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Serious pavilioneering has been going on at the Tin Can Studio at Deer Lake Park. Tomorrow (Saturday, July 19th) will be our last day in residence, and tiny paper crafting will be happening all day! Come by if you can, or at the very least, check out some other Tin Can events at DLP.
PS: Ultimately, the plan is to turn one of the little models made during our time at DLP into a person-sized tent structure. How exciting is that?
PPS: I made a little book about shapes called Shape Thoughts. I only have a couple copies left, but the first 3 people who send us an email with their address will get a copy mailed to them!
Made some pillows with fabric I bought from Marimekko since I couldn’t justify buying two of their pillow covers for $45. Almost as good.
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The Central Intelligence Agency, Art
CIA Original Headquarters Building
The Fine Arts Commission of the CIA is responsible for acquiring art to display in the Agency’s buildings. Among the Commission’s curated art are two pieces (pictured) by Thomas Downing, on long-term loan from the Vincent Melzac Collection. Downing was a member of the Washington Color School, a group of post-World War II painters whose influence helped to establish the city as a center for arts and culture. Vincent Melzac was a private collector of abstract art and the Administrative Director of the Corcoran Gallery of Art, Washington D.C.’s premier art museum.
Since its founding in 1947, the Agency has participated in both covert and public cultural diplomacy efforts throughout the world. It is speculated that some of the CIA’s involvement in the arts was designed to counter Soviet Communism by helping to popularize what it considered pro-American thought and aesthetic sensibilities. Such involvement has raised historical questions about certain art forms or styles that may have elicited the interest of the Agency, including Abstract Expressionism.
Chromogenic print, 37-1/4 x 44-1/2 inches framed (94.6 x 113 cm), Edition of 7
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Peter Logan’s “experiments towards Mechanical Ballet,” performed at the New Art Centre, 41 Sloane Street, London (March 1969, music and effects by Delia Derbyshire and Kaleidophon)
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erin and i had a very productive day yesterday.
Katharina Roters: Hungarian Cubes
The Magyar Kocka, or Hungarian Cube, is a standardized type of residential house in Hungary that dates back to the 1920s. It was designed as a radically functional single-family home for Budapest’s suburbs and housing projects, but it became closely identified with the postwar communist era, when many villages were rebuilt with uniform rows of single-family homes, and the Hungarian Cube—often renamed the Kádár Kocka, after Hungary’s communist president, János Kádár, became ubiquitous.
In Hungarian Cubes, German-Hungarian artist Katharina Roters explores the one aspect of the Magyar Kocka that could be individualized: the ornamental decorations on their facades. Roters strips the houses she photographs of all surplus details, clearing out fences, railings, antennas, road signs, power lines, and the like, which enables the viewer to focus on the ornaments—and to see how they offered a rare opportunity for individualism and even protest under the conformity of the communist system.
Köszi a tippet, @missingvalues!