Part-time teaching opportunity
Jan 22 to May 02
The College of New Jersey is seeking qualified
part-time faculty to teach a course in
three-dimensional graphic design. Candidates should
have a MFA in graphic design (currently MFA graphic
design students will also be considered), or a
Bachelor degree or equivalent in graphic design with a
minimum of five years experience in the fields of
packaging design, window display, or environmental
graphics. Working knowledge of Quark/InDesign,
Illustrator, and Photoshop is required. Knowledge of
three-dimensional graphic software is a plus. This
class will meet Monday night from 5 pm-8: 50 pm.
The College of New Jersey is located near Trenton, NJ
in Ewing. Interested applicants are encouraged to
apply as early as possible. Please contact Prof. Fanky
Chak at fankychak@yahoo.com for further information.
FALLOUT: What's Left, opens Dec. 9th, Momenta Art
If you're in NYC anytime between Dec.9th and Jan.23rd, please visit Momenta Art in Brooklyn to view a new installation based on a Turbulence commission.
thanks,
ricardo
FALLOUT: What's Left, an installation by Ricardo Miranda Zuniga,
Momenta Art, 72 Berry St. Brooklyn, NY
Opening Friday, December 9th on exhibit through January 23rd
Drawing from public text submissions to an online repository of personal perspectives on Nicaragua, Ricardo Miranda Zuniga constructs a revisionist history portraying the ebb and flow of Latin American Marxist revolution. At a time when the U.S. Government considers possible flaws in its current interventionist strategies and as South American socialist leaders challenge U.S. policy, the installation "FALLOUT: What's Left" collapses the past with the present in an attempt to rattle the U.S.'s media amnesia. The installation will feature propaganda posters commissioned for the installation from four designers: Isabel Chang, Enrique Sacasa, Ed Adams and David Ulrich; a new video game by the artist "Always Go Left;" a mini FM public radio station and free Scype sessions during the holiday season for migrant's separated from family. For a prelude to the installation please visit: http://turbulence.org/Works/fallout/.
Momenta Art is located at 72 Berry Street, ground floor, between N9th and N10th Sts. in Williamsburg, Brooklyn.
By subway, take the L train to Bedfordstop (the first stop in Brooklyn). Exit on the Bedford side. Walk one block towards the river to Berry Street. Make a right on Berry Street and continue 2 1/2 blocks.
Ms. MP the 3rd
your rights as an MP3 consumer? Are you aware of when you are
overstepping your listening rights as a consumer of MP3s?
The Recording Industry Association of America (RIAA) is a company that
represents the music labels that own the copyrights to the music that you
purchase as MP3s. The RIAA enforces the use and exchange of MP3s via the
Digital Rights Maintenance (DRM) lock, but few people really know all the
details as to how the legal rules of DRM function or how companies such as
Apple and Napster can control your MP3 purchases. Stafan Hayden has
assembled an informational animation that walks one through a general
overview of MP3 laws - use and misuse as well as how Apple and Napster are
managing their sales.
Check out Stefan's animation to learn about the complex world of copyright
and ownership of MP3 files:
http://stefanhayden.com/portfolio/dayinthelife/
Adjunct Position, College of New Jersey
(driving about 40 minutes from Philadelphia and an hour and half from NYC
- public transporation available) is seeking an adjunct professor to teach
an introductory course in interactive design using either Flash or
Director. The course is titled "Experiencing Art" this is a non-art major
course in which students take three week workshops in Sculpture, Print,
Drawing, Computer Graphics and Interactive Design. The course merely
attempts to give non art majors an overview of the various forms of art
making. In the past, the Interactive module has been presented using
Macromedia Director to present fundamental concepts in building
interactive computer applications. The students in the class are divided
into groups of 15 and rotate through the semester from one module to the
next. The course meets Thursday mornings from 8:30am to 11:30am, the pay
is $2835 for the semester, beginning Thursday January 20th through
Thursday May5th. The class is taught in the Macintosh environment with
the latest version of computer graphics software.
TCNJ Art Department Site:
http://www.tcnj.edu/~artmain/index.php
TCNJ academic calendar:
http://www.tcnj.edu/%7Eacademic/calendars/cal2004.html
If you qualify and are interested please contact Ricardo Miranda at
miranda@tcnj.edu or call 917 748-9975.
Sculpture Position at The College of New Jersey
The College of New Jersey, Art Department
http://www.tcnj.edu/~artmain/
Salary: Open
Start: Fall 2005.
Location: Ewing, New Jersey
Type: Full Time - Tenure Track Academic-Assistant Professor
Applications postmarked by January 28th will receive priority.
The Art Department of The School of Art, Media and Music at The College of
New Jersey seeks a sculptor to work within a collegial, innovative and
established program in contemporary arts offering BFA degrees in Digital
Arts, Fine Arts, Graphic Design, Art Education and Art History. This is an
assistant professor, tenure track position for candidates who show
exceptional promise. The candidate's creative practice and research should
demonstrate a breadth of knowledge in sculptural and three-dimensional
media. An individual with the ability to merge sculpture with other genres
such as installation, performance, or digital and electronic processes
would be highly desirable. Specialization may include metal work, jewelry,
wood-working, electronics, non-traditional materials, installation, and
time-based art. The ideal candidate will possess the skills to provide
leadership in the area of fine arts, while working with the College
community to expand and broaden the presence of visual art on campus.
