Well Hello! I have been preparing for the Say Hello Installation which meant I was dealing with artists and ideas and creating this booklet so that I could share all the wonderful art objects Munich Artists Created for the Box Melody installation (including my own.)
Please flip through the booklet and enjoy the artwork. If you don’t feel like flipping through the PDF, you can watch the video below,
My daughter Anna and I went out and made this video for you. She’s an artist and I try and show her as much as possible through Munich Artists how artists can collaborate, work together and support each other. She is supporting Munich Artists by participating in this video.
I think that every parent must help their child by supporting their passions and helping them be prepared for the “real world.”
When your daughter or son is an artist, this preparation includes not only the development of artistic skills but the basic understanding of marketing, sales, production and one’s own skill set and limitations. Not everyone is good at sales. Not everyone is good at bookkeeping. Not everyone is good at cleaning their studio. But, the basics skills can be taught and with practice, those skills will be strong enough to make the artist child a productive and independent artist adult.
My daughter (one her own) has begun to sell her drawings. She asks me questions when she wants advice. I don’t get involved unless I see she needs some assistance. She is wading into the art world and I want to make sure she sees productive, collaborative adult artists working together (even when things are not so easy.)
Each one of us has our own path to follow when it comes to art. The Munich Artists Playing Cards are a way of celebrating our artistic diversity and symbolically showing that our art may be totally different from one another but that together we all fit snuggly into the Munich art scene.
We appreciate all your help with this project. You will be getting the link for the Kickstarter tossed at you for 19 more days and then we meetup for the 500 Artists Play Cards event on October 16th. Then I will gladly switch modes and talk about Munich Stories and all the wonderful illustrators and writers I’m working with right now.
Collaborations are important to Munich Artists and for the summer we asked artists to collaborate on installations at the window at Odeonsplatz that interact with the people in the subway and/or reflect the subway station space.
The installation will be at the window for two weeks and we hope you will go check out the installation. If you are interested in purchasing the artwork, you can let us know. The contact information is on the installation page.
I created the installation and then experienced a near death situation with my mother which made writing about planning for your death and not being a burden a little too much like realty. Neither one of my parents were planners and to create the artwork, I dug into my relationship with my own father and then, after it was installed, experienced my mother’s unexpected health crisis.
I’m feeling a little bit like I’m in some kind of twilight zone where the expectations of a Colombian/German child to take care of her parent are in conflict with her personal feelings. I’ve followed my social/cultural obligation just like the daughter in the story and now, this piece resonates even stronger with me than it did before I created it.
The installation has two video components which have not been shared on the website but you can see them in this photo.
Until September 18,2016, the Lenbachhaus will be exhibiting artwork by the American artist Rochelle Feinstein. The exhibition entitled “I MADE A TERRIBLE MISTAKE,” shows artwork from the 1990s until the present day. The artworks and art projects share Rochelle Feinstein’s thoughts about her surroundings and the world in which she lives.
In her Love Vibe series, Rochelle Feinstein focuses on what New Yorkers say to each other when they see an artist’s artwork. The art pieces are large but the words are all cropped so that you get to see only a portion of the phrase, “Love your work.” What phrase would Germans use at an art exhibition that would be equivalent to “Love your work”?
According to the Lenbachhaus curator, Germans would be loudly critical of the exhibition logistics rather than the art. One journalist sort of proved this point when she commented about the location of the text associated with one painting. “How are people to know what the art is about?” the head curator started explaining how modern art can be enjoyed at different levels but, the journalist stopped him. “I’m not talking about that. I’m talking about how should the people know that the artwork belongs to this description on the other wall.”
This made me laugh because I understood her practical German brain. I’m constantly looking for the plaques to describe artwork and understood that the distance between the trilogy on the wall and the description would not benefit the art piece. I understood that for visual purposes, it was better that the reading material be on a side wall. For practical purposes (ie sharing information), it was better if the writing was near the art piece so you could immediately read about the art.
Ideally, this whole issue would be resolved by requiring everyone take an audio tour which used augmented reality so that when you looked at a painting, the audio for that painting would start and the viewer would have the explanation of the artwork. No reading, no worrying about where the plaque should be located and nothing competing with the artwork. The walls would be without numbers, without signs. If someone absolutely needs to read something, they could buy the catalogue or download a PDF version to flip through on their ipad. (This is my geeky nerdy techie self shining through. Disregard this paragraph if you are a traditionalist with no interest in technology in a museum.)
