MIND08 The Design and the Elastic Mind Symposium

MIND

This is more of a FYI than a post – if you’ve been to MoMA lately and saw the Design and the Elastic Mind exhibition you might be interested in the one day symposium April 4th titled MIND08. There quite the list of speakers: Paola Antonelli, co-host, Ben Aranda, Jessica Banks, Ayah Bdeir, Adam Bly, co-host, Laurene Boym, Chandler Burr, Erik Demaine, Drew Endy, Marc Fornes, Hugh Herr, Chuck Hoberman, Jamer Hunt, co-host, Natalie Jeremijenko, Chris Lasch, Christophe Laudamiel, Janna Levin, Greg Lynn, Benoit Mandelbrot, Henry Markram, Neri Oxman, Fiona Raby, Bradley Samuels, Kevin Slavin, Paul Steinhardt and Skylar Tibbits. This is how the event is described “Collaboration between science and design is yielding a radical new way of visualizing, understanding, and manipulating the natural world. MIND08 is a conference, presented by Seed and MoMA and inspired by Design and the Elastic Mind, which aims to catalyze this convergence. Bringing together an eclectic group of speakers and participants, including leading scientists, designers, and architects, the conference will explore topics such as the personal genome, brain visualization, generative architecture, and collective design. MIND08 is an opportunity to interact with the ideas and thinkers transforming our visual and intellectual landscape.”

Friday, April 4 | 9:00 AM to 6:00 PM
Tishman Auditorium
Parsons The New School For Design
66 West 12th Street, New York City

more information and registration at www.mind08.com

Hanging w/ Nooka

Nooka Zot Aluminum Black

Hanging w/ Nooka

Publishing DesignNotes on a near daily basis over the last couple of years has helped me consider design in a manner that you can’t learn from just reading about it. By being proactive it forces you to always keep your eyes open. When you happen to flip a page and realize that you have no idea what you just read that’s way tougher to do when it’s you writing. Publishing DesignNotes also allows me to talk to interesting people that I otherwise would never had met either through email or actually meeting them in person.

Last night I met w/ Matthew Waldman who’s the founder of Nooka (see watch above). I could go on and on about what I think about the watches but if you’ve been following this blog for any length of time you already know that. We had been exchanging emails every once in a while and since his office is pretty close to where I live it seemed weird not meet face to face. It was interesting to see the studio where everyone works (hi Yumi) and see the collection of watches, products and other characters that are being created. One of the things that I learned about UPS that I had never considered was that the trucks at dusk are kind of invisible – or at least that’s what Matthew thinks as he’s almost been hit by a couple. It was also interesting to hear the development of the company and how things have evolved. I saw a really cool wallet that they’re developing that fits in pretty nicely with some of the other watches. We also talked about perhaps doing a joint thing with DesignNotes. Nothing extreme of course and way too soon to mention anything more then that – but stay tuned.

Bear Insides

Kent Rogowski - Bears

Kent Rogowski - Bears

Kent Rogowski has come up with a pretty cool idea – taking images of stuffed bears from the inside out. He’s rational is as follows “Bears, is a series of portraits of the most unusual sort: ordinary teddy bears that have been turned inside out and restuffed. Each animal’s appearance is determined by the necessities of the manufacturing process. Simple patterns and devices never meant to be seen are now prominent physical characteristics, giving each one a distinctly quirky personality: their fasteners become eyes, their seams become scars, and their stuffing creeps out in the most unexpected places. Together these images form a topology of strange yet oddly familiar creatures. They are at once hideous yet cuddly, disturbing yet endearing, absurd yet adorable, while offering a metaphor for us all to consider. These bears, which have lived and loved and lost as much as their owners, have suffered and endured through it all. It is by virtue of revealing their inner core might we better understand our own.”

View the insides yourself at www.kentrogowski.com

Soothing Nav.

Nav refreshed

Playing with the nav.

