September 10, 2014
Bill Burgard (BFA ‘79) was recently commissioned to create large format portraits of the UM Hospital Department of Gastroenterology’s top five researchers.
Images that reflect each individual’s projects and contributions to their fields were included. The idea was to tell a visual story of the groundbreaking work done at the unit and to provoke the curiosity of patients and visitors to appreciate the less glamorous world of endoscopic procedures. At first glance this seemed very oxymoronic. After meeting with all of the physicians and discussing their resources and tools I came up with a wealth of provocative images to weave into the five compositions.
Each portrait is painted in oil on a gessoed wood panel. The accompanying illustrations are done in mixed media on paper. All images were scanned and assembled using Illustrator and Photoshop. The final output is on heavy weight archival paper.
The installation was completed on July 1 this summer. It can be seen during business hours in the MPU hallway, on the second floor of University Hospital, main building.
September 10, 2014
Melanie Manos is one of eight Artists in Residence at the UCross Foundation Residency Program in northern Wyoming. She is working on new drawings and a series of maquettes for an installation based on the built environment and human influence on the natural environment.
September 10, 2014
River Tattoo, an eighty-five foot long adhesive vinyl window mural celebrating the Grand River, is Jim Cogswell’s entry in this year’s ArtPrize.
River Tattoo is my entry to ArtPrize 2014. The eighty-five foot long adhesive vinyl window mural celebrates the Grand River, which flows through the heart of Grand Rapids beside the Eberhard Center where it is installed. I am enchanted by the river’s power and its sparkling patterned surface, constantly shifting in response to the forms of the ripples, the light, and the reflected environment, much like the colored vinyl on the windows. I love the Blue Bridge over the river, its rhythmic diagonal patterns of steel beams, its beautiful color, and its rare and generous invitation to experience the river on foot.
The river flows through my mural in a pattern of rhythmic lines rising and falling around the bend in the building, with the bridge reflected in it. The mural’s clouds, its flora, its teeming bestiary of creatures both sinister and benign seem to inhabit the world reflected in the glass, suggesting that the space around us is full of possibilities we have not yet begun to imagine. A striped portal welcomes you as you exit the bridge. Bugs buzz in its lacework. Birds fly through its tunnels of space. Can you find the Hiss Brothers? The Nut Crunching Toucan? The Guardians? Chief Noahquageshik’s Four-Armed Shield? The Green Turtle, the Hat Mollusk, the Thunder Shoes? Here the familiar is made strange: dark dreams assembled from houseplants, heads within heads, faces in the foliage.
River Tattoo is made from thousands of pieces of adhesive vinyl, each separate shape applied directly to the glass in a mosaic of colored fragments. The vinyl color is cast, not printed, so that it permeates the material, making it equally vibrant on both sides. Negative spaces within and between design elements frame reflections of the landscape in the windows, including ourselves, the viewers. Rhythmic sequences respond to our movements; the design itself seems to change as we move by. The vinyl colors respond to the incidence and intensity of light influenced by weather and time of day. At night the spotlighted silhouettes enliven the exterior of the building, suggesting an oversize cabinet of wonders within the deep niches.
The mural’s design is based on hand made drawings and photographs that were later translated into a digital format to be fabricated and assembled for installation. The multicolored foreground figures are based on collages that use hundreds of shapes assembled from hand cut adhesive shelf paper from the hardware store. The line patterns began as ink drawings on paper of zoomorphic characters that I mirrored, recombined, and multiplied. I used photography to create silhouettes of houseplants, which I digitally hybridized to create mutant species with specifically targeted visual shapes and emotional resonances. If you look closely you can identify the forms of potted palms, orchid stems, night blooming cereus, angel wing begonias, jasmine, wisteria, agave, and a jade plant.
ArtPrize 2014 officially runs September 24 to October 12. Be sure to visit and vote for your favorite entries. River Tattoo is already installed and will remain up for a minimum of three years.
Vinyl fabrication by Dave Michalak of Imagecrafters, Inc., Ann Arbor
Fabrication funded with support from the Stamps School of Art & Design, the University of Michigan Office of the Vice-President for Research, and Grand Valley State University.
