Sign in or 
Share this
*current exhibition*
TEAM SCREEN: Multiple Acts, Part 2
Mission Hill Building Gallery @ SMFA > November 16 - December 11
Artists: Ben Smart, Jack Schneider, Tina Ye, Heather Sawyer, Terrance Wong, Melinda Go, Sarah Pierce, Gabe Krug, Kate Papineau
Reception > Wednesday, November 28, 4-7pm
---------------------------------------------------------------------------------------------------------------
Artists in the Exhibition:
Melinda Go
Angel in the House, 2007
Silkscreen on Cotton Fabric with Air Circulating Fans
When I was young I little Thought
That Wit must be so dearly bought
But Now Experience Tells me how
If I would Thrive then I must Bow
And bend unto another’s will
That I must learn both art and skill
To Get My Living with My Hands
That so I might be free from Band
And My Own Dame that I may be
And free from all such slavery.
Avoid vaine pastime fle youthfull pleasure
Let moderation always Be My measure
And so prosed unto the heavenly treasure.
-Anonymous, from 17th century embroidery sampler
Benjamin Smart
Smart World Public ( Installation 1 ), 2007
Screenprint on Foamcore, Laser-printed Brochures, Plastic Brochure Holders, Screenprinted Certificates, Plastic and Glass Picture Frames, Screenprinted Shipping Tags, Found Objects.
Smart World Public was founded by Benjamin Smart in 2007, as a means of bringing order to an endlessly pluralist western art world. After establishing this art academy, Smart declared that everything in the world is not art unless it holds record of endorsement by Smart World Public. The previously existing “Office of Art World Notary” was then adopted by SWP to appoint, objects and events as being “Fine Art” (and to keep records of recognized art). SWP's other branch, “Artistic Services”, was then established to provide a platform for the general public to commission creative artworks by “Official Artists”. Currently, Smart World Public is in early stages of growth, but is aspiring to legitimately actualize its slogan: "The Best Art Academy of All Time."
Sarah Pierce
Untitled, 2007
Mixed Media Costume
This piece uses screenprinting as an additive to costume design. It brings details and dimensionality to the fabric which directly relate to its' shape, rather than relying on a provided pattern. The whole piece speaks about hybridization; half human, half fish, half fantasy, now half manifest. I made it to erase the modern Disney-lore surrounding the once seductive and sadistic figure of the mermaid, who sings sailors to their grave to feast on them. Within this costume, I'm also interested in the evolution of sea life and it's bizarre shapes and colors. The tail of the mermaid acts as a prototype in a long line of experimentation, where the human imagination meets the scientific dictation of nature.
Gabriel Krug
Various Leftist Political Designs, 2007
Screenprinted T-Shirts and Patches
"Bongs Not Bombs"
"Fight the Patriarchy in Bed"
"Sharing is Caring"
"No Police, Loiterers Take Notice"
Kate Papineau
Sticks & Stones, 2007
Mixed Media Interactive stallation
Modern culture markets paper dolls as "friends" for our little girls. These nearly iconic images comment on the social constructs that condition women in adolescence. Boys learn that it is acceptable to be physical and aggressive, while girls are taught to be nurturing caretakers. They learn to express their anger secretly, with a more covert aggression. Friendship is their weapon.
Jack Schneider
Sir, they want to know if we are going to take any actions. Well what are the numbers? They're high. When will we know more about the situation? Our guys say this is all totally new and are giving us what they know, when they know it. OK. Let's send help. 2007
Screenprinted Signs, Cardboard, Wood, Glue, Tape, and Binding Straps
Tina Ye
Really Empty BoxesTM by ♥★♥, Inc., 2007
Screenprinted Boxes with Glitter, Glass Shelves, and Lights
Graphics and graphic design, artifacts of a commercial culture, are everywhere we look. They jostle for our gaze and pervade our consciousness and dreams. With quiet noise and loud guile, they seduce us, gratify us, take us home and comfort us. They flatter us of our powers of choice and individuality. This work attempts to engage: a reckless indulgence in and doubtful scrutiny of the fantasies and fears brought on by living in a contemporary world, drowned in the visual detritus of commerce and consumption.