Responsibilities include teaching all levels of undergraduate sculpture
and three-dimensional design courses. Facilities include wood shop,
plaster area, metal fabrication area, metal-working studio, ceramics
studio and digital arts labs/studios as well as photography, printmaking,
painting, and drawing studios.
Requirements:
A terminal degree (MFA), teaching experience at the university or college
level, an active exhibition record, and excellent communication skills are
required. Demonstration of strong conceptual development and
sophisticated design aesthetics across media and dimensions and a solid
background in theory, history, and criticism is highly desired.
The College of New Jersey's exceptional students, teacher-scholars, staff,
alumni, and board members constitute a diverse community of learners,
dedicated to free inquiry and open exchange, to excellence in teaching,
creativity, scholarship, and citizenship, and to the transformative power
of education in a highly competitive institution. TCNJ is located on 289
tree-lined acres in suburban, Ewing, New Jersey. Ewing is approximately 5
miles from Trenton, the State Capital, and 60 minutes from Philadelphia
and New York.
Send letter of intent, curriculum vitae, statement of teaching philosophy,
artist statement, list of three references, and 20 slides or appropriate
documentation of your work with a SASE to: Chair of Sculpture Search
Committee, Art Department, The College of New Jersey, 304 Holman Hall,
2000 Pennington Rd., Ewing, NJ 08628-0718.
(For CAA ad: Please note if you will be available for interview at the CAA
Conference).
Star Trek into Darkness SUCKS!
I just watched Star Trek Into Darkness and I’m sooo angry. It was boring and everything antithetical to the Trekkie code and I’ve never been a Trekkie, but I do respect them for their pseudoscience. J.J. Abrams is boring, has no imagination and should have never been hired to do this. It was nothing more than a chatty action flick. It lacked any sense of mystery. It’s like NASA reduced to out of atmosphere trips for the very rich.
Worst of all it’s a Khan redo. And even worse Ricardo Montalban isn’t around to do a decent Khan, instead we get the very pale and boring Benedict Cumberbatch, whom I don’t understand why he’s hired to be a scary villain when he lacks any consequence. He’s boring and like Abrams, has no depth. It’s shallow bullshit and for most Hollywood flick, it’s expected, but this is Star Trek and it’s sad, upsetting.
The 80′s movies are so much more interesting. The 60′s was farther ahead of time, this current movie extracts all the innovative qualities of the TV series and the following movies. Whatever you do, don’t waste your money on this movie. It lacks imagination.
Interview with OBTRUSIV
Last Saturday, I met with Keith Estiler and Edgar De La Vega of OBTRUSIV MAG to discuss art. They’ve put the interview on their Art & Culture column, the article is titled – Pricking the Public. Here’s the video:
Ward Shelley, History of Science Fiction
I’m a big fan of Ward Shelley, particularly his performances, but equally love his brain maps. One example I just came across is “The History of Science Fiction, ver. 1:
EXCESS NYC on DNAinfo.com
Sonja Sharp of DNAinfo.com was excited to discover to whom the compost and food rescue bike at the Sterling lot belonged. She got in touch with Brooke and I and ran a story on the project – Bodega Bicycle the Vehicle of Choice for Crown Heights Food Waste Crusaders. It’s perfect timing as we’ve completed our first two weeks of picking up coffee grounds from Lincoln Station.
Hirschhorn’s Laundrette
When visiting Brooke Singer’s prints at the Hudson Valley
Center for Contemporary Art (HVCAA) as part of the ambitious Peekskill Project V, I documented Thomas Hirschhorn’s Laundrette installation that is part of the HVCCA’s permanent collection. I was immediately enthralled by Hirschhorn’s installation as I found it much more approachable than more recent sprawling installations with little way in to the tumultuous sea of media.
Laundrette of course presents a ton of appropriated media from video to magazine, newspaper, audio, book excerpts, stickers, but it is all framed in a laundromat. I spent countless hours of my childhood at a laundromat near the corner of Mission and Kingston or Eugenia Avenue, right near 30th and Mission in San Francisco and Hirschhorn’s Laundrette immediately felt familiar from the variable sized washer and driers to the soap dispensing machine.
I love the framing of this critical content – that immediately alludes to having to wash all our dirty laundry generated by the Capitalism’s insatiable desire for capital. And to inform the audience beyond the video news snippets, day time television excerpts and a gluttony of disturbing media that is being cycled in the washing and drying machines, Laundrette is fortified with quotes and texts from Nietzsche, Spinoza, Klein, Popper, Deleuze and Guatarri. And as usual with this sort of work, I love it, but walk away wondering what the point is. The people viewing it are left leaning artists or collectors that may feel guilt at their wealth, but are comforted by the labor of the artists that they support.
