waste some time!
Now that school is coming to an end…….
I’ve been thinking about myself and my work as product and this accompanying feeling to PRODUCE…Produce as much as possible as fast as possible….
I feel like some of my advisors even took this attitude-pushing me to work as fast as I could, quality and craftsmanship were to take a backseat so I could “move through my ideas quickly”. Anna had posted this comment earlier on in the semester,
“Does engaging in the hand-made offer a political resistance to our fast paced, production oriented culture…?”
I’m not sure how I would answer this question but I feel that it’s important to have work that we do that is isn’t fast-paced, finished and product-like. I want to turn my energy at that kind of work for a while after this experience.
Thinking with your hands…continued
I worked for a jewelry company for a while, doing all production work-just repetitive making …it was great, my mind could wonder but I still had the enjoyment and challenge of working with my hands. I feel that “just making” is a crucial part of art practice-sometimes the most amazing ideas/results come about from turning your brain off and letting your instincts or you hands guide you. I feel that when I work with my hands I am more sensitive to the materials in front of me and come to ways of working that I would never have thought of if I was just thinking about how I was going to execute a piece of work.
While I was beginning to taxidermy mice I ended up with a couple that I had punctured or tore through the skins-we’re talking very large holes…and without really planning it out I just started sewing these holes up, but because they were so big, I began to notice how it unnaturally deformed the mouse’s figure/body. This led me to continue exploring distorting their shapes until I arrived at the “mouse pearl”. Yeah Happy Accidents!!
Make Up Post #3
Blake Stimson’s discussion of conceptual art and it’s relation to the political context of the time which included, among other things, the civil rights movement and the emergence of the New Left in the United States in the 1960s and 70s. The “promise” of conceptual art was to challenge art’s commodity status while subverting the authority of the institutions that reproduce and reinforce art market relations. But Stimson gives equal weight in his analysis to the “failure” of conceptual art, that is in its criticism of art institutions conceptual works used strategies that were largely elitist in their self-referentiality and thus could only be properly be understood within the context of the art world itself. Robert Smithson even went so far as to call conceptual art out for art for divorcing the notion of art from any connection to the world at large. Indeed, according to Stimson, the second generation of conceptual artists which included groups such as Art in General, General Idea etc. politically motivated works. In any case, Stimson concludes his article with a series of questions that seem to reflect concerns surrounding “relational” work or “social practice.” In any case, they’re questions I wrestle with in regard to my own work:
What is the place or function of art in society? What is its relationship to its supporting institutions? Who is its audience? What is it that makes art’s contribution to society in its present historical circumstances distinctive and valuable?
I realize that I feel an affinity to the various collaboratives like General Idea whose work in publishing (FILE magazine and Printed Matter) I’ve used as a reference for recent projects, and have often thought of groups like Critical Art Ensemble or Group Material as a model for how to work together. But the thing is that I never thought of them as conceptual artists. How exactly, I categorized them, I’m not sure. Moreover, I don’t think I really tried except to think of them as collaboratives/collectives.
-MDR
Make Up Post #2
Thoughts on DeCerteau and Bourriaud
I’ve always thought that DeCerteau’s rethinking of the agency of the consumer, to make consumption a productive act is one of the most interesting and exciting ‘turns’ in critical theory. Although in many ways, I think he as indebted to people like Althusser and Debord (who essentially reduce the agency of the consumer to either the product of ideological state apparatus or, even more pessimistically, to a alienated and spectacular unreality mediated by commodity fetishism) as he is to Barthes (“the death of the author is the birth of the reader…”) and Foucault (whose work surrounding Power seems to have set the stage for much of DeCerteau’s analysis) these notions of micro-revolutions and tactical responses to various top-down strategies has always fallen a bit short somehow. Although it’s nice to think of things like walking as a form of agency (i.e. the poetic notion of ‘derive’ or writing one’s own text on the page of the city by wandering etc.) they seem to prop up the status quo. Which, again this goes a long way towards the notion of finding alternative models within capitalism. It just seems like the market is pretty fucking adaptable and capable of absorbing, de-contextualizing and naturalizing these micro-revolutions, detournements, (mis)appropriations and post-productions. I see this, not exactly as a bad thing, but as something that’s pretty undesirable. Why? Because in order to mass-market something, you have to gloss over the context in which is arose and the cultural differences it makes visible, the antagonisms central to democratic processes as we currently understand them (via Laclau and Mouffe and… Claire Bishop). Maybe (aside from its function as a form ‘ancestor veneration’) this is one reason why hip-hop self-reflexively embeds its own history and context within it… to keep it viable and relevant.
