Posts filed under ‘Exhibition Openings’

Coming soon to a Museum near you: Miguel Palma

Above: Miguel Palma (left) with space research trainee from the ASU School of Earth and Space Exploration. Photo courtesy of the Desert Initiative.

Artist Miguel Palma (Lisbon, Portugal) was commissioned by the ASU Art Museum’s Desert Initiative to develop a mobile project that explores our connection to the desert environment.

In collaboration with ASU’s School of Earth and Space Exploration (SESE) and other community partners, Palma has converted a former military truck into an exploration vehicle equipped with the technology to photograph and film natural desert environments. The vehicle will return to urban settings at night to project the recorded imagery on building facades and other sites.

The work engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.

Palma’s “Remote Desert Shuttle” will be live at the ASU Art Museum on our season opening weekend, Sept. 28-29. In the meantime, here’s a teaser to whet your appetite:

July 31, 2012 at 11:16 pm Leave a comment

A Better Future: “Emerge” at the ASU Art Museum

From March 1-3, ASU hosted Emerge: Artists and Scientists Redesign the Future. This spectacular campus-wide event combined the disciplines of art and science to explore the impact of technological evolution on the potential futures we are creating. The advancement of humanity and the advancement of technology have become inextricably intertwined. Participants in Emerge investigated the effect of this symbiotic evolution, addressing the transformations in our lifestyles, the landscapes we inhabit, and even how we define ourselves as humans resulting from the increasing prevalence of technologies in our lives. For more information about the event, read about it from these people in some of the great blog posts I’ve linked below.

We Alone on Earth

http://wealoneonearth.blogspot.com/2012/03/emerge-impressions-day-3.html#.T42xEWHr7lw.email

Julian Does Stuff

http://julian.tumblr.com/post/18661289878/emerge-asu-2012-design-fiction-workshop-a-set-on

An interview with keynote speaker Bruce Sterling as he explains the concept of design fiction

http://www.slate.com/blogs/future_tense/2012/03/02/bruce_sterling_on_design_fictions_.html?tid=sm_tw_button_toolbar

Now if after reading all this you’re hooked, but you’re sad that you missed it, don’t be too sad. For anybody interested in experiencing this event, some of its fascinating projects are now housed in the Top Gallery of the ASU Art Museum.

I’ve experienced a significant number of the exhibitions featured at the museum, but nothing ever like this before.

Simultaneously eerie and poignant, the interactive exhibition is a beautiful, visually striking hybrid between a science center and an art gallery. The gallery is washed a sterile white onto which florescence glows. Texts in an assortment of bold, vivid colors are stamped throughout the exhibition space, glaringly obvious, almost lurid against the florescent white. The ambience is fascinating and somewhat unearthly. Entering the gallery feels like stepping into a world far removed from the one you inhabit daily. It sounds a little intimidating, but any first impressions of unease are quickly removed by all the gadgets to play with. These cool inventions and imaginings all present answers to the question of what our future might hold.

At one end of the gallery, a collection of View-Masters sits on display (I’ve included a picture below in case you’re not familiar with the View-Master). Clicking through the slides presents different views of the future as it pertains to Arizona. Having grown up in the 1990s I personally love this part of the exhibition. I remember these toys from my childhood, and really appreciate the irony of using them to ‘view’ the future.

An adjoining room showcases the vibrant headdresses created for Immerge a ‘unique interactive performance’ that occurred at the end of the event on the plaza behind the Museum.  Scenes from the performance with the actors in full costume are projected onto the gallery wall. Truly elaborate works of art, these headdresses are a sophisticated combination of feathers, wire and lights. Each seems so fragile a single breath could destroy it. Quirky descriptions of the characters represented by each headdress accompany the display, conveying impish, childlike personalities despite the artistic and technical intricacy.

While the exhibition is undeniably visually and technically just cool, it’s the interactive features that make it touching and memorable. The exhibition recognizes the importance of everyone’s input. We all have a stake in the future. It involves us beyond allowing us to just see ‘the experts’ (Emerge participants) ideas of the future by encouraging personal contributions. A table containing labeled glass tubes and marbles lets visitors vote on the topic they consider most important for a sustainable future. Clay for molding future inventions is supplied at a table in the center of the gallery. Alcoves along one wall house the imaginings of previous visitors. Colorful Post-its provided at one end of the gallery invite visitors to share their thoughts. The response is overwhelming; hundreds of these colorful paper squares adorn the walls around the gallery’s entrance.