I found a great site to explore yesterday via flickr. Damon Zucconi has a number of sites though the one that I really want to mention is reticular.info The nav. is really soothing and encourages exploration. The images above show how the site starts and what happens once the cursor is dragged around. If there’s one complaint, it’s that the contact info is really difficult to find. I had to go to one of his other sites to find it.

Paula Scher and Banksy inside two New York Galleries

Paintings from Paula Scher at Maya Stendhal Gallery

I spent some time Saturday afternoon in Chelsea looking at a couple shows that I’ve been meaning to see for a while. I was pleasantly impressed with the painted maps by Paula Scher and somewhat underwhelmed by the theatrics that surrounded the collection of work from Banksy. The unauthorized gallery show of Banksy’s work at the Vanina Holasek Gallery tried way too hard in its display of the images and in essence made it seem embarrassing. There was an incredible contrast between Banksy’s display with the paintings of Scher’s at the Maya Stendhal Gallery. If you suspend the idea that Banksy’s work should only be seen outside the gallery setting and allow more people to have access, that gallery wasted a great opportunity to elevate his work. Between the brutal angles of turning the work on edge to the splashes of paint on the walls to the fake police tape for Banksy’s images – I just have to wonder what were they thinking? Keep it simple and clean. Getting past the actual gallery setting I saw quite a few images of his that I’ve only seen on websites and magazines. There was also other stuff that I hadn’t seen previously. It’s definitely worth visiting if you’ve never seen his stuff before in person, but the collection seems to get lost within the attention it’s trying to draw from the contrived environment.

There were a couple things that really struck me when I saw the maps by Scher. The immense scale was the first thing that hit me. Between that and all the layers of information and colour it was really mesmerizing. It was one of the few times when I was drawn into the work and really just got sucked in. I didn’t spend hours with the work but I’ll definitely visit those maps again before the end of the show. I also managed to get a gallery catalogue of all the maps. Reflecting the scale of the show, the book is quite large as well. I’ve taken a picture of my moleskin with the book to show the difference in size.

Banksy

Paula Scher Recent Paintings
November 8th, 2007 – January 26th, 2008
Maya Stendhal Gallery
545 West 20th Street
New York

Banksy Does New York
December 2nd – 29th, 2007
Vanina Holasek Gallery
502 West 27th Street
New York

Some notes after hearing Anthony Dunne

Last Wednesday night Anthony Dunne gave a presentation at Parsons the New School for Design. Described on the postcard for the event, Anthony Dunne is a professor and head of the Design Interactions Department at the Royal College of Art in London and a partner in the design practice Dunne & Raby. Below are a couple images from the Dunne & Raby website that struck me as memorable and worth mentioning afterwards.

Is this your future?

Is this your Future?: The teddy bear blood bag is a bit disturbing to say the least – but it sure is an image that you won’t forget. The image is part of “a collection of hypothetical products and 3 photographic scenarios explore the ethical, cultural and social impact of different energy futures. The Energy Gallery, The Science Museum, London (For children between 7—14 years).”

Compass Table

Compass Table: Such a great idea, place a bunch of compasses inside a table and watch what happens when you move it around a room. “Its needles twitch and spin when electronic products are placed on the table’s surface”. Comments from the people using the table: “It seems to be a bit obsessed with the radiator. (Arabella) and It’s not just like a vase that you get bored of. (Diane)”

GPS Table

GPS Table

GPS Table: The table had a screen and GPS system inside it, if the table wasn’t positioned correctly it would say it was lost on the screen“This Globally Positioned Table displays its exact position in the world.” and comments from the people living with the table “We don’t tend to attribute human feelings to our furniture. (Lorna) I’m not quite sure why I was shocked. I thought “Bloody hell, the poor thing’s lost”(Dick)”

Anthony’s talk was intended to stir debate on a number of fronts that design does not usually do. Most days design is sold as a commodity as opposed to a thought process to challenge social, cultural or ethical issues – a role usually left for art – though in the context of his presentation seemed appropriate. On a more practical level, I certainly became more aware that if designers added more human touches or visible cues to inanimate objects, how people interact with them would change – probably for the better.