Which brings me to Bourriaud and his notional “learning to inhabit the world in a better way,” through works that take as their formal and theoretical horizon the relations between individuals. I’ve always thought that Bourriaud with all his neologisms (of which, incidentally, two more have just popped up this year in the ‘Altermodern’ and the ‘Radicand’) was heavily indebted to DeCerteau. In his follow up to Relational Aesthetics, “Postproduction” (although Bourriaud is careful to say it’s not a sequel) Bourriaud these works are unified by a central concern, that is, a culture “based on a collective ideal: sharing.” Although his economic analysis is heavily inflected by Marx and his cultural analysis by DeCerteau, this book takes as a central theme mutual aid and ‘gift economy’ concepts that come from sociology and anthropology.
As to finding alternatives within capitalism, things like Time Dollars or Ithaca Hours, may not fall under the rubric of relational art, but they have been included in a recent book by the art-collective Superflex entitled Self-Organization that outlines various self-organized economic, educational, architectural and design solutions coming from the art-world (but mostly) beyond. Which, I think is one of the things about ‘social practice’ as it exists in the art world is that it’s best defined by the things that are marginal to the art world… things that are actually social practice, in the sociological or economic sense of the term. This basically amounts to the art context as something that’s convenient to deploy, tactically. I have to say, as someone who, despite I think it’s increasingly unlikely that the art context will function as an enabler for me. If anything, the debt that I’ve acquired during graduate school is more apt to hinder this kind of work than act as a vehicle for it… time will tell.
-MDR
reuse at its finest…
Tactical Vernaculars
I was also intrigued by the big box reuse project, the possibilities for this reuse seem endless. I went backpacking through Japan last summer and ended up going through the island of Naoshima…the reuse of these house specifically for art amazes me….reuse at its finest….it’s awesome, you ride the ferry to the island and get a map to where these art houses are throughout the island and just wander…
http://www.naoshima-is.co.jp/index.html#/art
The Benesse (which loosely translates as “living well”) Art Site Naoshima continues to expand. In 1997 the Art House Project began with artists commissioned to turn the interiors of old houses into works of art. One particularly fascinating instillation is “Minamidera” by James Turrell which explores the characteristics of human vision. In 2004 The Chichu Art Museum opened its doors billed as “a site to rethink the relationship between nature and people.” Among the permanent collection are the work of Claude Monet and Walter De Maria.
Having pieces of art in the natural surroundings is an important element of the Naoshima. Site-specific art dots the island including the “Cultural Melting Bath” where one can literally immerse themselves in art. A Western style hot tub is in a sea of 36 stones placed by Chinese artist Cai Guo-Qiang in an arrangement in accordance with the ancient Chinese study of feng shui. Guests staying at Benesse House have the exclusive and surreal opportunity to reserve and plunge into this artwork.
a true renaissance man….
The Dale Sko Hack Project
Adding to one of Rie’s comments on the Dale Sko Hack Project,
“Awareness and adaptation are keys in any kind of business and it is particularly important for artist to be aware of this. Not only to prevent our own work from becoming stale, but also to recognize the possibility for collaboration with skilled craftsmen.”
This also got me thinking about the importance of combining craft and design and I think it’s worth mentioning the work of Gijs Bakker. He came here in March and gave a really good lecture-check it out if you can.
I think Bakker’s span of projects, materials, and practices are worth considering. I feel like he is a wonderful example of someone who can effortlessly move between conceptual, craft, business, and design practices.
Bakker’s designs cover jewellery, home accessories and household appliances, furniture, interiors, public spaces and exhibitions. He worked and works for numerous companies: Polaroid, Artifort, HEMA, Van Kempen & Begeer, and recently for ENO Studio in France.