While upon first glance the exhibition may seem cold and intimidating, closer inspection reveals how truly emotive and human it actually is. While some parts of the exhibition are undeniably rather dystopic (synthetic panda jerky anyone?) the contributions left behind speak of hope.

Some are funny:

Some are heartfelt:

Some are calls to action:

No matter their content, each and every one represents something someone was prompted to think and then cared enough to share. The quality and sheer volume of responses illustrates a prevailing mentality of ‘our future’ rather than ‘my future.’ Whatever future may unfold, this exhibition makes it evident that it will be one we create, share and face together.

Karen Enters, Intern

May 9, 2012 at 9:21 pm Leave a comment

Looking for miracles at the ASU Art Museum

Julianne Swartz and Ken Landauer are looking for miracles at the ASU Art Museum this January. As the Social Studies artists for the spring, they will be in residence much of January exploring the miraculous through people’s perceptions of it in their lives. Julianne and Ken will interview school children, ASU students and community members of all ages and backgrounds to gather a range of definitions and life experiences. Their findings will be combined in an installation of fleeting vignettes in video and sound playing on all of the Museum’s available equipment.

Andrea Feller, Nicole Herden and I have been doing advance work talking to teachers, faculty and community members about the project. We just received more than 100 student projects back from Tesseract School and ACP (Academy with Community Partners) High School, grades 5 through 12. The written stories, guided by questions from the artists, are heart wrenching and compelling. They include a child telling the story of his great grandmother dancing with the ghost of her late husband in his wedding suit to a child’s story of the miracle of her own birth to teenagers with siblings surviving near-fatal war injuries.

An incredible start to Miracle Report, the eighth Social Studies project at the ASU Art Museum.

Heather Sealy Lineberry, Senior Curator and Associate Director

For more information, or if you would like to schedule a session with the artists to retell your own miracle, contact Nicole Herden at Nicole.herden @asu.edu.

Here are the dates of the project and the artists’ mission statement:

Artist Residency: December 26, 2011 – January 20, 2012

Exhibition: January 21 – June 2, 2012

Reception: Friday, January 20, 5-7pm; Julianne Swartz will speak at the opening.

Mission Statement:

-We will spend our Social Studies Residency looking for miracles.

-We will locate the miraculous through other people’s perception of it in their lives.

-We will interview many local residents and ask them to “describe a miracle you have experienced”.

– Interviewees will be of varied ages and backgrounds. We will gratefully record anyone who wishes to retell his or her own miracle.

-We will record audio and video from these interviews, but identities will be obscured.

-The recordings will be edited into fleeting vignettes that attempt to establish “the miraculous” through many entirely subjective perspectives.

-We will seek to use all of the available audio and visual equipment in the museum’s possession to display the recordings.

-Our installation will strive to embody some beauty, some hocus-pocus, and some unexplainable magic.

January 4, 2012 at 7:28 pm 2 comments

A funny thing happened on the way to Diablo…

Above: Juan Downey: The Invisible Architect at the ASU Art Museum. Photo by Craig Smith. 

I was taking a quick break, heading up to the third floor to visit the infamous Diablo, when this thought occurred to me. The first floor gallery of Downey’s work is a segue to the second floor gallery of Downey’s work.

Now, bear with me here, I’m definitely not claiming you can’t appreciate one without witnessing the other, but it’s enjoying the individual parts instead of the whole. The move from the first floor gallery to the second floor gallery is like taking a step forward in time. It’s a transition, an evolution really, from Downey’s earlier experiments in performance art to his work as a pioneer video artist.

While the gallery on the first floor contained mostly drawings, sketches, and diagrams, the second floor, containing Video Trans Americas, is a multi-media mash-up of video and drawing. TVs are arranged in pairs across the floor while Downey’s art, again only graphite and pencil on paper, is displayed on the walls. As I walk around the gallery, each set of TVs stares like a pair of tireless eyes, watching you while you watch them.  The monitors flash images, snapshots of Downey’s journey. For several minutes the landscape rolls by, shaky and unstable, sometimes seen from the window of a car, sometimes from the side view mirror. A woman sews, pulling thread and needle through a piece of fabric with painstaking effort. Children play soccer in the street while protesters march across yet another screen, vehemently waving signs and banners.