A couple art sightings to check out in Chelsea

Image by Andy Freeberg

I spent some time walking around Chelsea Saturday afternoon checking out a couple art exhibits. I only made it through a couple blocks (29th Street – 26th Street) before I had to call it a day. While not even going through probably half the openings I didn’t really come across a ton of art that was memorable. There was one exhibit that I did find sort of amusing in a self referential way. Andy Freeberg had a series titled Sentry. He’s taken photos of a number of gallery spaces where people work. Between the tops of people’s heads to the flowers on the tops of desks, seeing a series of these types of images shows the similarities and differences of a space most people ignore. You can view them yourself at Danziger Projects 521 West 26th Street (NY).

Daniel Rozin Opening

Daniel Rozin Opening

That night I went to the opening from Daniel Rozin’s Fabrication at bitforms. Combining a mirror like technology with metal and wood there’s a lot to admire – the experience of seeing yourself reflected in a non traditional material, looking behind to see all the wires connecting to circuit boards and listening to the gears make movement is quite compelling. Bitforms in NY is located at 529 west 20th street.

Spine Language

Photos by Mickey Smith

I came across a fascinating series of photographs from the artist Mickey Smith via the blog userslib. She has photographed bound periodicals and professional journals from public libraries. Plain covers and spines of these type of books are typically void of any expression yet when singled out by her, the colour and type become quite expressive. Will these forms of bound periodicals be around five or ten years from now? As with information being digitized and space becoming a premium, it would be hard to imagine these bound periodicals lasting as is. You can read more about her project VOLUME at www.mickeysmithart.com/volume.htm

Inside Cooper-Hewitt’s Permanet Collection, IDEO Selects

IDEO Selects

I haven’t had the chance to walk on over to the Cooper-Hewitt to check out their latest exhibitions, one being IDEO Selects. But I have had a chance to click through the site that references the curation. You can travel there yourself at http://ideo.cooperhewitt.org/.

And if that’s not enough Cooper-Hewitt Permanet Collection news, friend Marian Bantjes has had four pieces accepted into the collection. Those pieces are The Design Matters Live poster, The Fox River Paper booklet, The Seduction poster, and a self promotion poster.

Everything but the bed

Carlton Arms Hotel

Another night with another opening though this time it was in a hotel. The Carlton Arms Hotel is one of those places that you would probably walk by if it wasn’t the intended destination. Like any place that doesn’t have concierge you have to be buzzed in. I don’t know the history of the hotel, but from what I’ve gathered each room is essentially an installation by a selected artist. Last night I was at the opening of one such room. I took the above image from the room last night by Brigitte Henry. More of my images of the room can be seen on flickr. Ironically I shot everything but the bed…

Friday Four

It’s Friday and you’re tired of reading the same blog stuff over and over. Here are four sites that you may not have come across and you’ll be a better person for reading them. They all come via Robin Cameron, a fellow renegade, who passed them on to me after I asked her yesterday what sites she likes visiting.

ukasgeronimas_Map-of-Eternia.jpg
Promontory Point http://lukasgeronimas.blogspot.com/

niallmcclelland_match-circle.jpg
Swords & Stones http://niallmcclelland.blogspot.com

justinbwilliams_wyoming.jpg
justin b. williams http://justinbwilliams.blogspot.com/

shedoesntloveyouanymore.jpg
Fighting – Power, Mystery, and the Hammer of the Gods. http://shedoesntloveyouanymore.com/

Design Life Now is design light

Design Life Now: National Design Triennial 2006

Coming into the Design Life Now: National Design Triennial 2006, I didn’t have any expectations. I was aware of Speak Up’s contribution and had read the NYT’s review. As I walked through I tried to see it through the eyes of someone that may not be aware of what design influences are around them daily. Unfortunately afterwards I don’t think the show made a convincing argument that design is actually that important.

