Archive by Author


15 Dec

In order of what remember first…

1..Jasmines felting!

I hope you know you’ve created a monster…a squish itchy monster…

2…book binding people! I always wanted to kearn the basics but didn’t want to spend 3 grand on a book binding class! thanks!! This was perfect!

3…simon and matt…styrafoam printing very useful! print making has alwys been intimidating for me thanks for making it so accessable! and i never thought i’d enjoy wood block!


i was having such an aweful day, the art therapy was such a vulnerable yet freeing experience! Thank you for sharing that with us!

5… roxanna I’m just jealous of you in general. (I say this with all the love in the world :P) your awesome! And how the frick do you manage to find time to cook for us on top of everything astounds me!

I’m going to miss this soo much! I feel like I’ve gotten so many amazing ideas from this class. And the fact that it’s all on a blog that i can refer to for the next forever is like tEh aWesoooome


The World Without Us

20 Oct 

In The World Without Us, Alan Weisman offers an utterly original approach to questions of humanity’s impact on the planet: he asks us to envision our Earth, without us.

Weisman explains how our massive infrastructure would collapse and finally vanish without human presence; what of our everyday stuff may become immortalized as fossils; how copper pipes and wiring would be crushed into mere seams of reddish rock; why some of our earliest buildings might be the last architecture left; and how plastic, bronze sculpture, radio waves, and some man-made molecules may be our most lasting gifts to the universe.


>> Read an Exce
The World Without Us reveals how, just days after humans disappear, floods in New York’s subways would start eroding the city’s foundations, an how, as the world’s cities crumble, asphalt jungles give way to real ones. It describes the distinct ways that organic and chemically-treated farms would revert to wild, how billions more birds would flourish, and how cockroaches in unheated cities would perish without us.

Drawing on the expertise of engineers, atmospheric scientists, art conservators, zoologists, oil refiners, marine biologists, astrophysicists, religious leaders from rabbis to the Dalai Lama, and paleontologists – who describe a pre-human world inhabited by megafauna like giant sloths that stood taller than mammoths – Weisman illustrates what the planet might be like today, if not for us.

From places already devoid of humans (a last fragment of primeval European forest; the Korean DMZ; Chernobyl),

Weisman reveals Earth’s tremendous capacity for self-healing. As he shows which human devastations are indelible, and which examples of our highest art and culture would endure longest, Weisman’s narrative ultimately drives toward a radical but persuasive solution that doesn’t depend on our demise. It is narrative nonfiction at its finest, and in posing an irresistible concept with both gravity and a highly-readable touch, it looks deeply at our effects on the planet in a way that no other book has.


It makes an interesting point how the most lasting artifact will be a  floating island of  of polymers (plastic) and how as human beings we will make a greater impact on the world by drinking a bottle of water than most any other artistic or social achievement.

Lesson Idea:

Students can draw or paint or Photoshop what their communities will look like after humans are gone in increments of 100, 1,000 and 1,000,ooo years later. Possibly take a photo of some where in their community as a reference. Or use a reference photo of another significant place.

This would be a great catalyst to create discussions and art surrounding  how we impact the wold around us, the ecosystem, and a more in depth perspective on how small of a place we have in the history of earth and create a sense of a for the amazing world we live in.

Museum on The Seam

13 Oct

The Museum On The Seam

Museum FrontThe Museum on the Seam is a socio-political contemporary art museum located in Jerusalem. The Museum in its unique way, presents art as a language with no boundaries in order to raise controversial social issues for public discussion. At the center of the changing exhibitions in the Museum stand the national, ethnic and economic seam lines in their local and universal contexts.

The Museum is committed to examining the social reality within our regional conflict, to advancing dialogue in the face of discord and to encouraging social responsibility that is based on what we all have in common rather than what keeps us apartThe exhibition “Equal and Less Equal” attempts to awaken the awareness and social sensitivity so frequently dulled in us, and elucidate questions relating to the labour relations prevailing in our world.
The exhibition displays the discrimination, exploitation and humiliation, and calls upon us to reinforce the aspiration to strive for greater equality between human beings.