Rochelle Feinstein artwork ” I MADE A TERRIBLE MISTAKE,” combines audio, video and paintings. The installation focuses on the fall of Michael Jackson. You can see to the left of the photo an image that says Auditorium. The two sections above this word are Michael Jackson’s name covered up. (Read more about “I made a terrible Mistake.”)
When the financial crisis hit the US, Rochelle Feinstein decided to use the materials and artwork that she had in her possession to create new works which she then catalogued recording what materials she used for each art piece.
If you are a working artist, you will immediately understand morphing old work into new pieces. The curator told us that at the time, Rochelle Feinstein was merging two storage spaces and her studio was overflowing with work. This fact along with current events at the time, ignited the idea to create the Estate of Rochelle F project using “assets’ with unrealised potential.” (This will now be the byline of my personal blog.)
If you have never been to the Lenbachhaus, you can find it at Luisenstr. 33. Tickets are 10 Euro for adults and free for anyone under 18. You have until September but you know how life is in Munich, you better go now before the holidays start. Once you leave for vacation and start vegetating on a beach somewhere, you will forget all about Rochelle and her American opinions. If you go and see her, you may understand my humour a little more and that is well worth an hour of your time and ten bucks.
Munich Artists has members who are young and young at heart. Moran Haynal is an artist living in Neuperlach and who submitted a”Hello” art piece for our 500 Artists Say Hello Installation Event. I would love for you to meet him on April 23rd to say “Hello.”
Kult (A Munich based street artist) texted me that he would like to add some art to our sketchbook. Since it was in the envelope and not mailed, I jumped at the chance to have some street style added to the cover and a few empty spots.
Here is Kult’s cover artwork:
and here is a video of our whole filled to the brim sketchbook.
I would like to thank the following artists for participating (Listed in the order appearing in the book):
Angelica Zeller Michaelson
Emmy Horstkamp (Thanking myself all the time.)
I will make a post when the next sketchbook project is ready to go.
So, when you pass enough hotdogs on your way to work, you decide to spend the afternoon sharing images of HNRX’s work. Here are two videos. You can see more of his current street art in Munich on this post about Tumblingerstrasse.
As part of the installation process, I’m creating videos throughout the month which document the interaction between the artists and their artworks. I find the whole process fascinating. Here is week II
We will be sharing Their creative process As They work within the Friday Gallery space.
All the videos will be on our website for you to watch and, I want to edit them together at the end of the installation. This is not a classic documentary but a recording of how the three of us are dealing with the creations process within the Friday Gallery – two artists and the owner of the space.
We installed the artwork by Emmy Horstkamp and TMNK “Nobody” at Odeonsplatz this week.
There are a total of four art pieces on paper and a video art piece included with this installation. Ideally, the back two pieces will be seen slightly through the front artwork. This worked perfectly when I tried it at the studio but, the lights in the display window are scorching bright so the LEDs don’t have a chance.
I debated turning off the overhead lights but the window is in the subway and the brightness of the window does draw your attention to it and the pieces tucked inside.
I discussed with TMNK moving the back pieces but I’m leaving the two back pieces where they are behind the two individual figures because the images change the Crush story if they are shown next to the individual figures instead of behind them. Below are the two TMNK pieces which are not really visible but are on the walls at the subway:
TMNK “Nobody” Crush art pieces 2016
All artists want their art in front of the public but street artists only get this opportunity for a short period of time before the art piece is covered over by another art piece or painted over white/gray/beige. Sometimes when you walk by a graffiti wall you see a fragment of what was there before but the viewer has no way of flipping the front piece up to look what is behind.
In the Crush installation, the front pieces could be flipped up if presented in a gallery space. The viewer knows there is another piece and will be tempted to look at it. I know from a prior experience with multiple layers of canvas that viewers will flip to see what is behind even when the art piece is presented in a gallery space and there is no signage saying flip or keep your hands off.
TMNK Adding to Emmy’s Artwork
TMNK is known for marking over other artist’s street art with his X, Crown and Love. I found the following manipulation of another artist’s street piece in my photos from November 2015.
Although artists are creating street art which is “temporary,” there is a feeling of ownership even though the piece is not legal. The owner of this piece would be the city of NYC. Neither TMNK nor the Pandabear artist would be able to say, “it’s mine” because the canvas they chose to use was not owned by them… such a lovely legal argument regarding intellectual property and property rights. In my conversations with TMNK, he admitted that artists got upset that he changed their work but that possessive energy belong only in the gallery on personally owned art materials, not on the streets.