Regardless of changes in media, the themes remain the same. Far from arbitrary, every detail plays some part in Downey’s grand design. I feel like Downey wants to trick us, the viewers, into letting our existing assumptions about what must be complex (technology) mislead us. Without reflection we focus upon the TVs and miss the finer points of Downey’s saga. I mean, in the presence of several sets of TVs playing different videos, who would think to look at the floor? However, the TVs only make sense once you do. What initially appear to be squiggly, winding lines of tape between televisions proves to be, upon inspection, a map: a map of North, South and Central America, the very region Downey travelled through while filming Video Trans Americas. The movie clips too, taken singly, out of sequence, out of context, seem disjointed and confusing. However these are not individual videos, but segments of a whole. Dispersed over the map sketched on the gallery floor, they are the text and the illustrations to the tale of Downey’s travels.

Think that’s all? Just a deconstructed video exhibition? Where’s the fun, the whimsy otherwise found contrasting the depth of Downey’s work? On the wall, directly to the right of the gallery’s entrance, Downey plays his trump card, and it isn’t even his work.

While filming Video Trans America, Downey and his family spent nine months living with the Yanomami in the Amazon. This bright, vibrant, color-pencil art is theirs. One day, after they had spent a significant of time watching him meditate and draw, Downey gave the Yanomami colored pencils and paper. And they drew, without any prior coaching or instructions. Now, this might just be me, but I honestly can’t think of a greater and more profound contrast. Especially because one of these drawings depicts an airplane flying over two brightly color structures with a rainbow in the background.

Where did the inspiration for that even come from? There is, in my mind, an almost unfathomable distance between a video anthropology discussing invisible energies, political discourse and the Latin American identity on the one hand and the color-pencil drawings of an indigenous Amazonian tribe on the other. But for all its magnitude, this unfathomable distance does not invalidate that both Video Trans Americas and the Yanomami drawings are not only culturally significant, but also art.

Actually, I’m honestly so flabbergasted right now that I’ve run out of words. So, while I’m sorry if I’m disappointing anyone, that’s really all I have for now. I can promise more to come though; I owe that much to Diablo. Due to my preoccupation with the second floor gallery, I never even got around to visiting him. So look out for blog post three, where Diablo will get the spotlight!

Karen Enters, PR Intern

November 22, 2011 at 6:58 pm

“Securing a free state: The Second Amendment Project” – Calendar of public events

Check this calendar for an updated list of public events and panels connected to the Securing a free state: The Second Amendment Project – Jennifer Nelson, Social Studies 7, including an artist reception at the Museum on Nov. 4. We hope you can join us!

 CALENDAR OF PUBLIC EVENTS

Open gallery sessions with the artist

Saturday, October 8 – noon-1:30 p.m.

Saturday, October 15 – noon-1:30 p.m.
Participants are encouraged to attend for the full 90 minutes.

Public panel on the topic of how people find security,
individually and collectively.

Tuesday, November 1 – noon-1:30 p.m.

Panelists include:

Kim Hedrick, Trauma Survivor

Nick Katkevich, Co-Director of the Phoenix
Nonviolence Truthforce

John Kleinheinz , Captain/Commander of the Maricopa
County Sheriff’s Office Special Weapons and Tactics
(SWAT) Division

Scout McNamara, Counselor specializing in trauma
resolution, mood disorders, addiction and relationships

Jim Neff, Firearm Instructor, Generations Firearm
Training

Moylan Ryan, Somatic Coach

Field trips

We recommend that you attend more than one field trip to better understand the
full scope of the project.

To sign up, call Lekha Hileman Waitoller at 480-965-0497 or email at Lekha.Waitoller@asu.edu

Thursday, October 13 – 6:30 p.m.

Artificial Limb Specialists, 2916 N. 3rd Street, Phoenix, AZ 85012

Sunday, October 23 – 11 a.m.

GPS Defense Sniper School

Saturday, October 29 – noon-2:00 p.m.

St. Luke’s Behavioral Health, 1800 E. Van Buren
Street, Phoenix, AZ 85006

Enter through the main entrance, signage will direct you to the
Behavioral Health Auditorium

Artist reception

Friday, November 4 – 5:00-7:00 p.m. Closing remarks by Jennifer Nelson at 5:45 p.m.