The limitations within craft, being oriented towards material and technique, do not align with Bakker’s attitude. For Bakker, it is always the concept which dictates the material and the technique to visualize the concept in the most ideal way, based on his subjective opinion, of course.
matt w make up blogs
Missed introduction
(I forgot to post this but found it on my computer a few days ago)
So the stress on this semester for first years is experimentation in your studio practice, and learning to make decisions on where that practice places our work. By referencing the spirit of DIY, using economical materials, and collectively working, I understand that the aesthetics of this culture totally clash with that of what is high-end consumerism. With this conflict I almost always result to producing work that
I find most of the topics that we are discussing to be relevant to my studio and the questions that I come onto. I the biggest is, how to make work that is both relevant to my interest and also a desired commodity? My present focus is less concerned on producing art with my talents, and more of how can my talents can be used in the art world. I am searching for a way to make my work a career. Seeing myself as the product to be translated for the market, then placing myself in that while figuring out how to fit somewhere in between the capitalist, who sees the need for adaptation, and an artist, that creates personal truths. I draw parallels to that of the design community that, in the current realm, has mostly moved away from that from large corporate firms to less expensive DIY ones. This switch has altered the aesthetics and the focus of the advertising to address new audiences. With this as concern it is the decision as the artists to adapt to these consumer desire or not. I have been finding the need to create a commodity what has both personal relevance and of that which many others desire. For me there is a call to focus on what I have been concerned with for many years now, the use of art and the artist in a consumer economy.
Capitalism
In my research for the alternative commodities, I am forced to think about how we place object in a heroically order due to capitalism. Rather than the traditional scale of social order, a great example of this is the commodification of death.
http://www.truthout.org/article/treating-death-a-commodity
Especially in the current economy with are forces to look to different means to get one step further towards financial stability. It is really curious to what lengths people will go to ensure that for themselves and for lived ones.
Curious object
So we didn’t get to talk about my curious object in class, so I figured not would be good time. My object is something that I found on my travels across the US, and my first experience with it was that of being intrigued by the nature and mysticism around it. I found it in the southwest at a Native American shop located amongst other souvenirs, thought it bore only the description orange ball giving no clue to what it was used for or how it was made. These both interested me, but the weirdest thing was the placement with in this shop. All of the other “relics” and ritual objects were made probably in china and were far from the meaning that had once adorn them. Decorative headband and dream catcher give us some sort of nostalgia that we cannot understand. This is what I was interested in with my own work, investigating how objects acquire meaning when you have no ties to them other than the ones. That is what this object can represent in my practice, way to question the meanings that are places on to objects that we do not understand.
10,000 things
One of the things that I found the most interesting was the thought of the highbrow market vs. the lowbrow market of craft. Our current dilemma is that we want to be able to earn the money that is given to the larger market but still have marketability that is available in the smaller forums. This leaves us to have to come to some balance within the two, thought I feel this is only a point that we are trying to make now with our economic times being tough. That if our work now, in ways, needs to be in this affordable market in order to survive
Realtional Aethetics
Producing Utopias
Where I came from in Ohio there were quite a few utopian groups floating around that I could visit with in a couple hour drive. The Shakers, random Luddite fractions, and interesting enough admits the social conservatives there was Utopia Ohio which was an anarchist colony. It was something close to that of a free market communal society what we are familiar with today. Thought with the ultimate craft to art market Utopia the shakers have been taking the cake in my book for a long while. The have been producing amazing furniture and usable art objects for a few centuries now. Keeping people like my parents traveling hundreds of miles to indulge in this work. They do this and continually live with in their own society capable of functioning with or without the world around them. Maybe the Bauhaus should have taken some notes on what they were doing. Or maybe they were just too busy working about theory.
Material culture
With these reading and our discussion in class I kept thinking about the buildings of myths into what eventually become facts. There is a new form of revisionist history (well I guess the negative use isn’t really that new, but it is being called out more) that is sweeping the globe in a positive way. This form corrects event and brings the truth out things that have been historically inaccurate. I guess the question is if this is important with in art or do we respect and acknowledge the lies that might have been used.
DIY Extreme Craft
The talk about how craft is getting out of control in the way the market operates, and questioning our ethics of pricing art work in the current marketplace, only leave me to dream back to the days of the guild systems. Though it might have been harder to become an artist, at least we would not be getting under cut by some 14 year old with a love for anime and a hot glue gun.
Trouble with objects
In “A Plea For Irresponsibility” Kurylik is pleading more with her contemporaries to turn away for the norm. To embrace the idea of contradictions and form new thoughts beyond what they traditionally came from. Embracing your own contradictions can only help you realize where your weaknesses lay, so to be able to grow and build on them. To embraces it, you accept imperfections.
