New Math: Modern Art   07.06.09

Ditto for Contemporary Art.

Author: Christopher Lynn, Executive Director
Category: General

links for 2009-07-05   07.05.09

Images of Fires on the Cuyahoga (CSU Press Collection)
Images of fires on the Cuyahoga River from 1949, 1951, 1952 and 1961.

Cuyahoga River fire galvanized clean water and the environment as a public issue (
"'The fire did contribute a huge amount to the new environmental movement and it put the issue in front of everyone else, too,' said Jonathan Adler, environmental historian and law professor at Case Western Reserve University. 'Water pollution became a tangible, vivid thing -- like it had never been on a national level. 'There was a sense of crisis at that point. It was: "Oh, my God -- rivers are catching on fire."'"
(tags: Cuyahoga Cleveland Ohio Cuyahoga.River EPA)

Cuyahoga River Fire - Ohio History Central (Ohio Historical Society)
"Some River! Chocolate-brown, oily, bubbling with subsurface gases, it oozes rather than flows. "Anyone who falls into the Cuyahoga does not drown," Cleveland's citizens joke grimly. "He decays". . . The Federal Water Pollution Control Administration dryly notes: "The lower Cuyahoga has no visible signs of life, not even low forms such as leeches and sludge worms that usually thrive on wastes." It is also -- literally -- a fire hazard."
(tags: Cuyahoga.River Ohio Cleveland Cuyahoga)

Ohio's Burning River In Better Health 40 Years Later (NPR)
"Forty years ago Monday, a train crossing a low bridge over the Cuyahoga River sparked, igniting oil-soaked debris in the water. It wasn't the first time there was a fire on that heavily polluted waterway, which flows through the cities of northeast Ohio. Nor was it the biggest. But it was 1969, and the environmental movement was looking for a symbol. The fire was just that."
(tags: Cuyahoga.River Cleveland EPA Ohio)

A New Take on the Lake: 40th Anniversary of the Cuyahoga River Fire (
"The river fire helped spur the environmental movement and led to the passage of the Clean Water Act in 1972. Well talk to people who worked on river before and after the fire, those who pushed for the clean-up, and local officials who are working on sustaining the worlds largest single freshwater resource, the Great Lakes."
(tags: Dan.Moulthrop Sound.of.Ideas Cuyahoga.River EPA Cleveland Ohio)

Letters: Cuyahoga River (NPR)
"A rest to the controversy over the pronunciation of Northeast Ohio's Cuyahoga River. Melissa Block and Robert Siegel read from listeners' e-mails."
(tags: Cuyahoga Cleveland Ohio Cuyahoga.River)

Author: Christopher Lynn, Executive Director
Category: Links

Happy 4th with Cai Guo-Qiang   07.04.09

This past Wednesday, we invaded the new East Wing of the Cleveland Museum of Art to talk about contemporary art with a genial and smart group of art lovers. In honor of the impending fireworks on the 4th of July, I made sure that we spent time talking about Cai Guo-Qiang's (pronounced like sigh gwo chang) Pine Forest and Wolf (oddly, the museum lists all four panels that make up the work separately, so you don't see them as a complete piece).

Cai Guo-Qiang (b. 1957) is a Chinese artist known for his use of gunpowder and fireworks to create drawings and events. Enjoy the fireworks tonight and if you live somewhere where you can legally and safely set them off yourself. Try setting off a black cat or flower on a piece of paper to make your own, really bad version of a Cai Guo-Qiang.*

You can also see more about the artist and his work on Art:21. Cai Guo-Qiang's portion starts at 1:25 and ends at 14:25. I recommend fast forwarding to 1:25 so you can avoid David Alan Grier's annoying intro.

* Note from the lawyers: Please don't do something stupid like emptying the powder from the fireworks and lighting that. I tried it when I was 9 and almost lost an eye. Keep a fire extinguisher near by. Wear fire resistant gear. Hire a fireman for the night. Keep fireworks away from other flammable materials. Make sure that you have insurance that covers fire. And only do this if you are a pyrotechnics expert or Lee Majors. Actually, scratch that. Don't do it.nn

Author: Christopher Lynn, Executive Director
Category: General

Interview with SWAP artist Efrat Klipshtien   07.02.09

Installation view of Red Winged Black Bird (detail), 2009 by Efrat Klipshtien

A few days after the opening of her SPACES installation, Red Winged Black Bird, SWAP artist Efrat Klipshtien talked with arts writer Eleanor LeBeau. Klipshtien works as a graphic designer and tour guide at Israel Zoo and Safari in Tel Aviv;her artwork is based on plants, animals and geography. Red Winged Black Bird is a magical environment that conflates plant and animal life, and is simultaneously lunar, earthly and aquatic. Black, glossy cone-shaped sculptures that sprout from the gallery floor suggest termite hills, stalagmites, coral"or even mold colonies, as viewed under a microscope. Etchings on green metallic paper of seaweed-like plants with long, feathery tendrils loop and sway in an underwater current, or are they an undiscovered fern species reaching for the suns rays? The terms (and binaries) we use to define things in the natural world collapse in Red Winged Black Bird, where everything is emergent and indeterminate.

On April 11 you introduced yourself to the community with a lecture about your work and a performance. Please tell me about the performance.