Experimenting with this idea, I asked TMNK to work on top of my photographs in a continued effort to bring a sense of reverence to my digital photography.
Here is an example of the two pieces he created last week:
The artwork has the feel of graffiti from the streets but is totally legal because I allowed TMNK to manipulate my photographs. This is unlike the other American artist who forget to communicate with the photographer before using his artwork. TMNK cares about how other artists feels in the studio and he asked before drawing on the photos. I wasn’t sure how I would feel when he was done but at the moment I offered, I was curious and happy to experiment BECAUSE IT WAS A PRINT OF MY DIGITAL artwork and I could print another.
When he finished drawing, I liked what he did and decided to take the idea one step further. I asked TMNK to work over two of my digital prints on canvas from my Project T series.
How did I feel when he worked over the pieces which were digital with a bit of my own original artwork? I felt happy. No issues whatsoever.
BUT, I realised that I didn’t want TMNK touching my Plan B Dorothy art piece in the installation window. In fact, I didn’t let him see it until I was getting ready to hang the piece.
Why do I have this gap in my emotional attachment to my different art forms? When I create the artwork with my two little hands, I’m very possessive of the piece and I don’t want it altered unless I trust the artist to complement my style and not overwhelm it.
After watching TMNK work on the four art pieces for the installation, I realized that his style was not really adding but reinventing the piece and taking it over. By taking it over, it was no longer mine or ours… it was just his and that made me possessive of Plan B Dorothy.
I did not have this feeling with my digital work. When I look at the above image of our combined work, I see them as our combined work and I’m happy with what he decided to create. I had no say in what he created except by offering him the initial composition of Project T Banker and Project T Intellectual.
I especially love what TMNK decided to create with my street photographs. Those images made me very happy. I’ve been trying to get Munich Artists to think like TMNK in regards to my photographs but they can’t. The idea of drawing all over my photographs is very stressful for a German artists and only Brigitte Pruchnow has been able to do it.
If you are interested in seeing what TMNK created while he was in my studio, please visit the Friday Gallery. All his works created during his visit to Munich will be for sale at Frauenstrasse 18 which looks like this now:
The Gallery will be officially reopened next week on January 11, 2016. I still have to put a coat of white paint on the walls but all my studio materials are now contained and separated from the gallery space by these lovely dividers.
When you entered the room, you were surrounded by a silver material that billowed. It was translucent, light, pliant and rustled.
The room contained a few white leatherette chairs. A friend and I stood for a moment enjoying the material moving with the breeze and then sat down to see if it was a different experience.
Sitting in the white chairs, we listened to the sound as the fan blew against silver coloured fabric/plastic. I think the material might have been emergency surgical blankets glued together because seams were clearly visible.
From the chairs, the lamps and fan became a distraction from the experience. The mechanics of the installation took center stage instead of the effects created by the fan and the lights. Because we could see the fan and light directly in front of us, we talked about how to get rid of them so that we could just enjoy the sound of the air being pushed through the material.
Was this a commentary about society focusing on faults when surrounded by beauty?
The sound created when the air hit the material reminded me of the wind as it rustles the leaves of the trees. It also reminded me of island life where the ocean is a constant companion, filling your ears as the waves find the shore.
I decided to share the video footage which focuses on the sound and imagery and not the equipment used to make the installation.
I don’t know if seeing the equipment was a flaw or a necessary element. If this was a flaw in the execution, it can be easily rectified. A small screen made from the same silver material would solve the visual flaw when sitting down. You would still see the fan when standing but it would not be the visual focus.
When we were getting ready to leave the room, two guys popped out from behind the material and asked us what we we thought about the silver sheet material.
I was surprised at the questions. It was like asking me if I knew what goes into gesso or what goes into encaustic or screen printing solvents. I didn’t feel the questions was necessary or worth recording and remembering. For me, the feelings evoked by the experience were more but maybe too many people are disconnected from their feelings and can only focus on fact and this was the artist’s way of connecting with the audience by making them touch the installation.
Either way, I appreciated the idea and look forward to seeing the next version of this which may include the audio clips gathered on Saturday.
Excellent interview with Andre Kertesz. As an artist/photographer I appreciate hearing how he felt about his photography and capturing the moment. In the interview he makes a statement that technical perfection does not express anything. The artist must have the ability to capture a moment. That statement resonates with me and I encourage you to watch the interview.