Meaning in the Hands
Desired meaning and perceived meaning of objects.
What we make as artist and how we expect it to be perceived do not always align. I am not sure if at times it is our failure to communicate, or our heavy coded subject matters behind heavy imagery that make what we do hard to handle?
The promise of conceptual art
These article really bring together a strong idea of what conceptual art in its beginning form was about, a resistance to political situations that were going on in the late 1960s. These two ideas that they conceived , art as an idea and art as an action are the founding block of what most of us focus our practice around. Higher art has evolved into talking and thinking more than doing, and we have these men and women to thank, weather we like it or not.
Make up from Hillary
Relational Objects–
Oh boy does this argument get old fast. I don’t really understand why people get all uppity about the “heirarchy” of relational art vs. objects. Is there really a versus? Can’t things just both occur and both be valid? I think the the development of “relational aesthetics” is important, but I also find it humorous that ‘aesthetics’ is used in naming it, when aesthetics really have nothing to do with it, or is often not considered a viable argument for its own content. Aesthetics is even a dangerous term to use in art criticism in general. It’s all kind of funny I think…..
Tactical Vernaculars
I was intrigued by the big box reuse project, the possibilities for this reuse seem endless. It reminded me of a large shopping center in my hometown that was a Venture store (kind of like K-mart, had an amazing black and white stripe design for it’s logo!) that went out of business in the early 90s. For years the place lay abandoned. I drove by it a lot since a friend lived nearby, and so I thought about the empty space a great deal, and what it could possibly be used for, it seemed such a shame and a waste of land and resources. There were other stores nearby that all seemed on the brink of collapse as well. Only a few year ago did Lowe’s Hardware come in a refurbish the building. Business seems to be thriving and it has kind of brought even more business to that area (that have taken over other previously abandoned stores). I have mixed feelings about the particular businesses, but I feel a little bit better that at least they are not just abandoned wasted materials.
Ten Thousand Things
I’m still trying to wrap my head around this one. I remember a few years ago a friend of mine who was an amazing glassblower went to China, to check out the art scene, glass particularly. I was kind of confused as I had no idea there was a glass scene there. He told me that that was actually where most of the Venetian glass was actually made and then shipped to Italy….
After reading these articles and hearing Stephanie’s story about it I am even more in shock. In some ways I appreciate how that has interesting potential for a project, but I don’t know if I can get over the exploitation of it all.
Make up from Rie Hirai
Capitalism
Here is a great example of the world we are living in today. “Czech Dream” is a documentary about two students who created a imaginary supermarket in The Czech Republic. They prepared everything to open the store: company logo, flyers, advertisements on billboards and TV, everything except the market itself. They got great responses on their project. I could not find a whole video. It worth it to check this out!!!!!!!
Art and Industry
The More I learn about Beuys, The more I am interested in the myth he created. Is that because he is the art and the artist at the same time? The idea of creating a myth, or stretching the truth of historical events in order to make a body of work more compelling is something that really interests me.
The Artificial Kingdom
You can not talk about Japan without talking about kitsch. It is a true mass culture phenomenon and consumerism. Japan is becoming kitsch. SPECIAL EDITION! LIMITED! COLLECTIVE!! These are the words Japanese use to create a frenzy over objects or products. Here is a great example from Japan. These are collective locality Hello Kitty keychains. I’m not gonna lie I get obsess with stuff too. but I always ask myself before i purchase anything. Do i really need this?
The Dale Sko Hack Project
I’ve seen Local productions or shops of long standing having problems staying in business. These stores have a standard, they are not willing to change but society is changing. I went on a tour of Heath Ceramics in Sausalito. Heath Ceramics is one of the few remaining mid-century american potteries still in existence today. When i was there i was thinking about the importance of combining craft and design. Awareness and adaptation are keys in any kind of business and it is particularly important for artist to be aware of this. Not only to prevent our own work from becoming stale, but also to recognize the possibility for collaboration with skilled craftsmen.
A Plea for Irresponsibility
“In order to feed our psyche,stimulate our mind, and transcend space and time, art must strive for the highest individual standard, not for the common denominator of politics.” It was really great to read this for me this semester. I spent a lot of time worrying about making art that dealt with very personal issues. My hope is that by making work that is personal to me that people can read their own stories as well. And just maybe it is ultimately as valuable as commenting on the grand political issues of our time.