I understand that this is a “national” design triennial, not an international affair so I won’t even bring up the argument about who it included and didn’t from around the world. Part of my experience was spoiled before it even really began. No photographs allowed. While I can understand that kind of policy at the Neue gallery, I’ve almost taken it for granted that institutions like MoMA, the MET and the American Museum of Natural History allow their pieces to be photographed. If the exhibition was really design life now, the ability to photograph examples should be expected. Adding to the tone were all the signs displayed say “do not touch”. While I understand that some of the items are fragile, it really makes you wonder if they are trying to be art or functional design pieces. So no photos allowed + stuffy signs = weak pretentiousness.

As I did walk around both floors seeing it through the eyes of an average civilian, what other impressions did I have? Slight awkwardness, I viewed fashion items that really didn’t have context, buildings that I wondered why were included and what the qualifications were to get in. I saw materials that belonged in a gallery and not in real life. I wondered why Kid Robot was included and why the displays that relied on technology weren’t working properly. There were three large corporate players that deserved to be there (Apple, Nike and Target). However Target’s Clear Rx was the only one shown in context of design as function instead of pure consumption. Google was included, though there was no nod to the digital photography explosion of the last couple of years.

Afterwards I did visit the gallery store. Ironically I felt more comfortable walking around there than in the exhibition space. You could pick things up, go through the books and if a person was so inclined take their object home. In that small space there was probably as much to learn about design in the past three years as there was to the two floors of curated design.

Design Interviews from DesignNotes

target

Doing interviews on my blog is one of my favourite things. But I don’t do it as often as I should, but w/ the encouragement of friends like E. Tage Larsen I’ve continued on slowly. So, I’m pretty excited to mention this upcoming Monday that I’ve got a new interview ready to go. The criteria on picking people to talk with is pretty simple. They’ve done something that I’ve found interesting and I would like to know more about them. Though the first interview I did was by accident – sort of.

Back in the day when I was using blogger, I was just experimenting – using it as an excuse to put up cool links. Then Target ClearRx came out. The only information I could find came from New York magazine. I linked to that article and soon afterwards I was getting a lot of web traffic to my site from others searching for more information just as I was. So soon after that I contacted Deborah Adler for an interview b/c I simply needed to know more about the system and thought others could benefit too from hearing her. Of course now there’s a ton of stuff out there about ClearRx, but at the time there wasn’t.

Below are all my other interviews, just be sure to come back Monday for the next one. I really enjoyed doing it, and I hope you get as much out of it as I did.

Deborah Adler ClearRx Interview

Pasqualina Azzarello Interview

A great conversation with Tina Roth (Eisenberg)

Plastique Life

DesignMaven Revea!ed (Part One)

DesignMaven Revea!ed (Part Two)

design-art?

chair

I’d hate to make a habit of posting something that corresponds to every new article I read from Alice Rawsthorn published by the International Herald Tribune, but I think the timing is warranted. Her latest is titled The designer Newson teams up with Gagosian Gallery. The timing comes as Marc Newson has an opening this Thursday night at Gagosian Gallery in New York. The article itself gives a decent overview of how this design-art has come to be, and the predecessing social and political issues that were on the minds of designers before their work became artifacts.

For bonous points, watch the videos from the SVA MFA Designer As Author: Guest Lectures by Paola Antonelli, part 1 of 3. You’ll have to scroll all the way down to see part two and three

Hey, it’s a page from Leonard Cohen’s notebook

Over at notebookism (btw a great blog on everything notebook’ish) they have a link showing inside scan’s from Leonard Cohen’s notebook. Each of the the pages have lyrics on it. For the pages that are hard to read, you can click on the page and a pop up screen appears with the text typed. Read it for yourself at www.webheights.net/10newsongs/alex.htm

Pasqualina Azzarello Interview

Paintings from Pasqualina Azzarello

In mid October I discovered Pasqualina Azzarell through flickr. Someone had posted a number of images of her art on the walls of a construction site in DUMBO. Looking through those images I noticed that one of the walls had her e-mail address. Intrigued, I e-mailed her asking if she would do an interview with me. Not only did she say yes, she also invited me to the D.U.M.B.O. Art under the Bridge Festival that was being held at the time. Not knowing anything about the festival since I has just moved to NYC, I thought it would be an interesting adventure for Tamara and myself. We weren’t disappointed, and we got to say hello to Pasqualina. Below is the interview that was conducted through e-mail.