Today – April 10th Immigration Reform March on Washington DC
I can’t be at today’s March for Full Citizenship, Rights for All Immigrants in Washington DC. However after receiving an email from Dream Activists, I took virtual and phone action. If you wish to be heard today as others march go to the Dream Activist’s page and form to help Everilda and keep her from deportation an action that could result in her death. Read her story below:
Everilda has been living in the U.S. since 1998; she was placed into deportation proceedings in 2005 after she went to the border to pick up her 8 and 10 year old kids. Everilda’s family fled Guatemala after Everilda’s sister, father and three nephews were assassinated by a gunman. They were all out-spoken activist and because of that they were killed. If deported, Everilda’s life has already been threatened and she will most likely be killed.
Because of our broken immigration system people like Everilda are being deported left and right. Let’s put a stop to that. Let’s bring Everilda home and show that we are serious in demanding reform.
And if you have time to make a phone call to ICE Director John Morton 202-732-3000 use this sample script:
“I am calling to ask for the immediate release of Everilda Sanchez (A#200-070-769), currently being held at the Calhoun County Jail in Michigan. In 2005 Everilda’s sister, an activist in Guatemala, was murdered. In 2011 Everilda’s son was deported and targeted by the same people who killed her sister. If deported Everilda will be killed. Grant discretion; let her stay!”
EXCESS NYC Documentation
EXCESS is a community-based art project that investigates the large amounts of organic waste in urban centers and creatively employs new tactics to divert food from landfill and back to people to consume or compost. Can we make smarter urban infrastructure where edible food gets eaten, organic waste is turned into compost, compost is used to remediate contaminated lots, vacant lots are transformed into gardens and cities save money while reducing greenhouse emissions? EXCESS NYC is currently active in Prospect Heights, Brooklyn.
The food rescue and composting bike will be circulating in downtown Stamford, CT in conjunction with the exhibition Strange Invitation at Franklin Street Works.
EXCESS at Just Food Conference 2013
Today at 10:30am Brooke and I are presenting our neighborhood composting project at the Just Food Conference as part of MAKING ART WITH FOOD IN MIND (ENGAGING NYC COMMUNITIES) panel. We’ve made an initial video cut documenting the project thus far that we’ll be presenting as an introduction and then briefly describe where we are at and how we are moving forward with EXCESS NYC.
EXCEDENTES/EXCESS 2011-2013 from Ricardo Miranda Zúñiga on Vimeo.
About the panel:
10:30-11:45am
Food & Finance High School (Sign outside of the building reads Park West High School)
525 West 50th Street, New York, NY
MAKING ART WITH FOOD IN MIND (ENGAGING NYC COMMUNITIES)
For centuries artists have given us new ways of seeing the world around us through the lens of food. The last decade has been especially rich as artists respond to the challenges and concerns of feeding ourselves by creating models that are local, sustainable and community-oriented. In this workshop, visual artists will offer practical advice on using food creatively while fostering social change.
Speakers: Atom Cianfarani, Co-Author of A Roof Grows in Brooklyn: The Do-It-Yourself Green Roof Workbook; Jason Gaspar, Wyckoff Farmhouse Museum; Lisa Gross, Boston Tree Party; Brooke Singer & Ricardo Miranda Zuniga, collaborating artists on “Excess NYC”; Tattfoo Tan, artist
El Anatsui at the Brooklyn Museum
Following a visit to El Anatsui’s exhibition at the Brooklyn Museum (on view through August 14th) a friend commented – what a great shtick – use discarded material and unskilled labor to produce large scale work that can be folded for easy travel in a globalized art market. I’m paraphrasing here, but the point is clear – the work is formulaic and beautifully executed as high-end commodity. My friend is a Filipino-American artist/academic well versed in post-colonial studies and critical culture. El Anatsui is an African artist born in Ghana, working in Nsukka, Nigeria and trained in Western European Art. The brilliance of the work is applying minimalist conventions while using non-Western materials to create large scale abstraction. It is mesmerizingly beautiful to look at and various meanings may be allotted to the work – so it is aesthetic with theoretical potential.
The minimalist conventions include the use of least possible materials and repetition to create the maximum effect by using discarded mass produced materials such as lids from tin cans, bottle caps, newspaper printing plates… As the mass-produced products are from Nigeria or other African countries, the work presents a distinct quality from parallel work created by U.S. and European artists using recycled American and Western products. The unfamiliar labels and unique colors of these discarded elements adds a veil of the other for a Western art audience. All this said, there is plenty of reason to praise the work – it is aesthetically beautiful, unique, grand in scale, works from a distance as well as up close, reflects waste while recycling the waste and the artist brings racial diversity to a still all too white art world.
In the end, I’m writing about the work because I find it problematic. El Anatsui is embraced by the Art World and in his work, I perceive the colonizing effects of Western Art and Art History. By combining his Western Art training with the products of his culture, he has established a unique niche. In the end the work doesn’t move me. I don’t feel that the various pieces present an entry point. They are nice big objects, neat to look at for a bit, but with little resonance. If I was an art collector, on the other hand, I’m sure I’d buy in to it and see both it’s material and constructed cultural value.
Click on the images below to view at larger dimensions.
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
El Anatsui at Brooklyn Museum