Thinking with your hands
This semester I learned how to sew. Once i had decided on the direction of my project all I had to do was put it together. Sewing was a time for me to not think about anything. Its difficult when your entire day is spent thinking and reading. I need some time where I can just blank out and work. I learn the most about what is really important to me while I am making. This is true for ceramics as well as sewing or painting. I dont have a problem with work that comes from other methods, but I find comfort in that time to just focus on the task of making.
Conceptual Art
I appreciate Conceptual Art a lot. It is definitely a strategy. BUT ……….I’m still not 100% clear what Conceptual Art is. I end up having more questions then answers about these works. And maybe that’s the point. But i find myself needing some serious explanation. At the same time its fun in that way, trying to figure out what is really behind the work. I guess the nice part is there is not really a form to evaluate in the ways we often look at art, and the pieces of conceptual art that I am attracted to are the ones whose ideas i really love.
Relational Aesthetics
I have recently been looking at a lot of work by the Actor/Artist Miranda July. What I like about her projects is about little things that connect us in very strong personal ways. In her work, July asks other people to provide the physical material which are responses to her “assignments”. The responses, snapshots, letters etc, are honest. Simple, honest, human, interactions that show truths about who we are and what keeps us from being closer.
Van Gogh From the Sweatshop
This is a fucked up world. I don’t even know where to begin. This is about mass culture phenomenon and consumerism AGAIN!! I do not support any kind of sweatshop period. I understand people want to have a piece of art at home and not everyone can afford one of the kind oil painting. But think about people work there and how much money they are making…. Sweatshops suck!
MIY
Yes! Im so into MYI! I am against sameness. In sameness there is no personality. I am not interested in making object for object sake anymore but rather making handmade interventions with used or found material in order to talk about the madness of consumerism and throwaway culture. People MYI!
a few things from jay
DIY We talked a bit about the factions that the DIY movement has created in the craft world. Hillary posted earlier a podcast of Glen Adamson’s lecture on craft and i think that while they share some of the same talking points, it would be worth listening to Garth Clarks “How Envy Killed the Craft Movement” Recorded by KBOO fm in Portland. \”How Envy Killed the Crafts Movement\”Duchamp
Interview of Marcel Duchampon Canadian Radio Television, July 17, 1960
Capitalism The closing paragraph on the article on Capitalism leaves us with the call that those who want to reform the social economic system that influences every facet of the world should focus on reform within Capitalism. On this note i think it is worth considering the current economic clusterfuck and the task our new president has in doing just that. I want to quote Michael Hirsh who wrote on this for newsweek“Obama’s job will be not just to figure who gets what, and on what terms, but rather to set new rules for the future global economy. It will be his task, in other words, to lead the conceptual counterrevolution against an idea that has dominated the globe since the end of the cold war but is now in the final stages of flaming out: free-market absolutism.” This is an enormous “task”. How can you not be cynical? I really think that everyone should try to see the movie that Rie is mentioning in her post. Czech Dream is an amazing project that targets capitalism at its most human. It pissed off an entire country, but out of that energy there was an amazing amount of self reflection. To some degree, the country as a whole assessed the madness they have developed in the past 10 years for consuming. Look up this film!
A Plea For Irresponsibility
Ewa Kuryluk pretty much calls us all out in this pela. “The art that’s best for you-now and in the future-is not a commodity but an inspiration.” She takes a really strong position in this text, and weather you agree with her on the role of art in politics and vice versa or not, this quote is worth consideration. This gets to a serious gut check in the making and defining of art in your life. I think the most valuable use of my time at CCA is to collect strategies. I think we have come to some sort of understanding on the unhelpfulness of adding “things” to the world simply for the sake of making things. I am striving to develop a practice that accesses multiple strategies in order to imbed the objects i am making with meaning and cultural value. Tatic Knowledge
I want to talk about this for a second. I made this golf tee as an experiment in my current project. I wanted to see if crafting handmade representations of the readymade objects I am using in my work was a road I wanted to walk down. Im not sure I have reached an answer on that but thats what I want to talk about anyway, I want to talk about what happened at the moment it was made. While working on the lathe is new for me, the circular motion and the reaction of tool to material is quite similar to trimming the bottom of a pot on the wheel. I found a freedom in this space that reminded me of throwing. My brain was given permission through the act of turning to wander. I was present in the act, and focused on the precision of the machine, tool, and desired outcome, but I was also creating a space where I could consider the larger arch of my project. I understand the importance of developing concept, but work that exists only there will fail in the same way work that only addresses material and process often fails. The best work finds a way to work each of these elements into the fold.