You can view more of her work at my flickr set that I took during the festival at http://www.flickr.com/photos/michaelsurtees/sets/72157594364934238/

Michael Surtees: Thanks again for doing this interview Pasqualina. I noticed your artwork through flickr where someone had taken a couple pictures of the walls you had painted at a construction site. One of the images had your e-mail address on it and that’s how I contacted you. Have you received a lot of interest through e-mail, or if you had just left a phone number do you think the response would have been the same?

Pasqualina Azzarello: I value making use of public spaces when making and sharing my art. Whether I am making a mural, creating a proactive public dialogue through performance, or selling my artistic wares on city streets, I appreciate the integration of object and place. I have noticed that I tend to make use of a similar approach when it comes to announcements, that is, ‘getting the word out’ about a project or an upcoming show. Once upon a time, I would include only my phone number as a means of contact. And people seemed to use it mostly in regard to practical matters (ie: directions to a gallery, etc). What is nice about email, however, is that the range of communication has expanded. People are less shy and are more inclined to share their feelings about the work and tell their own personal stories. Because of the nature of this community-oriented project, I felt that my email address was the most appropriate means of creating a dialogue, aside, of course, from the conversations that happened on the street while the work was being made.

MS: In the NYT article, it mentions you painting 500 rocks and placing them around where people would find them the next morning, and then you have the painted walls outside of a construction site. Could you talk about what public interaction with your art mean to you. Is it important that the work be seen outside in public or is that not much of an issue?

PA: It is clear to me that context affects how a work of art is seen and experienced, and by the same token, nothing is truly neutral. Even the white window-less walls of a gallery or museum create a culturally potent backdrop. So yes, the context I choose to share my work in is critical. In the case of the 500 painted rocks or the painted flowers around the construction site in Dumbo, I was interested in the element of people, while in the throes of the mundane of the day-to-day, being able to happen upon something that was blatantly handmade. I believe that a certain disruption occurs when that which is automated is juxtaposed with that which is created and vital. I find that creative disruption compelling and incredibly important.

MS: When you’re painting, do you have an initial theme that you want to express, or is the process more stream of consciousness?

PS: While working in my studio, my process tends to be incredibly free and as a result, the images almost seem to take their own form. When making public murals, however, there is almost always other people involved in some aspect of the project. In this case, because of the nature of the working with others, I tend to create a sketch or model upon which to base the final piece. Even with this approach, though, I make sure to leave room for the surprises which inevitably come along the way.

MS: How has your artwork evolved over time?

PA: Very much so. I suppose like all things created and all things alive, change is an integral aspect of development. There are, however, shared threads which carry my mark and my vision that can be seen throughout my work, even across different genres of painting, performance, video, and installation. It is interesting, too, to look back to when certain visual tendencies begin. I think sometimes I make certain assumptions about when my artistic career began, but recently I looked through a number of drawings from my childhood, and there were symbols and arrangements of images in them that still exist in my work today.

MS: How would you characterize your technique for painting, and has there been other artists that have influenced your style?

PA: I consider myself a folk artist. A contemporary folk artist, who, like all folk artists, makes work that reflects upon one’s immediate world in a direct and immediate way. As for other artists whose work speaks to me, there are many. Jean-Michel Basquiat, Jean Dubuffet, Joseph Beuys, Louise Bourgeois, Ana Mendieta, William Pope.L, and Swoon to name a few. Also, John Steinbeck, Charlie Parker, Patti Smith…

MS: Do you have plans to move on to other construction sites to paint? Are there any new projects in the works that you can talk about?