The dance performance was connected to my lecture and was about changing the moment or the situation from everyday [life] to an atmosphere of magic, music and dances. There were eight to 10 dancers from Viva Club [the Viva Dance! Studio in Cleveland] and I think from other clubs in the area. They were part of the audience; they sat and listened to the lecture like everybody else. When I finished my lecture, an Announcer stood up"he was also part of the audience"and said, Thank you for comingNow we will start the Ballroom He was the change between the lecture and the ballroom [the beginning of the performance]. And when he did it, a band at the back of the stage started playing swing music. The dancers [in the audience] stood up and moved to a big dance stage and started dancing. All the other people were surprised because they didnt expect anything and they wanted to go home. So, in the beginning the audience just watched the dancers. The lights were changed from stark fluorescent to a warm light. When the first dance finished, the dancers invited people in the audience to dance. Everyone started dancing. It was magic.

So the audience became participants. How many people were in the real audience?

About sixty. When people arrived for the lecture, we took their names. After the Announcer gave his statement, the band started to play and the dancers started to dance, and he started calling the names [of each person in the audience]; it took him something like fifteen minutes to read all the names loudly, clearly and slowly. When he finished saying the names of all the visitors, the fact that they were in the space"this is what makes the magic. When he finished reading the names, the performance was finished. The music stopped; the stark lights came back on back on; the band left the stage; and the dancers changed their shoes. He [the Announcer] gave the time; he was the rhythm.

Tell me about Red Winged Black Bird.

Red-winged blackbirds were one of the first birds I noticed here in the area. When I asked someone the name, it sounded like Red Winged Black Bird. I didnt know there was a hyphen [in red-winged], and I didnt know blackbird was one word. So it [the birds name] sounded like a poem, like haiku. It set a scene for me. And when I worked on my exhibition, to me the poem fit the atmosphere of my space.

How did the installation evolve?

Usually the things that interest me, or move me, are the materials that I am working with. They like to lead me to a sculpture or an installation. I try to listen to them, to go with them, and not try to fight them. So I was working with plaster and made the black sculptures and the green ones, and when they stood in the studio, in this environment, they reminded me of nature. It doesnt matter what the material is, Im always making nature, or I am talking about nature.

How did you decide what materials you would use for your SPACES project?

I started working with the same materials here that I was working with at my house for the last three or four months. Ive wanted to learn more about plaster and stretch the material. I had a bigger studio here and wanted to experiment.

How did the black and green sculptures in your installation emerge?

[Gently laughs.] I really dont know. I just know sometimes I have the figure or the shape in my mind and I look for the material to make it come true in a way that will interest me. I work with the plaster, and I discovered that I can work with it in a different way. I discovered that I can push plaster and use it as a soft material that you can capture, because usually plaster is used for very functional things like building houses. So here I took plaster to the poetic side of things.

How did you achieve the icing-like effects on the green sculptures?

I added glue to the plaster and it became more flexible, and I pushed the plaster through the pastry bags you use for decorating cakes. I had to be really patient, and it took a lot of time-one drop next to each other.

How did you make the squiggly red forms that seem to be emerging from, or boring into, the green sculptures?

Those are glass. I made them in Israel and brought them with me. I made them by working with glass in the same way [that I worked with the plaster on the green sculptures]. I didnt know what I was going to do with the red glass when I brought it, but I wanted to bring a few things with me from my studio in Israel.

Can you talk about the etchings mounted on the walls?

The paper has a [top] layer of green metal material. I discovered that if you are very, very careful, and scrape very gently, theres a silver layer under the green layer, and under the silver layer is white paper. So if you use a very sharp knife, you can use the green or the silver or the white layers [in the etching]. I played with it for fun.

How would you describe Red Winged Black Bird?

[Pauses.] As a creation of a landscape, or nature, or a garden. Those associations, I think, can describe this exhibition.

What else?

I used available glamour. Like shiny black paint [for the cone-shaped sculptures] and metal green [for the etchings] and aluminum foil [for the branch-like sculptures]. This simple glamour"its not cheap glamour. Im not using the right words in English, you must forgive me. If you would speak in Hebrew, it [our conversation] would be more sophisticated, my ideas would be sharper, because it is hard to discuss these concepts in English.

I understand. It must be a challenge to discuss abstract concepts in a second language.

Its interesting, because the first association you have with glamour isnt nature. Nature has glamour, but most of it is connected to animals, not flowers and trees. Like in the sea there are shiny things, but not silver shiny. The peacock is shiny, but he does not have silver in his tail. He is shiny but not like aluminum foil. I bring the connection between materials that are shiny in an artificial way and nature. These shiny materials are connected with dream or fantasy"this is the connection. In the work, I never used wood or anything real from nature. I dont use very complicate materials in my work. I use things that you can find everyday"paper, plaster, aluminum foil, paper clips, the kind of modeling clay that kids use. My point is to find the glamour and magic in everything"in the things we use everyday.

Is your SPACES installation a response in any way to your experience in Cleveland?

No, I dont think so. I started working on it a very short time after I arrived [on March 30]. I dont think this exhibition is reacting to the area, except maybe the materials. I used local materials, like the roofing tiles for the floor [of the installation]. We dont have those materials in Israel. I liked it because it looked like asphalt, like a street. It has a texture and its something you want to touch. At first people wonde

Author: Christopher Lynn, Executive Director
Category: General

links for 2009-07-02   07.02.09

The Question of Freedom at the Open Video Conference (Rhizome)
The mission statement for the conference reads, Open Video is a movement to promote free expression and innovation in online video." The conference and its affiliates aimed to respond to outdated copyright law in an attempt to open the limits on the circulation and distribution of copyrighted material.

Author: Christopher Lynn, Executive Director
Category: Links

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