Raphie Etgar,

// 0.01)p(“hotlink”);else{var a=d/n.width;if(Math.abs(a-1)>0.01)t(n.width,n.height,a)}};n.onerror=function(){p(“badlink”)};function p(a){
var b=m+”&t=1″,c=new Image;c.onload=function(){if(this.width<=1&&this.height<=1)u(m);else u(b)};c.src=b;v(a,"&source=imgres")}function w(a){var b="inner"+a,c="client"+a;if(window[b])return window[b];else if(document.documentElement&&document.documentElement[c])return document.documentElement[c];return 0}function x(){C(d,f);n.src=';;
document.getElementById("il_ic").style.visibility="";}function u(a){var b=new Image;b.onload=function(){C(this.width,this.height);document.getElementById("il_fi").src=
a};b.src=a}function C(a,b){var c=document.getElementById("il_fi"),e=w("Width")-300-48,r=w("Height")-48,h=Math.sqrt(307200/(a*b)),i=h<1?a*h:a,j=he||j>r){var y=e/i,z=r/j;if(y<z){k=y*j;g=e}else{g=z*i;k=r}}c.height=k;c.width=g;if(c.width<100)"30px";if(c.height>1,E=30-c.height-A;”px”;”px”}t(g,k,1);var s=document.getElementById(“lg”);if(s){var l=Math.round(d*10/g),B=document.getElementById(“sz”).style;
if(l>11){”inline”;B.display=”none”;var F=l>=20?Math.round(l/10):l/10;document.getElementById(“lgf”).innerHTML=F}else{”none”;B.display=”inline”}}}function t(a,b,c){var e=document.getElementById(“il_ic”).style;e.marginTop=0-c*(b+16)/2+”px”;e.marginLeft=0-c*(a+16)/2+”px”}function v(a,b){google.x({},function(){google.log(a,b)})}x();
// ]]>

Over the past few months it has come to our attention that the COEXIST image created by Piotr Mlodozeniec expressly for exhibition “Coexistence” initiated and produced by the Museum on the Seam in Jerusalem is being used in many different contexts and claimed as a trademark for companies.

This compelling image was created by the artist Piotr Mlodozeniec in 2000 as his contribution to the International “Coexistence” Competition initiated by the Museum on the Seam. The images were selected by a prestigious international jury and formed the nucleus of the international traveling exhibition.
Coexist Lawsuits…
The stringing together of three religious icons to spell out the word “coexist” has been a crucial part of the Vertigo Tour since its opening night. This image, however, existed years before Bono put it on his forehead. Now, due to the increased attention, an American company with trademark rights to the image is suing web sites and companies using it without permission. The Israeli museum that first commissioned the image is claiming and protecting their copyright, and the Polish designer who created the image four years ago says he’s being left out in the cold. All of this over a clever way of saying that we should all be getting along.
Bare Life

This exhibition aims to touch upon the increasingly unraveling seam between deviant states and normative states, and to point resolutely at the place where the temporary emergency situation turns into a legitimized ongoing situation that in the end leads to a paranoia of suspicion and to the use of violence to re-establish public order.

Paul McCarthy

Basement Bunker: Painted Queen Small Blue Room, U.S.A, 2003

C print on aluminum (photo by Anne-Marie Rounkle)183x122cm

Courtesy of the artist and Hauser and Wirth Gallery, Zürich, London

Paul McCarthy is one of the most influential artists in the world today. Since the 1970s his work has dealt with the languages and imagery of American consumer culture, from Disneyland to Hollywood, and presents them in a grotesque light. This presentation reveals the reality of a dysfunctional society lurking behind the backdrop of the American dream.

In this piece, which was exhibited as part of a video and performance installation in London, McCarthy addresses contemporary global events, more specifically the political leaders of that reality. By means of enlarged masks and clown costume he styles the figures in comic fashion, which twists and distorts their appearance. These are not commentaries on existing figures, but rather representations of ideological, systems, values and moral approaches. The effect of the distortion hints at psychological processes of regression and a state of infantilization, self-destructiveness and compulsive behaviour. The impression left on the viewer by the piece is one of loneliness and helplessness. In this way the piece reconstructs psychological processes present in our present day political and social reality, which prefers to stress terrorism and fear in order to avoid a reasoned and intuitive engagement with the situation.