September 10, 2014
Endi Poskovic presents “Toward a Universal Pictorial Language: Modern Woodcut Movement in China”, a paper which introduces new perspectives on contemporary mokuhanga in China. Poskovic’s paper examines the work of the new generation of contemporary Chinese artists, namely Chen Qi, Zhang Fang, Zhang Xiaofeng, Chen Limin, Fang Limin and others, the artists who, by applying mokuhanga’s traditions as a point of departure, have established an independent, visual and technical vernacular and effectively moved away from the general paradigm of the traditional Chinese woodblock print into contemporary art.
Mokuhanga is the Japanese word for printing using the waterbased woodblock technique developed during the Edo period. Moku means wood and hanga can be translated as printing. This technique has gained recognition as a flexible and non-toxic method of printmaking for contemporary creative artists. While many international artists are now making prints with this technique, it is still difficult to find information to develop the skills, and to find tools, materials, markets, text books and research opportunities related to mokuhanga.
Held in Tokyo and hosted by Tokyo University of the Arts (Tokyo Geidai), known for the exceptional quality of its arts programs and home to a respected printmaking program, the International Mokuhanga Conference 2014 brings together printmakers, academicians, researchers and materials/tool makers. The Conference offers a forum for international discussion, and a way for people from different disciplines and different countries to share ideas about this exciting technique, rooted in history, but evolving in new directions that reflect the ideas of contemporary artists.
September 10-14, 2014
Tokyo University of the Arts and Arts Chiyoda
September 10, 2014
Endi Poskovic exhibits in the Big Picture Show at 1285 Avenue of the Americas Art Gallery. Curated by the International Print Center New York in partnership Jones Lang LaSalle, the 1285 Avenue of the Americas Art Gallery presents the Big Picture Show, an exhibition of contemporary prints by artists originally shown at IPCNY in New Prints shows. Artists in the exhibition are Polly Apfelbaum, John Baldessari, A.J. Bocchino, Ann Conner, John Robert Craft, Jeffrey Dell, Tânia Bandeira Duarte, Carroll Dunham, Kevin Frances, Beth Ganz, Bryan Nash Gill, Joanne Greenbaum, Torrie Groening, Imi Hwangbo, Mel Kendrick, Jane Kent, Joyce Kozloff, Nicola López, Martin Mazorra, S.V. Medaris, Julie Mehretu, Beatriz Milhazes, Steven Millar, Serena Perrone, Endi Poskovic, Jenny Robinson, Richard Ryan, Tomas Vu, Sandy Walker and Terry Winters.
Organized three times a year, New Print Shows form the core of IPCNY’s programming. Each of the exhibitions is selected by an independent jury sorting through thousands of submissions ranging from self-published artists to international print workshops and publishers.
The Big Picture Show
1285 Avenue of the Americas Art Gallery
Between 51st and 52nd Street, New York City
Gallery hours: Monday-Friday, 8 a.m.-6 p.m.
Opening Reception: September 8th, 2014; 6-8pm
On View: September 8 - December 5, 2014
September 3, 2014
In the Dark and The Smitten Mitten Audio Collective present The Poetry of Places: an evening of creative audio
Saturday September 13, 7:30-9:00 PM
Matrix Theatre, 2730 Bagley St, Detroit
Join curators from the UK’s celebrated In The Dark series for an evening of unforgettable listening — radio documentaries, soundscapes, creative audio from some of the world’s most innovative audio producers. Hang on to your seats as we travel to faraway places. Think of it as movies for your ears.
About the presenters:
‘In the Dark’ is the UK’s major spoken word audio and live listening organization. Over the past five years they have commissioned new works from producers around the world, and staged countless live listening events all over Europe. In the Dark aims to create a mini-revolution in the way people think about spoken-word radio by lifting it out of its traditional settings and celebrating it in new and exciting ways.
‘The Smitten Mitten Audio Collective’ is a group of audio artists and radio journalists based in Detroit and Ann Arbor who meet to share inspiration and workshop creative projects. They exist to nourish, assist and inspire one another, and the general public, through the creation of thought provoking, convention bending audio.
Arrive early, seating is limited.
Directions to the Matrix Theatre
Parking is attached to the Theatre’s property.
This event is made free and open to the public thanks to support from the Penny W. Stamps School of Art & Design at the University of Michigan.
September 3, 2014
At their annual awards ceremony in LA last week, NewFilmmakers Los Angeles named David Turnley the Best New Filmmaker of the Year 2013, and his film Shenandoah was named the Best Feature Documentary of the Year.
