Der Traum vom Fliegen - The Art of Flying
4 March–8 May 2011
Opening:
3 March, 7 p.m
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin, Germany
Monday, February 21, 2011
Der Traum vom Fliegen - The Art of Flying
Der Traum vom Fliegen - The Art of Flying
4 March–8 May 2011
Opening:
3 March, 7 p.m
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin, Germany
Tuesday, February 15, 2011
Sunday, February 13, 2011
Saturday, February 12, 2011
Hal Foster, American Academy of Berlin
Wave Garden Yusuke Obuchi, 2002 (in Hal Foster's 2004 lecture at UNC Charlotte, http://vimeo.com/13465894)
Two nights ago I saw Hal Foster speak at the American Academy of Berlin. Ah to have a professor like him as an 18 year old. How lucky that would have been. His American Academy project is called Strategies of Survival 20th-Century Art, and last Thursday talk, How to Survive Civilization or What I Have Learned from Dada.
Wednesday, February 09, 2011
After Death, Protecting Your 'Digital Afterlife' : NPR
After Death, Protecting Your 'Digital Afterlife' : NPR
I'm an incessant notekeeper + journal writer. Moving so many times leaves me with memories from too many places that shuffle and overlap, sometimes morphing into inaccurate images and half truths. My notes are my feeble attempts to get it all down to reference later. As organized as I am, I rarely revisit my journals, my delicious bookmarks, etc but I still do it, comforted by the idea that should I need them, I can dig up details. For these reasons, I found this Fresh interview about the digital afterlife fascinating. Enjoy.
Made me think of Danica Phelps contour line drawings with notes on her daily activities. The only ones I could find online separated the notetaking from the images, but when they are hung in the gallery together, you make the connection. A few images here.
I'm an incessant notekeeper + journal writer. Moving so many times leaves me with memories from too many places that shuffle and overlap, sometimes morphing into inaccurate images and half truths. My notes are my feeble attempts to get it all down to reference later. As organized as I am, I rarely revisit my journals, my delicious bookmarks, etc but I still do it, comforted by the idea that should I need them, I can dig up details. For these reasons, I found this Fresh interview about the digital afterlife fascinating. Enjoy.
Made me think of Danica Phelps contour line drawings with notes on her daily activities. The only ones I could find online separated the notetaking from the images, but when they are hung in the gallery together, you make the connection. A few images here.
Sunday, January 30, 2011
Friday, December 17, 2010
Slate Article, MFA vs NYC
My friend Elisabeth Condon recommended this Slate article about the MFA in Creative Writing, found online at http://www.slate.com/id/2275733/. Excellent food for thought regarding MFA programs in the Visual Arts.
Passages I highlighted with a few thoughts below...
- analysis would be to lay to rest the perpetual handwringing about what MFA programs do to writers (e.g., turn them into cringing, cautious, post-Carverite automatons)
- ...even if the writer has somehow never heard of an MFA program...if she's read any American fiction of the past 60 years, or met someone who did, she's imbibed the general idea and aesthetic. We are all MFAs now - programs...so lax and laissez-faire as to have a shockingly small impact on students' work
- ingenious partial solution to an eminent American problem: how to extend our already protracted adolescence past 22 and toward 30, in order to cope with an oversupplied labor market - what percentage of the total income of American fiction writers comes from the university, and what percentage from publishing contracts—but it's safe to say that the university now rivals, if it hasn't surpassed...
- the diffuse network of provincial college towns - each affords its members certain aesthetic and personal freedoms while restricting others; each exerts its own subtle but powerful pressures on the work being produced
Regarding the article’s short story vs novel debate, perhaps it's ok to let the system evolve as it will. I do, however, have a problem when the explosion of MFA programs cultivates artwork that is didactic and too burdened with theory. If the MFA programs could support their faculty, giving them ample time off for studio production that seeks breakthroughs with formal-conceptual synergy, the quality of artwork in our country would be improved. Germany, with a strong safety net of basic social service and belief in the value of cultural production, is an excellent role model.
Passages I highlighted with a few thoughts below...
- analysis would be to lay to rest the perpetual handwringing about what MFA programs do to writers (e.g., turn them into cringing, cautious, post-Carverite automatons)
- ...even if the writer has somehow never heard of an MFA program...if she's read any American fiction of the past 60 years, or met someone who did, she's imbibed the general idea and aesthetic. We are all MFAs now - programs...so lax and laissez-faire as to have a shockingly small impact on students' work
- ingenious partial solution to an eminent American problem: how to extend our already protracted adolescence past 22 and toward 30, in order to cope with an oversupplied labor market - what percentage of the total income of American fiction writers comes from the university, and what percentage from publishing contracts—but it's safe to say that the university now rivals, if it hasn't surpassed...
