby - Corniest:
WINNER... Flux Factory for Go Flux Go
A big thank you to everyone who joined SPACES this year and participated at the ArtWood Derby SPACES Cup 2014! It was a blast!
Keywords: artwood derby, birthday party, pinewood, spaces
Author: Maya Tener,
We at SPACES are a little intimidated by The Vault guest curator Christopher Auerbach-Brown's cunning wit and musical genius. So, we asked him to break it down and tell us what we should be listening for in the upcoming selection of sound art, Apopheny - Epiphany: What is Random?
Sound Art 101 by Christopher Auerbach-Brown
Sound art (or Audio art, or whatever you want to call it) is, strangely enough, a genre often practiced by...visual artists. This may seem odd at first – after all, don't musicians reign over the world of sound? – so the purpose of this introduction is to explain this quirk while hopefully giving the listener a framework from which to delve into The Vault exhibition.
First, defining sound art is tricky, because it can also be heard as music. But one distinguishing characteristic of sound art is that it simply does not present itself in a normal musical manner. Typically, there are no melodies, no drum beats, no lyrics, no chord changes, no shredding guitar solos. Instead, sound artists utilize any and all sounds as raw ingredients, much like a sculptor shapes his or her materials to gradually 'reveal' their final sculpture. Musicians who double as sound artists often speak of "letting go" of their musical background, "breaking new ground" or "starting over" when working in this medium.
Next, works of sound art are often site-specific in nature. In order to fully appreciate these types of pieces, you need to experience them in the locale for which they are intended. Physically displacing them by listening with earbuds or on a home stereo system ultimately causes the listener to miss out on certain nuances of the work in question.
Given this information, how does one ready him- or herself to listen? It's simple.
Wipe the slate clean.
Push aside any preconceptions or assumptions of what it is you will hear.
Now, let the materials and sounds transport you to a new place. The journey has many twists and turns, but the 'sonic path' will reveal itself through patient listening and observation. You will develop your own set of listening guidelines, to be kept secret or shared with others, if you like. But don't worry – it's all there, if you open your ears and mind. Stick with it for at least five to ten minutes. You may become a tad impatient at first, but once you work through this initial mental barrier, your brain will become more susceptible to the content of this exhibition.
Or, to quote John Cage:
"nothing is accomplished by writing a piece of music
nothing is accomplished by hearing a piece of music
nothing is accomplished by playing a piece of music
our ears are now in excellent condition."
Cheers to a fruitful adventure...
Author: Christina Vassallo, Executive Director
In this second installment of interviews between The Vault guest curator, Christopher Auerbach-Brown, and the sound artists participating in Apopheny – Epiphany: What is Random?, Lyn Goeringer sheds some light on the power of sound, the robust Cleveland sound art community, and the inspiration behind her newest piece. If you'd like to hear what she's making for The Vault, come to the opening on May 30th, or have a listen at SPACES through July 22nd.
CAB: How did you first get started as a sound artist/experimental musician? What is it that attracts you to the wonderful world of sound?
LG: My start in sound art and experimental music comes from a few different places. The first was watching the Denver Symphony Orchestra play Penderecki's Threnody for the Victims of Hiroshima when I was in elementary school. I'd never heard musical instruments perform with extended techniques, so I was hooked. I wanted to hear those things, to write those things down for other people to play. When I finally got to college to start learning composition, I gravitated towards different boundaries and sound ideas, different modes of composition and such. I was also really invested in how sound works, and the physics and psychophysics of music and sound. My composition and art practice became not only about what sounds I made, but how we listened to them. For me, sound has power, real, tangible power that can transform space and time, and by doing so it can affect our human existence. Sound is pretty much the best thing ever.
CAB: How does Cleveland's experimental music scene inspire your work?
LG: I'm somewhat new to Cleveland's experimental scene, as I moved here only a year and a half ago. What I can say is this: Cleveland's experimental music scene inspires my work by being so visible, so eager, so willing and ready to embrace new composers, new performers, new sound artists and really making it possible for people to get their music and sounds out there. Seriously! I have never seen or heard of such a vibrant community any where else. I'm so lucky to be here to take part in it.
CAB: Give us a hint as to what your work for the Vault exhibition will be like, without divulging too many details. Think of this as an enticing peek at your piece and your working process.
LG: When asked to participate in this show, you gave a few brief guidelines that focused on using the resonant frequencies of the room, a list of those frequencies, and the basic concept of the show, which would focus on random connections that we make between images and sound. I was lead to a path of hidden things: a space I would not be able to explore hands on while working on the piece, accompanying video content that I would have no knowledge of before hand, and a collection of pitches that were provided to me that I would have to trust were accurate and gathered in a way I could understand. Indeed, making the piece would be engaging deeply with the concepts of apophany, of coincident and randomly occurring events that may or may not have a perceivable meaning when joined. Knowing these things, and trying to make connections of my own, I have chosen to work with algorithmic processes to generate the sound environment (music? maybe) that I'm working with. The piece focuses heavily on geomantic principles, where the timing structure is based on various esoteric writings by Aleistar Crowley. Though the 'numbers' within the system I have designed are pre-determined (the pitches used in the piece, possible duration and volumes of notes heard), the piece is largely dependent on randomizing structures within the computer environment it is designed around.
CAB: How does the work you're making for The Vault connect with your future projects (or not)?
LG: Over the next few months I'll be working on a new album, and its basic structure will have an influence over The Vault piece. I'll be performing in the area a bit this coming fall (dates and times TBA), and I also have a large installation that uses light bulbs to make sound. I'll be posting on my website and twitter feed with dates and locations as things are determined.
Author: Christina Vassallo, Executive Director