PA: I would love to continue to paint the walls that surround construction sites. As neighborhood development becomes more and more common, and as it continues to affect people, communities, and culture in very real ways, I am interested in the potential that exists in the overlap of urban development and public art. Throughout the project in Dumbo, which surrounded the site of the tallest residential building in Brooklyn to date, it was clear that the art provided a platform for a personal public dialogue. It was incredibly successful in this way. I think that other communities could benefit from these connections and conversations taking place alongside the changes in their neighborhoods…

As for upcoming events, I am excited to announce that the painted panels from the construction site in Dumbo will be exhibited at Retreat, located at 147 Front Street in Dumbo, Brooklyn. Many panels will remain in their original 4’x8′ form, while many others will be cut into smaller sizes. All panels will be for sale. The exhibition will run from December 1, 2006 – January 31, 2007. The opening reception will take place on Friday December 1, from 5-8 pm. All are welcome!

MS: What do you hope people can take away from something that you’ve painted, and why do you paint?

PA: I paint because it serves as an effective and efficient way to communicate what I see and what I care about. In the same way that I am reminded of my strength and purpose when in the presence of another engaged in their craft, it would be humbling to know I could inspire the same for somebody else.

MS: Thank you so much for your time. It was great to get the chance to understand some of your thinking behind the art. Best of luck in the future!

Paintings from Pasqualina Azzarello

The D.U.M.B.O. Arts Festival

Potential, She Grew, the Neighborhood Changed, and Migration Dog

The images (Potential, She Grew, the Neighborhood Changed, and Migration Dog) above were supplied by Pasqualina Azzarello.

In the not so distant future I’ll have an interview posted here with Pasqualina Azzarello. If you are interested in seeing more of her work, she will be exhibiting work at the D.U.M.B.O. Arts Festival this coming weekend. More info below:

Saturday and Sunday
October 14 – 15, 2006
From 12 – 5 pm

She will be showing new paintings in front of Superfine 126 Front Street. (between Pearl and Jay)

DIRECTIONS:
F-Train to YORK: Exit station. Right on Jay. Left on Front. – or –
A/C-Train to HIGH: Exit station at CADMAN PLAZA EXIT. Walk across
park. Left on Washington. Right on Front.

*PLEASE NOTE: There is no uptown A/C service at High Street Station
this weekend. If you are traveling from Brooklyn, take the F-train,
B61, or B69.

Less than what

Mr. Brier points us to a “ton of pictures from Banksy’s LA show.” I think it would be too easy to either call the show an act of genius or a cheap grab for headlines. My question comes more out of interest of the location as opposed to skill in communicating. Since I’m not in the art game, my naivety will probably show through. Having never been to LA and only living in NYC for a couple months I’m going to make a giant assumption about the consumption of art between the two cities in Bansky’s situation. If I’m looking for a splashy event that will be on Extra – I would do it in LA. If I’m looking to challenge the art world, I would do it in NYC. LA’s TV camera’s vs NYC’s monolithic galleries. Bansky one day makes you consider the personality of Paris, and the next day he’s selling art to her friends. I wonder if the work is just a little less than what it could be.

Jeffrey Aaronson deux

Jeffrey Aaronson

Below are some of my notes from visiting “Maybe it’s You” by Jeffrey Aaronson a second time.

  • iPod shuffle may be hard for older people to understand if they’ve never used a digital player before
  • the word drama would come occasionally in the personals – as in looking for a drama “free” relationship…
  • some personals were long, others one sentence
  • if you were to read the personals online, the listings would probably suit the person behind the writing visually though you would have probably imagined someone else; confusing I know
  • two or three really stood out, the ones that really had a relaxed sense of humour that were more like a journal entry tended to be the most interesting to hear
  • nothing too sad
  • more could have been done with collateral stuff: I would have liked to have seen a screen capture of the original craigslist post and names of the people beside the photo
  • only was able to listen to 60% of the pictures, I’ll probably visit one more time