Gallery events

Friday, October 21 – 2:30-4:30 p.m.

Performance by visiting dance artist Tim O’Donnell

Thursday, November 3, noon-2:00 p.m.

Nick Katkevich of the Phoenix Nonviolence
Truthforce, will provide an introduction to Kingian

Nonviolence focusing on the fundamental strategies and
aspects of nonviolence based on the philosophy and movements led by Dr. Martin Luther King Jr.

For more information, updates and further opportunities to engage in the project,
please check the ASU Art Museum blog: asuartmuseum.wordpress.com or contact
Lekha Hileman Waitoller at 480-965-0497.

October 28, 2011 at 5:03 pm 1 comment

Opportunities to participate — Securing a free state: The Second Amendment Project – Jennifer Nelson, Social Studies 7

Photograph courtesy of Sean Deckert.

 

 

 

 

 

 

 

Jennifer Nelson’s Social Studies residency at the ASU Art Museum has been going for about two weeks and we’ve already been to two shooting ranges, a sniper training school and a prosthetics design facility. As if this weren’t enough firsts for me, I also, in a trust-building exercise, allowed a SWAT team commander to lead me around a gallery with my eyes closed (although I cheated when I noted that I was being led into a dark corner). This project is shaping up to be a huge learning experience with nary a dull moment, and we have barely begun.

Securing a free state: The Second Amendment Project is the second in a nonconsecutive series of projects by Jennifer Nelson on the Bill of Rights. While the Second Amendment is commonly thought about only as “the right to bear arms,” Jennifer selected another clause as her starting point for the project: “the security of a free state.”

Throughout the residency, group conversations, field trips and a public panel will engender a dialogue about security—how individuals find it and how we, collectively, think of it. Contemplating private and public security gives rise to a host of complexities, which and can at times seem incompatible. This dynamic negotiation of rights between the public and the private is what this project considers; in fact, it is what Jennifer’s body of work usually considers. (Read about her collaborative project Limerick Cookbook for an example.)

Jennifer, her husband and collaborator, Dimitri, and I have been laying the ground work for this project, which has taken us to the sites mentioned above. This past Saturday and then again next Saturday (October 8 and 15) are the first public opportunities for community members to come to the Museum and take part in the project. From noon-1:30 next Saturday, as we did this past Saturday, we will think about security through activities and conversations that are facilitated by two martial artists, an NRA certified firearms instructor and a trauma therapist.

Check out the full calendar of events below, which will continue to grow as the project develops. (We’ll be updating this blog with new opportunities and events as they arise.)

Lekha Hileman Waitoller, Interim Curator

CALENDAR OF EVENTS:

SATURDAYS IN THE GALLERY: On Saturday, October 8 and 15, members of the public have the opportunity to work with Jennifer from noon-1:30 p.m. These times provide a chance to explore martial practices and therapeutic exercises as we examine strategies for achieving personal security, and ponder what that means in a collective context. Visitors will work in a small group with a martial artist, a shooter and a trauma therapist specializing in somatic treatments to develop choreographies of self-defense and recovery.

Please wear loose-fitting clothes and athletic shoes, and because the gallery is chilly, some may want to bring an extra layer. Please arrive on time and plan to stay for 90 minutes.

PANEL DISCUSSION:
On Saturday, October 22 at 1:00 p.m. we will have a public panel with rotating moderators in the gallery for a discussion of the question: How do people find security? Come prepared to participate in what promises to be a lively discussion.

FIELD TRIPS:

A series of field trips will consider the link between the mind and its extension beyond the body. These include a visit to a prosthetics maker and fitter, which will be thought of as sites where sculpture is made and where one is driven by the need to feel physically whole after a violent interruption of their bodily integrity. The other is a trip to a sniper training facility, which will be considered a performative space where defensive security is practiced.

To sign up for the field trips, please contact Lekha Waitoller at 480-965-0497 or lwaitoll@mainex1.asu.edu

  • Thursday, October 13, 6:30 p.m.: a visit to Artificial Limb Specialists in Phoenix, where we will tour the prosthetics design facility and speak with an amputee who will share his experience about the physical transformation he has been through.
  • Sunday, October 23, 11:00 a.m.: a tour of GPS Defense Sniper School to understand the physical and psychological training for snipers.