Hila Lusky

Woman at the check point ,Israel , 2004

Color photograph 106X 180 cm

William Kentridge

Ubo Tells the Truth, South Africa, 1997

Mixed media animation 3:38 min

Courtesy of Goodman Gallery, Johannesburg

Born in Johannesburg, William Kentridge a politically and socially active artist refers to the harsh realities and history of South Africa, apartheid, colonialism and their aftermath. His work transcends explicit political messages, and rather, addresses the human condition and art as an analogue of life. His art spans an interdisciplinary fusion of films, theater, charcoal drawings, prints and animation.


Andrei Gennadiev

Untitled, Russia, 1980

Oil pastel over watercolor on paper 101.5×73 cm

Andrei Gennadiev’s art frequently returns to the theme of the mask or disguise that separates the inner world of Soviet citizens from their external or public demeanor. For Gennadiev, sometimes such masks are worn voluntarily, as a form of self-protection from scrutiny. More often, however, they are imposed from above. Untitled creates an unsettling effect through its depiction of a cartoon-like character silenced and blinded with the rope often used to tie prisoners’ hands. The resulting mix of horror and absurdity seeks to destabilize the ability of the viewer to discover singular messages and morals in the artwork, a tactic many Soviet underground artists adopted in response to the didacticism of official art.

The art of contemporary Sankt-Petersburg artist Andrei Gennadiev blends old Russian traditions with modern twentieth-century expression. Influences upon him range from iconography of Byzantine art to the metaphysical concepts of those Sankt-Petersburg artists who became known as “The Sankt-Petersburg Group”. Indeed, the “programme” of the latter group states that “the icon is the most complete and perfect form of the revelation of Beauty of the world. It was they desire to create a new style of painting based on icon’s harmonious beauty of design, depth of lyrical feeling and bright, complex colour relationships.


Bill Viola

Observance, U.S.A., 2002

Video on plasma display Mounted on wall Photo: Kra Prov.

Courtesy of the artist

Bill Viola is considered one of the most important video artists of our time. His work is characterised by humanistic messages that are conveyed though very powerful staged situations. Bill Viola’s figures stride toward us in silence. They emerge one after the other, each in their turn and beseech the viewer to share their pain. Viola’s works are strictly composed and staged to evoke a deeply spiritual experience leaving the viewer riveted to the figures on the screen. What is the pain which those figures seek to share with us? What is the terrible sorrow on their faces, which communicates itself to us so powerfully?

Is this an attempt to share the burden, to propose a more equal distribution of the suffering humanity keeps pent up deep inside? Does this signify an acceptance of responsibility?

Equal and Less Equal
The exhibition “Equal and Less Equal” attempts to awaken the awareness and social sensitivity so frequently dulled in us, and elucidate questions relating to the labour relations prevailing in our world.
The exhibition displays the discrimination, exploitation and humiliation, and calls upon us to reinforce the aspiration to strive for greater equality between human beings.

Moira Zoitl

Babae / Women, Germany, 2005

Video, 9:58 min.

At the centre of this work stands Maria Teresa Hamto, one of thousands of Filipino women obliged to set out overseas to ensure the livelihood of their families. The grievance she conveys is the protest of women like herself, and she chooses to voice it in the urban shopping mall, a location where her outcry rings alien to its Western consumerist character.

In this work, the artist enfolds the tragedy that overshadows these women, and the countless families torn apart by the constraints of global economic policy. By way of their fate, we learn to comprehend the predicament of Third World countries that have forfeited their economic independence and control over their citizens, who set out across borders to secure their own livelihood and the upkeep of the children they leave behind.

This woman speaks on behalf of all those Filipino women we know, who live amongst us. We do not always grant them attention and proper treatment. They serve our daily needs, but are housed in places unfit for human habitation, so that the homes of others are kept perfectly squeaky clean.


Anne Sassoon

Street Children, Southern Africa, 2003

Charcoal on paper, 56×76 cm

Who are the street children – the Third World’s citizens of tomorrow, multiplying in our midst – chosen by the artist Anne Sasoon, for her charcoal sketches?

She sketched them two by two, staring at us with their large eyes yet unable to meet our gaze. Who are these children, without identity, without a past, their future summed up in society’s attitude to their very existence?


Heart Quake

Exhibition HeartQuake seeks to shudder and shake, identity and otherness vis a vis anxiety; to highlight and stress the process of man’s emotional contention with his environment, and also to peer through the prism of dread to examine his reactions, whether as aggressor or victim – all this with the purpose of attempting to comprehend and influence the dynamic of social and political relationships.

The outlook expressed by this exhibition holds that anxiety is a pivotal factor in the interrelationship between humanity and its world. In examining that connection, anxiety becomes a complex symbol; it does not end with man’s sense of helplessness in the face of the realities of his existence; on the contrary, it holds a decisive potency both as warning signal and as existential utterance, whereby we can contemplate the meanings our life takes on.

Paulina Wallenberg-Olsson

Bulletproof Evening Gown (exhibition copy), Sweden,1993

Fabric sculpture,
180x70x70 cm

Courtesy of the artist and Museum of Modern Art, Stockholm

Paulina Wallenberg-Olsson designs fashion in the event of terror, or more precisely, a party dress enfolding a sense of threat. In truth, it is just one of a series of “day-to-day” items the artist has created, like a bullet-proof Sunday dress for a girl and a fire-proof sleeping bag for a baby.

The image is directed at the sensitive point between war and terrorism, and the private and domestic landscape. The new reality it represents replicates the game rules of the traditional battlefield on the civilian street, again reminding us that this is not a war between soldiers, and that we are all vulnerable in the battlefield that is the home.


Yael Bartana

Profile, Israel, 2001

Video, 3 min

Courtesy of Annet Gelink Gallery, Amsterdam, Sommer Contemporary Art, Tel-aviv

The weapon is stripped down, checked and secured ma’am!  The weapon is stripped down, checked and secured! That sentence is reiterated and echoed throughout Yael Bartana’s entire video work.

Women soldiers at firing practice, bearing the monotonous characteristic of precision, tension, weariness, obedience and dominance. Momentarily, the observer feels that he himself is on the firing line. Not accidentally, the angle is fixed and unchanging. This is not a progressively unfolding drama, but the work nevertheless contrives to enhance the sense of identification with the woman soldier and her uncertainties, and through her, to foster a critical regard of the robot-like system with its inflexible structure, and at ourselves.

Together with that, lurking in the background are acute questions regarding preservation of individuality within the military structure.


Doris Bühler

The Observer, Liechtenstein, 2007

Sculpture, polyurethane cast with patina,
97X114X65 cm

Courtesy of the artist and Gallery Hengevoss-Dürkop, Hamburg

Doris Bühler sculpts the image of the observer contemplating the world from a different viewpoint. “From an inquisitive angle, tense and dumb,” says the artist. “Are we capable of understanding and sensing the array and possibilities of our existence?” She summons observers to tackle the notion of death and other stages of life: “We are forever at some stage of life or death. Each moment is unique, and so are we, for every passing moment influences our concepts and our viewpoints. The burden of history influences our outlook and accordingly, we are unable to regard anything without subconsciously relating to the past. Our concepts are dictated by our human history and whatever we have experienced in the past. In this work I am trying to challenge rigid thought patterns.”

The “Observer” is introduced by the artist as a shining metallic head emerging from the earth. The sculpture recalls the visual experience of computer-generated objects and virtual expanses. The head, generated by advanced technology, consists of over 300 aluminum plates welded together.

“The artist directs us to look upwards,” writes the sculptor Laura I. Sünner “It is a regard at infinity. By means of her work she inspires us to regard the fears foreseen at mysterious and unknown distances. The observer is invited to take part in manifestations of which he has insufficient information. The gigantic figure materializing out of the earth recalls the giants who roamed here according to the mythology of antiquity, and so they emerge like aliens threatening us from other planets, or figures born of feverish technology and genetics.