iPod Shuffles Beside Art

Jeffrey Aaronson

Aside from the fascinating photos, the exhibition by Jeffrey Aaonson was notable to me for another reason. Beside each photograph was an Apple iPod Shuffle that contained a sound file. Unfortunately I didn’t have enough time to listen to any of them. Jeffrey had contacted people through Craigslist personals of people that didn’t have images with their ads. The sound files were of the people reading their personals descriptions. I had never seen an inexpensive mp3 player used in that fashion before. While seeing something on the art wall like that could be considered a gimmick, I don’t think it was. Comparing the interest people had in front of these works listening intently, and comparing that with some of the video installations that required the viewer to use headphones at other art openings, this was a much easier way to keep someone interested.

If you’re in NY, “Maybe it’s You” by Jeffrey Aaronson can be viewed at the Kashya Hildebrand Gallery at 531–539 West 25th St., New York. I know I will be heading back this Saturday to hear what was being said.

UPDATE: I put up a couple notes from my second visit at http://www.sidewalkpressed.com/?p=614

Why is empty space usually seen as a negative?

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_, originally uploaded by Michael Surtees.

As the packing has progressed for the move, our home has been turning back into a house. With every object that is sold, given away or packed, the surrounding area gets a little emptier. When you consider the word empty, does it hit you as a positive thing or a negative? My guess is negative, but if we really consider things, empty should be seen as a positive. Optimistically it allows for anything to be done. There’s all this potential.

Walking around my house today, I noticed the walls minus the frames that showed photos and art. These small marks are really fascinating. It speaks to the history of what once made the house a home. Now it just reminds me of what was once there. It also is a symbol of the potential that now lies ahead for Tamara and myself. This is a great thing.

Looking at those walls made me want to document the “once that was there” moments. You can see the Empty Space series at www.flickr.com/photos/michaelsurtees/sets/72157594201550025/

Under the Iron Sea Album Art Interview

I seem to be on a muzak kick this week. Sanna Annukka illustrated the new album by Keane, Under the Iron Sea. On Keane’s web site there’s an interview with her. The interview is divided into three parts, about her work, the process for the actual album and inspirations.

There’s the obvious questions about did she listen to the album which she replies “I must have listened to the album at least a hundred times by now. I think it’s a very strong collection of songs and it certainly had an influence on my artwork. I had never really listened to any of Keane’s previous stuff apart from ‘Bedshaped’. I was familiar with that song, so I wasn’t totally aware of what to expect from their second album. I have to say my favorite songs from the new album are ‘A Bad Dream’ and ‘Try again,’ I think they are excellent.” And to the question of a booklet telling a story “Basically, I created lots of elements (illustrations) inspired from each of the songs and the plan was to merge all the elements into a surreal world or a dream sequence. There is no definite narrative but lots of little ones that merge in and out of each other. I want the viewer to keep noticing new things in the sequence.”

And if you’re wondering, the album is pretty good and yes I did listen to it while writing this post.

You can read the interview at www.keanemusic.com/keane/sanna.html and www.zeegenrush.com

via werkernet

The Robot Show in Calgary

It sure seems like if you’re a designer and like to be active, UPPERCASE would be the first place to visit if you head to Calgary. Aside from the cool poster, the Robot Show looks pretty neat. Below is more info that I received in an e-mail newsletter.

The Robot Show opens this Thursday, from 6 – 10 pm.
Co-curated by Janine Vangool & Mike Kerr
Featuring robots in art, illustration, kinetic sculpture, books, toys and film!

Toby Cougar, Calgary
AJ Dimarucot, Manila
Mark Dulmadge, Calgary
Doug Fraser, Victoria
Ryan Heshka, Vancouver
James Jensen, Calgary
Mike Kerr, Calgary
Aaron Leighton, Toronto
Renata Liwska, Calgary
Patricio Oliver, Buenos Aires
Don Post, Calgary
Rick Sealock, Toronto
Janine Vangool, Calgary

If you go to their site at www.uppercasegallery.ca you can get more info on each contributor.

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