This exhibition is supported by a grant from The Andy Warhol Foundation for the Visual Arts.

The project was initiated by John D. Spiak and is curated by Lekha Hileman Waitoller.

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October 10, 2011 at 8:48 pm

Meet Diablo

Diablo the anaconda has finally arrived.

He wasn’t thrilled about being moved, and released an indescribable smell to express his displeasure, but he is now safely installed in his enclosure on the third floor, as part of an installation by Juan Downey titled “Anaconda Map of Chile.” It’s an important piece, and it’s never been shown in the U.S. the way the artist intended; because of Downey’s point about the Anaconda Copper Mining Company’s role in the downfall of Salvador Allende and the installation of dictator Augusto Pinochet, the piece was censored more than once.

Diablo, front and center. Photo by Anne Sullivan.

Diablo is a 6-foot Eunectes notaeus (Yellow Anaconda), on loan to the Museum from the Phoenix Herpetological Society, a non-profit reptile education and conservation group. He was rescued by his current owner, Russ Johnson, who is president of the Phoenix Herpetological Society, when he was just about year old. Diablo’s enclosure is heated, and is one-and-a-half times larger than his cage at the Society, giving him more room to stretch out, although he likes to spend most of his time coiled up. During his stay at the Museum, two staff members of the PHS will come regularly to care for him.

Native to tropical South America, anacondas are members of the boa constrictor family and are the largest of the snakes of the Americas. Yellow Anacondas live about 15 to 20 years and grow to be 8 to 12 feet long. Diablo is a young snake, probably 8 or 9 years old, and his diet consists of rats. In the wild, anacondas eat fish, alligators, birds, small deer and large rodents. The anaconda can unhinge its lower jaw, allowing it to swallow animals whole after squeezing them to death with its powerful body.

At the time of his rescue, Diablo belonged to a young man who had purchased him from a local pet store but didn’t know anything about anacondas. Diablo had grown very sick, so someone contacted Russ, who nursed Diablo back to health. It took almost two years. “It was a labor of love,” Russ says.

Now Diablo’s skin is the right color and is iridescent, as it should be. Russ notes that under normal circumstances, people should not own anacondas, but because Diablo was born in captivity, it is against international regulations to release him back into the wild. So Russ will always take care of him.

The museum is grateful to Russ and to the Phoenix Herpetological Society for helping us make sure that Diablo is well cared for during his stay at the ASU Art Museum.

Tonight at 6 p.m., Marilys Belt de Downey, director of the Juan Downey Foundation, will speak with Curator Valerie Smith about her late husband’s work, including “Anaconda Map of Chile,” followed by our Season Opening Reception from 7 to 9 p.m. We hope you’ll come visit Diablo during the course of the season, to see the significant role he plays in the Juan Downey retrospective here at the Museum. If you do, we ask only that you please refrain from touching or tapping on his enclosure. He won’t enjoy that. As a preschool teacher we know tells her students, “Touch with your eyes.”

September 30, 2011 at 10:55 pm 1 comment

The Americas Gallery gets a facelift — and the Museum gets an Interim Curator!

Lekha Hileman Waitoller, who wrote the post below about our newly revamped Americas Gallery, has been the Curatorial Assistant here at the ASU Art  Museum since 2008. Today we’re happy to announce that Lekha has agreed to serve as Interim Curator at the Museum until the end of 2011. Lekha received her Masters in Art History and Theory from ASU this spring, with a thesis titled “Destabilizing the Archive: Steven Yazzie, Lorna Simpson and the Counter-Archive.” She earned a Bachelor’s degree in Journalism (with an emphasis on Photography) and one in Spanish from the University of Missouri.

Do come see the Americas Gallery, and, if you get here before August 27, you can also see Self-Referential: Art Looking at Art, an exhibition of works from the permanent collection that Lekha curated.


One of the great things about living in the desert in summer is that things slow down. Most of us find ourselves pulled in fewer directions and better able to hunker down and chip away at our long to-do lists.

For some time now the curatorial staff at the ASU Art Museum has been talking about how to make changes to the Americas Gallery—the gallery dedicated to works from the collection, including historic gems like our Georgia O’Keefe, David Alfaro Siquieros and Edward Hopper, (include hyperlinks that I have provided) that would otherwise be less available to our visitors, since our focus is on contemporary art.