- the diffuse network of provincial college towns - each affords its members certain aesthetic and personal freedoms while restricting others; each exerts its own subtle but powerful pressures on the work being produced
Regarding the article’s short story vs novel debate, perhaps it's ok to let the system evolve as it will. I do, however, have a problem when the explosion of MFA programs cultivates artwork that is didactic and too burdened with theory. If the MFA programs could support their faculty, giving them ample time off for studio production that seeks breakthroughs with formal-conceptual synergy, the quality of artwork in our country would be improved. Germany, with a strong safety net of basic social service and belief in the value of cultural production, is an excellent role model.
Tuesday, December 07, 2010
Sunday, November 21, 2010
Owen Mundy
Owen Mundy
Our house is blocked on google view! Fascinating history on privacy in Germany. Details at Deutsche Welle: http://www.dw-world.de/dw/article/0,,6151344,00.html
Our house is blocked on google view! Fascinating history on privacy in Germany. Details at Deutsche Welle: http://www.dw-world.de/dw/article/0,,6151344,00.html
Monday, November 01, 2010
Monday, October 25, 2010
Left Behind - Slide Show - NYTimes.com
Left Behind - Slide Show - NYTimes.com
Since desire for the right home (expat quest) in these tough economic times translates to the desire for any home at all, my research in foreclosed homes continues. Excellent related article about the US Housing crisis: http://opinionator.blogs.nytimes.com/2010/10/12/picturing-the-crisis/
Image above by Ellen Brownlee
BLDGBLOG: The Migration of Mel and Judith
BLDGBLOG: The Migration of Mel and Judith
Looks my tangled home fragments in a lamp. Brilliant.
Excerpt from bldgblog.blogspot.com. Always a good read:
Like the spaceships in Stanley Kubrick's film 2001, the walls of their representational frame simply turn and turn, bringing us over and over again back through the same space, as if unwilling to let go of what's come before...retired into this deliberately over-nostalgic world of their own making, constantly cycling back in memory through their shared past. They have built a frame to fit themselves within, as if to give their lives narrative completion.
Sometimes nest-building feels like this. It's fascinating to me when expats do this, even in temporary homes as Bachelard described the home—the I that separates from the non-I.
For this reason, I'm currently collecting photos of expat domestic spaces. If you have a moment, please email a photo of any part of your home overseas, particularly an interior room, to jdietrick@gmail.com Thanks!
Sunday, October 24, 2010
Exhibition Next Month at CSU
FOR IMMEDIATE RELEASE
For more information, contact:
Joelle Dietrick
Reichenberger Straße 149
10999 Berlin
Germany
home: +49(30) 70221305
cell: +49 (174) 6481271
jdietrick@gmail.com
http://joelledietrick.com
skype: jdietrick
JOELLE DIETRICK
THE SHERWIN SERIES NOVEMBER 11 - DECEMBER 13, 2010
OPENING RECEPTION
THURSDAY, NOVEMBER 11TH, 4 - 6 PM
Curfman Gallery, Colorado State University
VISITING LECTURE BY MELINDA BARLOW
WEDNESDAY, NOVEMBER 10TH, 5:30 PM
Fine Arts, F101, Colorado State University
The Curfman Gallery at Colorado State University is pleased to present The Sherwin Series, an exhibition of recent work by JOELLE DIETRICK, on view from November 11 through December 13, 2010. A lecture about the work will be given by University of Colorado, Boulder Film Professor Melinda Barlow on November 10 at 5:30p at in Fine Arts, F101. An opening reception will be held in the Curfman Gallery on Thursday, November 11th, from 4:00 to 6:00 p.m.
ABOUT THE SERIES
The Sherwin Series is a group of paintings, prints and animations that remix foreclosed homes and Sherwin-Williams 2007 Color Forecast paints. Sherwin-Williams chose the colors during the height of the housing bubble before the foreclosure epidemic began. Dietrick developed the series of paintings in 2010 with the end of the housing crisis not in sight.
Color forecasts have always been inextricably linked to commerce and politics. As Greg Castillo explained in his recent talk at Columbia University’s conference, Architecture and the State: 1940s-1970s, color choices of post-war domestic interior walls and appliances exported overseas to sell the American way of life that were not always well-received. For example, a sunshine yellow kitchen came to embody the clash of civilizations between Soviet consumer austerity and Western consumer excess.
Likewise, Cornell West in the film Examined Life (2008) questions the sustainability of last century’s American prosperity. The subtitle of the series, Rejecting Romanticism, evolved from West’s ideas and foregrounds the psychological impact of a bubble bursting. West suggests that rather than lamenting paradise lost, we “ride the dissonance.” Designed harmonious color palettes filling fragmented structures mirror this updated approach to beauty.
The paintings’ process, acrylic on canvas from computer-generated studies, mimics micro to macroeconomic shifts. The animations behave similarly, using the blur of scraped data from foreclosed home websites to make more memorable visuals resonate. As global trends continue to affect local jobs, contemporary ideas about our relationship to place continue to shift. Reflecting our struggle to maintain identity in the face of tough economic times, the resulting artworks—full of domestic architecture stretching and morphing, adapting to a new era—revisits the American dream to obtain and maintain basic necessities.
EXCERPTS FROM THE CATALOG
From Melinda Barlow’s essay “Embracing Contradiction”
Conceived in Salzburg, created in Florida and Pennsylvania, and animated in Berlin for exhibition in Colorado, the twenty-eight prints and four paintings in The Sherwin Series by Joelle Dietrick attest to an artistic process invigorated by travel, and an abiding concern with the notion of home. Featuring shattered house forms in the harmonious hues of Sherwin- Williams’ 2007 Color Forecast, the roofs, beams, doors, and windows flying skyward in this series evoke a housing market sent into a tailspin by widespread foreclosures, an effect even more striking when the images are set in motion.
Transformed into a restless mass of colored shards held in check by shifting text scrapped from websites listing foreclosed homes by state, and punctuated by the rhythmic scrape of a desktop drive’s degraded media, this “data house cloud,” as Dietrick calls it, is at once a barometer of our current anxiety, and a vision of how to stay afloat.
From Denis Wood’s essay “Balanced Living”
When Leonardo da Vinci wrote – in his notebooks, “Of Representing the Deluge” – “Let the dark and gloomy air be shown battered by the rush of contrary and convoluted winds bearing hither and thither numberless branches and the ruins of mountains collapsing above the rivers and blocking the valley, the pent up rivers bursting forth, the disintegration of the high buildings raising dust that like smoke or wreathed clouds rises through the descending rain,” he did not have in mind the collapse of the housing industry whose waves we’re still struggling to ride these three years later.
Yet it is precisely this face of the collapse – we say the word with so little attention to its figurative implications – that Joelle Dietrick confronts in her Sherwin series, not just the weight of the collapse and the debris cloud invariably raised, but the way the ensuing torrent catches everything up to take it for a ride.
ADDITIONAL LINKS
Webpage with small images: http://joelledietrick.com/site/sherwin
Hi-res images for print: http://joelledietrick.com/_site/content/sherwin/PR-images.zip
Pdf of catalog: http://joelledietrick.com/_site/content/sherwin/sherwin_catalog.pdf
Animation with link to HD Video: http://joelledietrick.com/site/sherwin-animation
Quicker loading video on Vimeo: http://www.vimeo.com/15341440
ABOUT JOELLE DIETRICK
Joelle Dietrick is an American artist and DAAD grant recipient based in Berlin, Germany. Her current research into housing extends her interest in our complicated relationship to place. With attention given to ever-evolving divisions between public and private space, she combines digital and traditional art media to echo the fragmentation inherent in contemporary global economic systems. Selected exhibitions of her work include MCA Chicago, MCA San Diego, Long March Space Beijing, ARC Gallery Chicago, Soho20 New York and upcoming installations in Prague and Venice this fall 2010. http://joelledietrick.com
ABOUT MELINDA BARLOW
Melinda Barlow, Ph.D., is Associate Professor of Film Studies at the University of Colorado, Boulder, where she received the Boulder Faculty Excellence in Teaching Award, the Gold Best Should Teach Award, and was the Dean's Senior Honors Teaching Fellow in 2009-10. The editor of Mary Lucier: Art & Performance (JHUP, 2000), Professor Barlow researches the work of contemporary women film and video makers and is currently writing a memoir on film, female identity, and art collecting titled My Museum. http://www.colorado.edu/FilmStudies/faculty/mbarlow.shtml
For further information, please contact the Curfman Gallery at +1.970.491.2810, or email lsc_curfmangallery@mail.colostate.edu.
CURFMAN GALLERY
Lory Student Center
Colorado State University
T 970.491.2810
lsc_curfmangallery@mail.colostate.edu
http://www.curfman.colostate.edu
Tuesday, October 19, 2010
Exchange! Congress Berlin
Exchange! Congress Berlin
20 October 2010, Berlin
Exchange! Congress Berlin
10:00 PECHA KUCHA BRUNCH with Wolfgang Krause (art boys, Berlin), Joelle Dietrick & Owen Mundy (Florida, USA), Lilia Dragneva (KSA:K, Chisinau, Moldova), Solvita Krese (LCCA, Riga, Latvia), Barbara J. Scheuermann (Babusch, Berlin), Louise Taylor (UK), Andrew Stooke (Oliver Holt Gallery, UK), Jörn J. Burmester (Performer Stammtisch, Berlin), Club Real (Berlin).
