With the rise of more affordable and personalized production
technologies like 3D printers, “maker” culture has come into its own. “maker” culture has embraced technology to
allow tinkerers the country over to create new things that surprise, delight,
and frequently solve some formidable challenges. But it isn’t just about the new
technologies. Many “makers” are using
new tools to do surprising things with more traditional crafts traditions.
That cultural momentum is one of the reasons I was intrigued
by the current biennial at the Museum of Arts and Design (MAD). Titled NYC Makers:
The MAD Biennial, the exhibition attempts to examine “cultures of making in
urban communities.” The show features more than 100 participants and “celebrates
the artisans, artists, designers, and other makers who live and work throughout
the five boroughs of New York City.” And while many of the items featured in
the show demonstrate innovative uses of technology, others reflect innovative
ways to use more traditional mediums.
Take the luscious terrariums of Paula Hayes. (A while back Hayes had an even more dramatic installation at MoMA.) Here she returns to her undulating forms that are erotic and brimming with life.
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| Paula Hayes, three iterations of Giant Terrarium (2008 - 09, hand-blown glass and custom plantings) |
Anyone who's visited my home knows that I'm an avid
collector of souvenir buildings. I've got a veritable global cityscape. So I
was very interested in Constantin and Laurene Leon Boym’s exploration of the
souvenir. Here they gathered together
their series of experimental souvenirs. Three series were represented, Eighteen Buildings
from Buildings of Disaster, (1998 – 2010, bonded metal), Altars of Utopia (2014,
mixed media), and Eighteen Buildings from Missing Monuments (1997 – 99,
composite bronze.)
I’m intrigued by the concept behind these buildings which
include, “miniature versions of famous structures that have been destroyed,
visionary architecture projects that have not yet been built, mementos of
famous places where tragic events occurred, and a new series that manifests unfulfilled architectural utopian dreams.”
In fact, I;m considering ordering the most recent souvenir in their Buildings of
Disasters Redux, Osama Bin Laden House, Obbottabad, Pakistan, May 2, 2011
(2014, bonded metal).
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| Constantin and Laurene Leon Boym, Eighteen Buildings (from Buildings of Disaster and Missing Monuments) and Altars of Utopia |
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| Constantin and Laurene Leon Boym, Eighteen Buildings (from Buildings of Disaster and Missing Monuments) and Altars of Utopia |
Dan Funderburgh and Flavor Paper brought a sense of
subversive humor to the show with Vigilant Floral (2011, mylar wallpaper). The
wallpaper felt particularly timely considering recent reports of surveillance
raging out of control. Here surveillance
cameras are intertwined with more traditional floral wallpaper patterns, as if
big brother is hoping to soften his image.
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| Flavor Paper and Dan Funderburgh, Vigilant Floral (2011, mylar wallpaper) |
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| Flavor Paper and Dan Funderburgh, Vigilant Floral (2011, mylar wallpaper) |
One whole gallery in the show was dedicated to Stepin One 2
by Rafael de Cardenas and Architecture at Large. They created a club-like space
that was something of a mashup between a fern bar and a rave. Complete with clubby beats, the room was designed
as an homage “to the evolution of the spirit and aesthetic of New York
City nightlife into present day dance culture.”
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| Rafael de Cardenas/Architecture at Larget, Stepin |
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| Rafael de Cardenas/Architecture at Larget, Stepin |
Neon makers were represented by Let There Be Neon, a New
York City business obviously working in neon.
I was particularly fond of this 3D neon chair, although many more
examples were included in the show. I
don’t know what it is about neon, but it always delights.
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| Let There Be Neon, 3D Chair (ca. 1977, Neon) |
From the more technical end of the spectrum was The Depthkit presented by someone or something called Specular. This is open-source software and hardware
that allows you to augment video with 3D data.
Here, you could interact with the system which cast lacy, sci-fi infused
images onto the wall. The images were a
little wonky at times. I have a
feeling this is just the beginning of where interactive 3D video will take us
in the future.
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| Specular, The DepthKit (2014, camera, mount, sensor, and software) |
Not being a brass player, I was not aware of Brasslab and that it is one of America’s leading repair shops for brass instruments. For the
MAD show Chuck McAlexander took a cheap trumpet and using his expertise transformed
it into an instrument of high quality.
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| Chuck McAlexander/The Brasslab, Custom-Altered Trumpet (2014, brass) |
If you like owls (and who doesn’t), you’ll enjoy a trio of
objects created by a trio of practitioners.
Owls’ Ear Trap is a set of three speakers that are designed to use
everyday objects in innovative ways. It
was created by artist/composer Sergei Tcherepnin, pianist Aki Takahashi, and
artist Ei Arakawa.
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| Ei Arakawa x Sergei Tcherepnin x Aki Takahashi, Owls' Ear Trap (2013, vintage clocks, copper, injet print) |
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| Ei Arakawa x Sergei Tcherepnin x Aki Takahashi, Owls' Ear Trap (2013, vintage clocks, copper, injet print) |
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| Ei Arakawa x Sergei Tcherepnin x Aki Takahashi, Owls' Ear Trap (2013, vintage clocks, copper, injet print) |
NYC Makers: The MAD Biennial features many other artists and
craftspeople from set/costume designers to people who create custom cases for
the transportation of the world’s most expensive art. While I enjoyed this show, it wasn’t as
impressive as some of the other exhibits I’ve experience at MAD. The collection of items was sometimes too
random and strange. And the presentation
often felt sloppy, with objects resting on what appeared to be plinths hastily
draped with fabric. