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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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For the Persona Volare Granite Club installation at the Tree Museum, I'm attempting to make an approximate model (2' x 3') of this structure from the visual info in a Google Earth image. (using tinted hydrocal, rubber molds, milk cartons, dipped styrofoam balls, plastic cookie packaging and anything else that comes to my frantic mind)
I don't mind if it isn't exact, (I know it won't be) but I do mind if it ends up looking cute and crafty.
A good link on William Miller and the Apocalyptic Movement.
Waco
...and from an explanation of apocalypse literature:
Daniel tells the story of the collapse of Colossus. Tell us that story, and then what [Daniel] meant by it.
... Nebuchadnezzar has a dream, and he asked his court wisemen to interpret it, but none of them can. Only Daniel has the power to understand this dream. And the dream is of a giant statue, a colossus, made of different metals. The head is of gold, the shoulders and chest are of silver, the waist is of bronze, the legs are of iron, the feet are of iron mixed with clay. And these different metals represent different kingdoms that will succeed one another in the history of the world. ... In Daniel's interpretation, however, these refer to the succession of kingdoms after the Babylonians, the very kingdoms that are in charge of the Jews, ending with the Seleucids, who are the feet of clay, whom the forces of God crumble, cause the statue to collapse and this gives rise to a new kingdom of Israel.
Is apocalyptic writing always a response with concrete [circumstances], or is it more mystical?
Really, all apocalyptic literature is much more a response to a concrete set of circumstances, often political circumstances that drive this sense that we have to look for a mode of deliverance from God. And Daniel was, as a book, really responding to the political crisis of Antiochus Epiphanes and the political forces of war that are all about. ... For the people of this period there's really no difference between religion and politics. We can't simply look at this work as if its symbolism of good and truth and beauty are divorced from the political reality that's all around them. ...
George E. Bingham Bingham Prophecy Chart 1927, Tempera and ink on muslin 7' 5" x 11' 8.5"
"The Jenks Collection holds one of the world's largest collections of "Prophetic Charts," over thirty items in all. Dating from 1842 to the 1930s, these charts were used by preachers in the adventual movement to help elucidate their presentations. Some were formally published or produced by trained artists, but many were the product of persons with little artistic background who brought a highly original and vigorous style to the interpretation of the apocalyptic visions of the Bible (the Book of Revelation and the second chapter of Daniel). Ranging from wall charts to massive banners (the largest is approximately 8 by 40 feet), the charts were usually made of canvas, painted with various materials and many show the ravages of weather, outdoor display (including nail holes and attached ropes), and the wear associated with long years on the road from camp meeting to camp meeting."
A Chronological chart of the visions of Daniel and John.
Lithograph; Devised by Charles Fitch with the assistance of Apollos Hale;
lithographer, B.W. Thayer & Co., Boston, 1842.
from Anthony Easton:
Henrietta Black (1900-1971), Daniel 2 and 8, 1935 Paint on canvas 4' 11.5" x 10' 8.75"
Remember the day of disappointment was 90 years before this picture was painted
[only Anthony would "remember" this, so the Day of Disappointment refers to the Millerite's specific date for Christ's return: October 22, 1844. He didn't show up. -L.M.]
collection of prophetic info from the 19th century Millerites, including some fascinating examples of last days chronographs and time lines. The formal components of the work, including the goldish yellow to indicate heaven and the non infographic work, including a strange and lovely illustration of the book of Daniel, suggest aesthetically the connections that have been made by the Millerites and other American prophetic Protestant sects (i.e. the demons and dragons look watchtowery, Hulbert's tree of life looks shakery, and the colossus of Daniel looks lds.) (its also interesting how much the Millerites put on Daniel. Carol Crown, who did a show of biblically based apocolyptic art from the American south last year, and who is an art historian, writes about some similar themes here a long article with some images that mostly are in black and white, she points out issues of scale, and how even at gigantic scale, the information contained in them falls off the edges or is packed into most available surfaces...which I think is one of the things that marks the best of Evangelical or religious work. She fails to mention the use of colour as both a aesthetic and informational code which is problematic. This is esp. true for the Millerites obsession with the images of Nabuchnezzer in Daniel 2:32-35:
The head of this image was of fine gold, its chest and arms of silver, its middle and thighs of bronze, its legs of iron, its feet partly of iron and partly of clay. As you looked, a stone was cut out by no human hand, and it struck the image on its feet of iron and clay, and broke them in pieces. Then the iron, the clay, the bronze, the silver, and the gold, all together were broken in pieces, and became like the chaff of the summer threshing floors; and the wind carried them away, so that not a trace of them could be found. But the stone that struck the image became a great mountain and filled the whole earth.
Josephine Lawson Prophecy Chart, Colossus of Daniel 2,
1917, Oil, tempera, and ink on cotton muslin 42.5" x 20"
Niall Donaghy
Variations of a Circular Motion No. 5 2005 MDF 7' x 7' x 3"
Variations of a Circular Motion No. 5 2005 MDF (detail)
Variations of a Circular Motion No. 6 2005 MDF 7' x 7' x 3"
Variations of a Circular Motion No. 9 2005 MDF 7' x 7' x 3"
All images courtesy of Niall Donaghy and KW|AG
From Married To The Sea: Charles Has a Licking Problem
Image courtesy of All The little Live Things
As of today there's a giant fucking freak in my house stalking my every move.