An epic feature documentary film about a coal mining town with a proud immigrant heritage, once pivotal in fueling America’s industrial revolution and today in decline and struggling to survive and retain its identity, soul and values - all of which were dramatically challenged when four of the town’s white, star football players were charged in the beating death of an undocumented Mexican immigrant named Luis Ramirez. Shenandoah creates a deeply felt portrait of a working class community, and the American Dream on trial.
September 3, 2014
David Turnley recently opened his retrospective tribute exhibit to Nelson Mandela and the struggle in South Africa at the University of Stellenbosch Art Museum, and lectured both at the University of Stellenbosch and at the Michaelis School of Fine Art at the University of Cape Town.
For Madiba with Love – Photographs by David Turnley
Stellenbosch University Museum, 57 Ryneveld Street, Stellenbosch South Africa
It was as a 13-year-old boy growing up in the American Midwest of 1968, around the time of Dr Martin Luther King’s assassination, that photographer David Turnley first heard the word “apartheid” – and the name Nelson Mandela.
His father, who had protested the invitation extended to two pro-racism speakers by the local Rotary Club, had explained the term and told him about the imprisoned Mr Mandela. Little could that impressionable lad have imagined that, two decades later, he would become a close personal friend of the Mandela family, and document South Africa’s transition to democracy from a very special vantage point.
This incredible journey, and more specifically the period between 1985 and 1995, is the subject of For Madiba with Love, Turnley’s new exhibition.
In 1980 Turnley began photographing race issues in Detroit, “no more opportune” a place to document the ongoing civil rights situation in America – including race riots, and the de facto racial segregation of black inner cities and white suburbia. Five years later apartheid had become an international issue, and Turnley’s attention was drawn to South Africa.
“The country was exploding,” he recalls, arriving at a time when South Africa was in deep crisis. The national state of emergency was in force, and the country was torn by violent conflict and brutal State suppression of opposition to apartheid.
As he documented what he saw, and observed the intricacies of racial politics in South Africa, Turnley says that “what I think interested me was the daily humiliations, the nuances of ... this racial relationship”.
A year later, in late 1989, things had changed again, and the apartheid government – aware of momentous things looming – invited him to return to South Africa and document what was to happen. Turnley would be one of those fortunate photographers who captured a jubilant Mr Mandela walking out of Victor Verster Prison with his wife, and his first public appearance on the steps of the Cape Town City Hall a few hours later. He was also in the Mandela home in Soweto when Mr Mandela took his first meal there in decades, along with the Sisulus and Ahmed Kathrada.
“I spent so much time with Madiba,” he says of the ensuing years, covering Mr Mandela on the campaign trail, the first democratic elections in 1994, and Mr Mandela’s presidency, retirement and family life. “I’ve really been photographing the family for 30 years.”
September 2, 2014
Works by Endi Poskovic are included the 2nd International Printmaking Triennial to be held in the National Art Pavilion Cvijeta Zuzorić in Belgrade Kalemegdan, during September and October 2014. Organized by the Association of Artists of Serbia, ULUS, the Triennial provides the public with an insight into the contemporary global developments in this field of visual arts and fosters a cooperation with a number of cultural institutions in Serbia and from across the world.
Art Pavilion Cvijeta Zuzorić, Mali Kalemegdan 1, 11000 Belgrade, Serbia
Opening Reception: Thursday, September 4, 2014
ULUS Art Gallery,Knez Mihailova Street, Belgrade
Graphic Collective Gallery, Obilićev Venac Street, Belgrade
Centre for Graphic Arts and Visual Research, Pariska Street, Belgrade
2nd International Printmaking Triennale opens next week
September 2, 2014
A chapter about the work of Endi Poskovic is featured in the new book Low-Tech Print: Contemporary Handmade Printing (Laurence King Publisher, London). Williamson’s book explores the different print methods used by creative practitioners, and featuring a global showcase of some 100 of the most exciting and influential practitioners in print media.
Low-Tech Print is an exploration of hand-made printmaking techniques and how they are used in contemporary design and illustration. It examines the huge recent resurgence in the popularity of printmaking, with chapters on screen-printing, letterpress, relief printing and other printing methods. These chapters are followed by the final section that reviews various experimental techniques used for specific types of work. Curated by Caspar Williamson, a London-based designer, illustrator, printmaker and author, the book also profiles each practitioner and unveils their inspirations behind their exclusive projects.
Reviews of the book can be found on Printeresting and People of Print.