Heather Sawyer
Family Reunion, 2007
Screenprint on Fabric
People have a strong love for objects and collecting them, this bond starts at an early age. Depending on the environment a child is brought up in, rather than having a strong relationship with their parents, a child could create a deeper relationship with objects given. The worn look of these stuffed animals shows the age and wear of parenting, yet they are still vibrant and young, the way a child would visualize their loved objects.
Terrance Wong
Power Plant, 2007
“At T. T. Wong Farms and Research®, we are dedicated to bringing the latest in innovative organic technology, from the tools you use to the plants you care for. We are Growth Potential™.
In partnership with Team Screen™ and the Home Depot®, we are proud to display for you our newest innovation in floral cross-breeding: the Power Plant™ (flilmentus generalelectricus, as dubbed by our research team). The Power Plant™ is a hardy vine growth that requires no watering – it practically cares for itself! Power Plants™ seem to have a warm, glowing presence that many find soothing, especially at night. A single bulb yields a single plant, which requires no watering or special environments – perfect for the young or amateur green thumb. Ambitious minds can produce some spectacular results – we have bred no fewer than six different Power Plant™ subspecies in our labs, and we are sure that there are even more to be discovered.
As always, we are proud to deliver a product from a completely self-contained facility. Everything is done in-house, from the printing and folding of the promotional bulb packets available for you to take home today to the recycled paper we printed them on. T. T. Wong Farms and Research® operates 100% green, and our land and facilities are privately owned and operated.
I invite you to take home a packet of Power Plant™ bulbs and brighten up your home today!”
Terrance T. Wong
CEO, T. T. Wong Farms and Research Co.®
Power Plant™, Growth Potential™, and T. T. Wong Farms and Research Co.® are registered trademarks of Terrance T. Wong Holdings, Ltd.
--------------------------------------------------------------------------------------------------------------
PRINT: Special Projects Exhibition
Project Space @ SMFA > March 1 - March 13
Students within Jennifer Schmidt's Print: Special Projects course present projects that create a site for intervention, participation, critique and curiousity using printed media and multiples. Be ready to sign up, contribute, and notarize your ideals during the event.
Reception > Tuesday, March 6, 5 - 6:30pm
Project Descriptions
Oliver Wagner
LSS Recruitment Post, 2007
Tired of being such a loser? Good! You've come to the right place. The contents of packages you see before you are about to set you on a collision course with awesomeness! Inside these unassuming envelopes are everything you need to become an official agent of the long-shot society. Just imagine the jealousy and fear you will instill in your friends and family when they find out your a card carrying member of the hottest underground secret society around!
Melinda Go
Color Me, 2007
History venerates. History condemns. History forgets. History has been a harsh judge on women. It has been especially severe on women who lived their lives against social norms. “Color Me” highlights a few of the many women in western history who were vilified for their romantic conquests. They were deemed morally unacceptable and their accomplishments were ignored as a result. History pursues everyone. How will you color these women?
Janine Biunno
YOU ARE HERE, 2007
The urban silhouette is, in itself, an advertisement for and an icon of the city form. Artistic portrayals of the city traditionally glamorize and idealize the skyline, composing a panoramic profile of the side of the landscape that matters the most for formal and representative purposes. The architecture of a city functions, even from a distance, as an identifier for a city’s inhabitants.
The decals created for use in this project illustrate an augmented version of Boston’s skyline, which highlights the most recognized architectural landmarks. The decals have been placed outside the hub of the city, but still within view of the predominant architecture. The decals featured in this project encourage whoever may come across them to locate themselves, physically and metaphorically, in relation to the iconic architecture that defines the city.
Rebecca Bird Grigsby
The Lost Object Project, 2007
When I graduated from college, my grandfather insisted I have a briefcase. His gift was incredibly sweet and thoughtful but I never had much use for a briefcase, especially such a traditional style. I kept the briefcase for a few years, but when I was getting ready to move from California to Boston, the briefcase joined the garage-sized pile of other objects I had to trash, sell, or give away. The briefcase was donated, among many other things, to the Salvation Army, where I hoped it would make its way to someone who would actually have use for it. That was almost two years ago. My grandfather died recently and all I can think about is that briefcase.