14:00 VIDEO SCREENING (Highlights from Attitude Festival Bitola, Macedonia)
14:30 PERFORMANCES (Liverpool Performance Artist and Drag-”Queen of Culture” Mandy Romero, Sound Artist Alex Decoupigny, Performance Artist Dovrat ana Meron)
15:00 ROUND TABLE TALK with Artists and Exchange Radical Moments! Co-organizers
16:00 TEA TABLE TALKS, an encounter scenario with 12 tables and 24 chairs. Come, sit down and talk to artists, curators and organizers.
Free entry! We ask for registration. Please send email with name and subject “Exchange! Congress”
RSVP on Facebook
19:00 – 22:00 PMC EXPERIMENT: Performance Art Meets Constellation Work (this is with invitation only!)
Location:
GLS Campus Berlin
Sprachschule, AULA
Kastanienallee 82, D -10435 Berlin
20 October 2010, Berlin
Exchange! Congress Berlin
10:00 PECHA KUCHA BRUNCH with Wolfgang Krause (art boys, Berlin), Joelle Dietrick & Owen Mundy (Florida, USA), Lilia Dragneva (KSA:K, Chisinau, Moldova), Solvita Krese (LCCA, Riga, Latvia), Barbara J. Scheuermann (Babusch, Berlin), Louise Taylor (UK), Andrew Stooke (Oliver Holt Gallery, UK), Jörn J. Burmester (Performer Stammtisch, Berlin), Club Real (Berlin).
14:00 VIDEO SCREENING (Highlights from Attitude Festival Bitola, Macedonia)
14:30 PERFORMANCES (Liverpool Performance Artist and Drag-”Queen of Culture” Mandy Romero, Sound Artist Alex Decoupigny, Performance Artist Dovrat ana Meron)
15:00 ROUND TABLE TALK with Artists and Exchange Radical Moments! Co-organizers
16:00 TEA TABLE TALKS, an encounter scenario with 12 tables and 24 chairs. Come, sit down and talk to artists, curators and organizers.
Free entry! We ask for registration. Please send email with name and subject “Exchange! Congress”
RSVP on Facebook
19:00 – 22:00 PMC EXPERIMENT: Performance Art Meets Constellation Work (this is with invitation only!)
Location:
GLS Campus Berlin
Sprachschule, AULA
Kastanienallee 82, D -10435 Berlin
Sunday, October 17, 2010
Flickr Flow / Fernanda Viegas & Martin Wattenberg
Flickr Flow / Fernanda Viegas & Martin Wattenberg
Another design by Viegas and Wattenberg, this one charting color use in flickr by month.
WIRED 2008 / Fernanda Viegas & Martin Wattenberg
WIRED 2008 / Fernanda Viegas & Martin Wattenberg
Charting color use in Wired Magazine covers for 15 years.
Saturday, October 16, 2010
Among the Believers - New York Times
Among the Believers - New York Times
My friend Denis Wood was just interviewed by The Believer, and I am embarrassed to say that I was not aware of the magazine so I thought I'd share. Like the author of this 2005 New York Times article about magazines that insist on printing in the age of blogs, I remain fascinated. Excerpt from the article:
Indeed there is something precious about getting away from this computer, kicking up my feet, and thumbing through the pages of a good magazine...or having it handy and light-weight to be taken on Berlin's u-bahns. Glad to see that The Believer is still going strong. http://www.believermag.com/
My friend Denis Wood was just interviewed by The Believer, and I am embarrassed to say that I was not aware of the magazine so I thought I'd share. Like the author of this 2005 New York Times article about magazines that insist on printing in the age of blogs, I remain fascinated. Excerpt from the article:
These, at least, seem to be among the ambitions driving The Believer and n+1. Their editors are young, and their circulations are not large. (It may, indeed, be hard to find these publications outside of independent bookstores in larger cities and college towns.) The names of the writers who contribute to them are, for the most part, not well known: first- or second-time novelists, graduate students and moonlighting academic mavericks, with an occasional celebrity professor or foreign writer thrown in for good measure. Modest though the magazines are in scale and appearance, there is nonetheless something stirringly immodest - something "authentic and delirious," as e.e. cummings once wrote - about what they are trying to do, which is to organize a generational struggle against laziness and cynicism, to raise once again the banners of creative enthusiasm and intellectual engagement.
Indeed there is something precious about getting away from this computer, kicking up my feet, and thumbing through the pages of a good magazine...or having it handy and light-weight to be taken on Berlin's u-bahns. Glad to see that The Believer is still going strong. http://www.believermag.com/
Tuesday, October 12, 2010
Back from Prague!
More about Prague Project in cooperation with Tina B Festival and Exchange Radical Moments. Maybe thanks to all who contributed lamps.
- Website about project + Twitter feed at bottom: http://owenmundy.com/site/difference
- Photos from installation
More soon...
- Website about project + Twitter feed at bottom: http://owenmundy.com/site/difference
- Photos from installation
More soon...