Sandra Rechico, who I will no longer refer to as a 'ho (on-line anyway) is now a saint for driving the three hour return trip to pick up an insanely happy beast who spent most of the ride drooling all over her head.
Bat-boy.
Corinne Carlson Billboards various locations (from 2000 on)
via Jennifer McMackon in big RED & Shiny
And from Kim Fullerton writing in Xtra: "Corinne Carlson’s swanky billboard — reading "Baa?" — made of sequin-like reflective disks that sparkled and cavorted in the wind and the rain. Part of Logo City at Blackwood Gallery, Baa? teased us with an incomprehensible question and the promise of an answer like Pizza Pizza could never deliver."
Kraftwerk: Tour de France (everybody sing along, c'est fantastique)
Doggy hits stoned guy on bike (only interesting 2007 Tour de France news so far):
aaaaaaaawwwwwwwwww
Last weekend our friends (and family) at TooBadDogs treated us to a state-of-the-art rock stadium spectacle: Roger Waters' staging of The Dark Side of The Moon.
It was very loud, with tight professionally choreographed sound, lighting, lazers, pyrotechnics, and video projection, including a swell old tube radio.
Roger himself was the rock-star of the evening, barking his dark lyrics and denounciations of G.W.Bush, but the real star of the evening was the moon:  The Dark Side of The Moon is one of the cultural foundations of my generation, so much so that we all now take it for granted. This particular event made me realize how perfect, in an artistic sense, this seemingly silly hippy set of metaphors is: MOON; MIND; PRISM; HEARTBEAT; Perfect in the sense of being potentuous and profound, yet completely open-ended, still to this day inviting interpretations about the interplay of these four simple symbols, loosely cobbled together by the Floyd and Hipgnosis Design. Will future generations look back upon this lunar prism as a cultural touchstone of the late 20th century? |
guest post by Von Bark
Woodlot: The 3rd KW|AG Biennial Woodlot: The 3rd KW|AG Biennial, installation detail (artist represented: Janet Morton). Photo by Sally McKay  Woodlot: The 3rd KW|AG Biennial, installation view (artists represented: Susan Detwiler, Niall Donaghy, Red). Photo by Jennifer Bedford Last week we had a great big packed-out opening for the show I curated, Woodlot: The 3rd KW|AG Biennial at the Kitchener-Waterloo Art Gallery featuring Ruth Abernethy, Kelly Borgers, Jefferson Campbell-Cooper, Susan Detwiler, Niall Donaghy, Andrika Dubeckyj, Annie Dunning, Fatima Garzan, Lauren Hall, Arnold Jacobs, Janet Morton, Marinko Pipunic, Red and Andrew Wright. 
I am really pleased with the show. Please read the catalogue, which is now available online. We haven't done full documentation of the installation yet, so some of the artists are not represented in these shots. The catalogue has images from everyone, as well as an essay that talks about each of the artists and bios with background information. Many many thanks to all the artists in the region who submitted work to our open call, and to the Kitchener-Waterloo Art Gallery for giving me this incredible opportunity. The show is on until September 9th, so I hope everyone gets a chance to see it.  Woodlot: The 3rd KW|AG Biennial, installation view (artists represented: Marinko Pipunic, Fatima Garzan). Photo by Jennifer Bedford  Woodlot: The 3rd KW|AG Biennial, installation view (artists represented: Lauren Hall, Janet Morton). Photo by Jennifer Bedford  Woodlot: The 3rd KW|AG Biennial, installation view (artists represented: Annie Dunning, Red, Arnold Jacobs). Photo by Jennifer Bedford  Woodlot: The 3rd KW|AG Biennial, installation view (artist represented: Ruth Abernethy). Photo by Jennifer Bedford |
I think it was unnecessary of R.M. Vaughan* to mention the Special Olympics when I told him that Sally and I are playing badminton on the schoolyard across the street from my house. We believe that we are practising an extreme street version of the sport and comments like that just make us self conscious about hugging everyone whenever we score a point
He also chose to inform me that he had googled "mentally challenged" and badminton and got this image of a Major General in the U.S. military.
So FUCK YOU RICHARD because he's joining our team.
*worst art critic in Canada
Sarah Milroy wrote a funny review of the current MOCCA exhibition, Love/Hate
"Traditionally, it is the role of the museum to sort through a particular theme, idea or art scene or movement," they write in the exhibition notes, "and arrive at a proposition that will distill an idea down to a palatable, life-force-sucking antiseptic theory that assumes the audience's need for clean, easily definable and consumable product."R.M. Vaughan shouldn't be the only one who references blow jobs in art reviews.