By creating a virtual memorial for my lost briefcase and sharing my story, I honor my grandfather's gift and, to some extent, confess my guilt over getting rid of it. As I started to tell people my story, I was struck by their response, which involved, in most cases, immediately sharing with me a similar story about an object that they had lost or misplaced. I'm curious about the irrational affection we often feel towards inanimate objects as well as the narrative and meaning(s) that get attached to these otherwise mundane things over time, qualities that can become heightened in an object's loss/absence. The website will provide a space for people to observe as well as share their stories about and images of their lost objects.
Benjamin Smart
Tags, 2007
In 1917 Marcel Duchamp purchased a urinal, turned it 90 degrees onto its back, and signed it with the name "R. Mutt." He submitted this piece, entitled Fountain, to a supposedly unjuried show being curated by the Society of Independent Artists, of which Duchamp was a board member. Fountain was declared as not being art, and was not put in the show. Immediately afterwards, Duchamp left the organization.
90 years later, Duchamp's commentary on the role of The Academy in art is still as relevant. Endorsements or rejections of an artwork by an institution of art can carry a tremendous amount of weight, and this will probably always be an element of the art world, for better or for worse.
With my project, Fine Art, I have transformed my actions as an artist into those of the art academy itself. I have granted myself the title of Art World Notary, giving myself the power to notarize any object as being Fine Art. I have created about 600 tags to use for appropriating an object and then notarizing it with my Official Stamp of Endorsement.
These tags are an extension of the artist’s signature. Like Duchamp, I have not made any of these objects myself; I have only chosen them and curated them. The location of my own readymades in this series exist basically everywhere. Just how graff writers appropriate the street as their own canvas, I've chosen the contexts I discover my readymades in as their respective exhibition spaces.
While finding readymades myself is an aspect of this project I find fulfilling and interesting, I've also decided to expand upon this idea. For the first time ever, I am opening the office of Art World Notary open to the public. Anyone can bring any object to me, and I will designate it as being fine art. I am keeping a log of information on all the objects I appropriate and endorse.
This project is still practically brand new, and as an experiment, will not come to any clear resolutions for some time still, if at all. I’m hoping, though, that I successfully raise questions about the role of the academy, the endorsement of an academy, and about what makes a work of art or Fine Art.
Rachel De Urioste
The World is a Dangerous Place (so be careful), 2007
Growing up, children hear all kinds of stories about the dangerous things that surround them. Some are about monsters, witches, and other fantastic creatures, but the ones that seem most true are about the ordinary things that can go wrong. They stay with people longer because the worst kind of uneasiness is the type associated with everyday objects and activities. As people get older, the stories change, but that sense of imminent danger never really leaves. With public service announcement fliers as a format, Rachel De Urioste uses these childhood stories as a way to investigate ideas of authority, trust, and fear. The fliers have been posted on bulletin boards around Boston and left with other informational pamphlets for people to take.
Diego Guzmán
Hobby Horse, 2007
Mixed Media Installation and Zine
Zine composed by: Dee and 5003
First edition, more to come.
It is what it is, and what it is not, it will probably be soon.
Keeping it fresh.
Nicole Kita
confettis, 2007
Confetti packages: screenprinted illustrations on heat sealed vinyl.
(each package contains approximately two hand-fulls of store bought confetti)
"A healer typically evokes symbols or metaphors that provide a tangible "language" through which the patient can express, understand, or transform the personal or interpersonal conflicts underlying his or her illness." -Robert Desjarlais, “Body and Emotion: The Aesthetics of Illness and Healing in the Nepal Himalayas”
I am interested in the mimetic qualities, transactional symbols, and the legitimizing practices of ritual or symbolic healing.
Project Description: An exponential volume of confetti packages are located in anonymous, public sites in Boston. Distribution sites facilitate one package, and are monitored so packages will be replaced, as necessary. Iconography on packages is not determined by site, but alternates between personal or shared cultural artifacts believed or identified to be legitimizing or auspicious in the social construction of wellness, fortune, and ritual practices.
My objective is for the package to be taken, and for the confetti to be used. Ideally, the package would be torn open, and poured into one's open hands, and thrown into the air above one's body.
jschmidt |
Latest page update: made by jschmidt
, Nov 25 2007, 4:02 PM EST
(about this update
About This Update
Edited by jschmidt
view changes - complete history) |
|
Keyword tags:
event
exhibition
happening
intervention
Screenprint
show
More Info: links to this page
|
There are no threads for this page.
Be the first to start a new thread.