Conceptual Art
- “If you like conceptual art
think about honking.”
Bumper sticker, c. 1977.
are you apart of a fad? ….you faddy…
I was just continuing to think about our conversation about etsy and the “fads” that are current right now…deer…owls…is art subjected to the same fads? Taxidermy is really trendy and chic for your home right now, and taxidermy artisits are getting a lot of attention…will they fall out of the spotlight as soon as this fad is over?
Check out Francesca Gavin’s article on taxidermy in the April 09 issue of Wallpaper. She discussed the work of contemporary taxidermy artists Polly Morgan, Alex Randall, Sebastian Errazuriz, Joss Mckinleu, and Kelly McCallum.
“Victorian taxidermy was all about scientific study and the natural world. Now it’s about inserting narrative, emotion and wit into everyday spaces.”
Sebastian Errazuriz’s duck lamp (below) is certainly an example of that.
http://www.wallpaper.com/ **can’t find the article-I will scan it and post it….later today
DIY…old school
Since we have been reading and discussing craft and DIY, I came across this book on victorian hobbies…
Published in 1860, Art Recreations is a thorough guide to artistic pastimes for Victorian women, such as instructions for creating the perfect piece of taxidermy to compliment the décor of any room!
“Take out the entrails; remove the skin with the greatest possible care; rub the whole interior with arsenic…after taking out the entrails, open a passage to the brain, which must be scooped out through the mouth…”
From there the book proceeds into the subtle art of aquarium preparation, wax work, “cone work” (the regrettably obsolete medium of pine cone), and the rather specific art of “Wild Tamarind Seed Work” (brought to England from the West Indies). All of it goes to show just how much time the unemployed VIctorian woman had on her hands. However, the most exciting lesson for these industrious Victorian woman with ample free time is the wonderful lesson in hair art.
I hope more people get crafty like this again…PINE CONES!
Cornelia Parker
An artist I admire, keeping in line with the re-use of long exhisting objects, Cornelia Parker literally steamrolls over function.
About her work she is quoted as saying, “I resurrect things that have been killed off… My work is all about the potential of materials – even when it looks like they’ve lost all possibilities.
She’s worth checking out.
Anna
Is this art? -Anna
I was watching the TV version of This American Life the other day. I came to the conclusion that the radio version is much better. But aside from that, the episode featured a “mission” from the group, Improv Everywhere.
It got me thinking about all the formats that art-making can take on. Is something like this art? On their website, when asked why they create these orchestrated public happenings,they respond as follows:
Improv Everywhere is, at its core, about having fun. We’re big believers in “organized fun”. Our missions are a fun source of entertainment for the participants, those who happen to see us live, and those who read this website. We get satisfaction from coming up with an awesome idea and making it come to life. In the process we bring excitement to otherwise unexciting locales and give strangers a story they can tell for the rest of their lives. We’re out to prove that a prank doesn’t have to involve humiliation or embarrassment; it can simply be about making someone laugh, smile, or stop to notice the world around them.
What do you think?
Human/Nature at BAMPFA
In our last class meeting we were discussing DIY and Craft. Does engaging in the hand-made offer a political resistance to our fast paced, production oriented culture or is it just another way of making more crap? This is a question that has plagued me for quite some time now as I loooovvvvve to make things, crappy or not. I have been trying to justify a practice based on making by re-using, recycling and reappropriating materials that already exist and in this way I can tell myself that I am not adding to all the crap, I am just transforming old crap into new crap. Inevitably I have to use things that I buy new for necessity, convenience, or aesthetic value. Anyhow, while I am not interested in making art about the sorry state of our planet and our role in the whole fiasco, I do like to check out art that does address such issues. Anyone want to go to the Human/Nature show with me at the Berkeley Art Museum?
Let me know. We can go to Jupiter (brewpub/restaurant) afterward and have a pint. They have an awesome outdoor sunny patio.
-Anna
http://www.bampfa.berkeley.edu/exhibition/
With global outreach in mind, theHuman/Nature project sent artists to various UNESCO world heritage locales and includes artists Dario Robleto, Mark Dion, Ann Hamilton, and Xu Bing.
Material Worlds: CCA Spring 2009 
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