Years ago, much thought went into how to show these favorites. The resulting installation was an active salon-style installation of portraits called FACES, a chronology of WORK in the Americas and a selection of paintings that describe PLACE/SPACE.

This summer we gave the gallery a facelift—a major one. Keeping with the original themes, we re-thought the Faces comparison through figurative sculpture—historic and contemporary—highlighting the ways artists have selected particular media and styles to convey meaning. The installation is purposefully spare, inviting the viewer to make comparisons between the dissimilar works.

Alison Saar’s Hi Yella (1991), left, stands in contrast to Hiram Powers’ George Washington (1849). Photo by Daniel Swadener.

Another major change is in the PLACE/SPACE installation, which loosely traces artistic styles describing both public and domestic spaces from the early 19th century through today. The earliest paintings look at landscape as a defining component of the United States’ national identity, while the most contemporary selections transition from Surrealist depictions to landscape demonstrating the collision of the personal and political.

Activating the gallery is a sculptural installation by the adventurous conceptual artist Dennis Oppenheim. The Last Dance plays on both PLACE/SPACE and figurative sculpture, as the work presents two figures suspended from the ceiling, comprised of nopal cacti. And play it does—animated by a fan motor, the figures “dance” to the tune of “Skokiaan.”

Dennis Oppenheim’s The Last Dance, 1994. Photo by Stu Mitnick.

We hope that you will enjoy what we’ve done with the Americas Gallery and that the powerful works on view will provoke questions and dialogue. Please let us know what you think!

Lekha Hileman Waitoller

Curatorial Assistant

August 24, 2011 at 6:26 pm 1 comment

Defending Diablo

NOTE: This is a composite photo-illustration of an anaconda by PR Assistant Karen Enters, not an actual representation of Diablo…

Last month, I defended Diablo in front of Arizona State University’s Institutional Animal Care and Use Committee.

Diablo is the 6-foot Anaconda snake that will inhabit one of Juan Downey’s sculptures for the fall exhibition The Invisible Architect.

I have done a lot of things as a contemporary art curator, especially as the role has become more collaborative in the creative process and with the community. I have worked with artists on site-specific installations inside and outside of the Museum, commissions, residencies and socially-engaged work. (John Spiak’s blogs on this site about Gregory Sale’s Social Studies project are a great example.) But this is the first time that I’ve had to defend a live animal “protocol” or investigate the eating (and defecating) habits of large snakes.

We will be borrowing Diablo from the Phoenix Herpetological Society, and they will be caring for him throughout the exhibition and have fully vetted his three-month habitat.

Curiosity and spectacle aside, the reason that I’m doing this is because it is a very powerful piece. Downey first installed the work in 1973, and it was originally produced for a show at The Americas Society in New York. The snake lives during the exhibition on a spectacular hand-drawn map of Chile and is a reference to the North American multinational copper company the Anaconda Mining Company. Anaconda was active in Chile before the nationalization of mining in Chile, which is one of the factors that led international business and its governmental surrogates to eliminate elected democratic president Salvador Allende and replace his government with the Pinochet military regime.

Over the next few months, we’ll be building the platform for the piece and finalizing the exhibition design towards its opening in late September. Many thanks to Lekha Hileman Waitoller, curatorial assistant, who has been managing this effort. She has an interesting new line on her resume.

–Heather Sealy Lineberry
Senior Curator and Associate Director

August 5, 2011 at 6:31 pm

Ralph Lemon and Muntadas: More news from our “Re-Thinking the Museum” series

Thanks to our capable video guy, Robert Madera, we now have abridged versions of the two most recent lectures/presentations in the Re-Thinking the Museum series to share with you. The first is taken from an extraordinary and inspiring multi-media performance by Ralph Lemon that incorporated spoken word and film. The second is an edited version of a slideshow/presentation by Antoni Muntadas, covering the pioneering conceptual artist’s long and esteemed career.

The Re-Thinking series (but certainly not the act of re-thinking) will draw to a close this fall, with a panel to include San Francisco artist Rico Solinas; his 100 Museums: Paintings of Buildings that Have Paintings Inside will be on display in the Museum lobby beginning in September. Here’s a taste:

Rico Solinas, from "100 Paintings of Buildings that Have Paintings Inside," 2011, oil paint on saw blades.

More details to follow on this blog, so stay tuned.

August 1, 2011 at 7:58 pm

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