Not only are Brazilian artists now getting big play in major museums around the world, but something new is happening inside Brazil: There’s a burgeoning appetite for art.
Tagged with “art” (14)
A History of the World in Maps - Late Night Live - ABC Radio National (Australian Broadcasting Corporation)
Throughout history, maps have always been as much about their creators and their worldviews as about reproducing an accurate replica of the world. Early maps were also about the unknown and how to display the borders of the known world. Monsters in illustration were often used to represent what lay beyond the edge of the world, and cartographers competed to create the best and scariest monsters on their creations.
Professor and BBC documentary presenter Jeremy Brotton has produced a study of the cultural values embodied in maps and collected them in a book called A History of the World in Twelve Maps.
It’s not every day you get to interview one of your heroes. In this interview with Seth Godin, I do just that. We talk about art and his book, The Icarus Deception.
AUDIE CORNISH, HOST:
We’re gonna take a global look stroll now, looking at street art, everything from a mural of creepy pink bunnies in San Francisco to a sculpture of a brick train engine stuck in the ground in New Zealand to a street light covered with knitting in Bristol, England. It’s all collected on a website and a mobile app that will launch at the end of the month. It’s called Big Art Mob and it’s the creation of Alfie Dennen, who joins me from London to talk about it.
Alfie, welcome to the program.
ALFIE DENNEN: Hi, thank you so much.
MELISSA BLOCK, HOST:
And I’ve logged on now to a beta version of your Web site. You have pictures of 12,000 public artworks in your database. Why don’t you take me now to one of your favorite ones?
DENNEN: I think my favorite really has to be a piece by Anthony Gormley called "The Quantum Cloud." It’s 30 meters tall and it’s set against the Thames. And what he did was write an algorithm which at the center of it, if you look from certain angles, you can see the image of a male form, which is his form. And it’s galvanized steel. It’s this enormously imposing structure, but it sits beautifully within the skyline.
BLOCK: Yeah, it’s incredible. You see this huge form, this male form, in the middle of this - what looks sort of like barbed wire almost surrounding him stretching up into the clouds over the Thames.
DENNEN: You’ve got to see it sometimes. It’s really beautiful.
BLOCK: You know, as we’ve been talking, Alfie, I stumbled upon something called Pixie Doors at Greenwell. And they’re wonderful. They’re these little, tiny painted doors that are embedded in the roots of trees. And they’re, you know, places where fairies or pixies can get into their homes…
BLOCK: …about 10 of them in Cumbria, it says
DENNEN: Yet, I think that this is the thing which excites me most about people: they can go out into the world and they can do these things which have no intention other than to delight you or me, or whoever finds them.
BLOCK: And we get a sense from this that there is a really big range of what you have here. It could be a museum piece right in a public space, a big piece of sculpture. Or a wall of graffiti, or some just little anything, anywhere - a pixie door in the middle of Cumbria.
DENNEN: Yeah, exactly. I mean, you know, we’re not setting out to create a huge canonical work which defines explicitly what is and isn’t art in the public realm. So pixie doors certainly, they fit right in alongside those graffiti walls whose character emerges over years and decades, all the way through to the bronze man and a horse which we all have in our towns, villages and cities.
BLOCK: Isn’t curated in some way? I mean, does anything qualify or do you draw some distinctions between what gets on the app and what doesn’t?
DENNEN: Well, I think if you uploaded a photo of your undoubtedly delightful kitten…
DENNEN: …that would not be art. You might think so, but I think the broader community would not.
BLOCK: And do you think public attitudes toward street art or graffiti have changed over time?
DENNEN: Yeah, I think, you know, starting in the early 1980s in New York you had this enormous sort of savage attack on graffiti and street art culture, in the sense that it was linked directly to crime. And I think that that stigma that surrounds graffiti specifically, you know, it’s dissipated over time. But I think that it’s still largely there.
But graffiti as a form has, of course, evolved and has become, you know, one which is beautiful to look at. Which I think also is different to Johnny 505 tagging up a wall around the corner by the Wal-Mart. So I think that whilst attitudes have changed, there is the sense that maybe our policies haven’t really adjusted to accommodate. And part of that is maybe that the way that we define public art is sort of - it’s no longer really correct.
BLOCK: I’ve been talking with Alfie Dennen. He’s the creator of the Big Art Mob Project, creating a database of the world’s public art.
Alfie Dennen, thanks so much for talking to us.
DENNEN: Thanks so much, Melissa.
Sequels and Spin-offs — At the end of Mary Shelley’s classic novel, "Frankenstein". Victor Frankenstein dies but his creation lives on. What happens to Frankenstein’s monster is left to the reader’s imagination. At least it was until Susan Heyboer O’Keefe wrote her novel, "Frankenstein’s Monster".
Speaker(s): Professor Martin Kemp Chair: Nick Byrne
Recorded on 3 November 2011 in Hong Kong Theatre, Clement House.
Informative, funny, sad, and surprising by turns, this is the first book to look at all the main types of visual icon, taking eleven mega-famous examples, from Christ to the Coke bottle, to see how they arose and how they continue to function. Image, branding, and logos are obsessions of our age. Iconic images dominate the media.
This event marks the publication of Kemp’s new book Christ to Coke: How Image Becomes Icon.
Martin Kemp FBA is Emeritus Professor in the History of Art at Trinity College, Oxford University. He has written, broadcast and curated exhibitions on imagery in art and science from the Renaissance to the present day.
Nick Byrne is Director of the LSE Language Centre and a member of the LSE’s Arts Advisory Group.
Cartoonist Art Spiegelman’s epic Holocaust graphic novel, Maus, was published 25 years ago. Spiegelman’s new book, MetaMaus, explores that signature work through interviews, answers to persistent questions and examples of his early drawings.
When cartoonist Art Spiegelman published his epic Holocaust graphic novel, Maus, 25 years ago, a lot changed. He received a special Pulitzer Prize and became a contributor and cover artist for the New Yorker.
Maus blends the stories of Spiegelman’s trying relationship with his father and a horrifying tale of Auschwitz, as seen through his father’s eyes. Spiegelman drew the Jews as mice and the Germans as cats.
But Maus has continued to haunt him.
MetaMaus: A Look Inside a Modern Classic, Maus is the story behind Spiegelman’s signature work, complete with interviews, answers to many persistent questions and examples of his early drawings.
"Me and my mice, we weren’t dressed for success," Spiegelman tells NPR’s Neal Conan. "Originally we assumed we would self-publish Maus. … I didn’t believe it would be read beyond … about 10,000, 15,000 people. And when it got bigger, I felt littler."
Robert Wittman founded the FBI’s Art Crime Team and tracked down more than $225 million worth of stolen art and cultural property â including a $36 million self-portrait by Rembrandt. He describes the heists in his memoir, Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures.
Gorey died in 2000 at the age of 75. Not long after, a slim paperback called The Strange Case of Edward Gorey was published. It was written by Alexander Theroux, one of Gorey’s close friends — he had few. Recently, Theroux went back to the now-out-of-print original monograph to rewrite, expand and redesign it. It’s just been published in hardcover, and Theroux spoke to Weekend Edition Sunday host Liane Hansen about his peculiar longtime friend.
TED collaborates with animator Andrew Park to illustrate Denis Dutton’s provocative theory on beauty — that art, music and other beautiful things, far from being simply "in the eye of the beholder," are a core part of human nature with deep evolutionary origins.
Denis Dutton is a philosophy professor and the editor of Arts & Letters Daily. In his book The Art Instinct, he suggests that humans are hard-wired to seek beauty.
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