Well, far be it from me to engage in "life-force sucking." Certainly not on the first date. But I have trouble swallowing the idea that it is enough for the curators merely to celebrate "the unruly spirit, the gnarly soul, the dirt in the groves, the talent, the eccentricity, the beauty and the unappealing splendour of it all." Who has been handing out the acid-laced popsicles down there? I want some.
(Back on simpleposie a while ago we already discussed the lack of promised contention)
The KWAG Biennial is on CAFKA.TV. There's a interview with me (warning: don't watch if you have an aversion to big fat chipmunk cheeks) and a video by Annie Dunning, who is in the show. click on the podcasts link for the most recent videos.
Just watched the live feed on Conrad Black verdict on CBC from the Chicago courthouse.
Guilty on a few counts of mail fraud, not guilty on the wire fraud and racketeering charges, most serious guilty verdict is Obstruction of Justice, based on the security video of Black and his chauffeur removing 13 boxes of incriminating documents from his Toronto office in the middle of the night.
OSCAR CAMILO DE LAS FLORES: A Provisional History of the Western World
at Katharine Mulherin, 1086 Queen St. W. Toronto, Ontario until July 21, 2007
The Singular Theory on the Birth Of Crustaceans 2007 ink on paper, 15 x 20 in.
To All of you folks watching at home, Hail to the New Leader of the Universe! 2007 ink on paper, 15 x 20
The Purposeful Existence 2007 ink on paper, 15 x 20 in.
Natividad Salvatrucha 2007 ink on paper, 10 x 15 in.
Sally's curation of Woodlot: The 3rd KW|AG Biennial opens tonight (Wednesday) and a few of us are driving to Waterloo (or Kitchener, or a combination of both, whatever, I love car rides, are we there yet?) to see the show and deliver all the somewhat repellent and creepy perved-out hugs that I know you want to send to her.
Kristiina Lahde Wheel of Fortune 2006 Ethafoam and hot glue
From the website of the brilliant Hart House Installation Collective (hic)
Pudlo Pudlat
View from the Ice 1979 Acrylic paint, coloured pencil & felt pen on paper, 57 x 76cm
Airplane between two Places 1976 Acrylic paint, coloured pencil & felt pen on paper, 53 x 76cm
Landscape with Ice Floes 1974 felt pen on wove paper, 51.5 x 66.5 cm
Musk ox, Frontal View 1970 felt pen on wove paper, 50.8 x 66.1 cm
 Woodlot: The 3rd KW|AG Biennial Kitchener-Waterloo Art Gallery July 11 - September 9, 2007 Ruth Abernethy, Kelly Borgers, Jefferson Campbell-Cooper, Susan Detwiler, Niall Donaghy, Andrika Dubeckyj, Annie Dunning, Fatima Garzan, Lauren Hall, Arnold Jacobs, Janet Morton, Marinko Pipunic, Red, Andrew Wright Guest curator: Sally McKay Exhibition sponsor: The Walter Fedy Partnership Opening: Wednesday, July 11, 7:00 p.m. – 9:00 p.m. Curator’s Talk with Kelly Borgers and Arnold Jacobs: Thursday, July 12, 7:00 p.m. – 8:00 p.m. This group exhibition celebrates visual art practice in the Region of Waterloo and the Counties of Wellington, Brant, Oxford and Perth. Guest Curator Sally McKay brings together the work of 14 artists in the 3rd installment of the eagerly anticipated KW|AG Biennial. Representing the emerging and established, Woodlot offers a focused look at contemporary art production in the region. Southwestern Ontario is not a wilderness. It is a cultivated landscape of agriculture and industry, dissected by major highways and pressured by the sad tedium of urban sprawl. And yet, for anyone who has spent time in the region, the experience of nature runs deep and strong. In spring, the rivers Nith and Grand swell and threaten to overflow their banks. Killdeer and meadowlarks stake their claim on summer fields while red-tailed hawks circle the sky, striking fear into the hearts of tiny mammals down below. Mourning doves dot the telephone wires, and usher in the evenings with soft sad hoots. In autumn, the woodlots explode in dazzling colour, and the wide white fields of winter are laced with the shadowy tracks of rabbits and coyotes. As humans, we have come to a point when our responsibility for climate change simply cannot be ignored. In this context, the concept of "regional artist" carries much more importance than a postal code. Woodlot is not an overtly political exhibition, and yet all of the artists, in their own way, are deeply engaged with the reciprocal relationship between humans and the natural world. Some of the works are joyful, some are scientific, some are angry, some are funny, some are sad, and some are telling stories. Together, the artists in this diverse exhibition probe at the role of art in expressing an historic, cultural, and spiritual sense of place. – Sally McKay An online publication featuring a curator’s essay and images of the works in the exhibition will be available at www.kwag.on.ca Kitchener-Waterloo Art Gallery 101 Queen Street North Kitchener, ON Canada N2H 6P7 Tel: 519.579.5860 Fax: 519.578.0740 Email: mail@kwag.on.ca Web: www.kwag.on.ca |
My ten questions for simpleposie have been posted.
The subject is the web site VVORK.
Male, six years old, 110 pound Labrador love magnet.
(his ears are like velvet)
HAPPY CANADA DAY EVERYONE!
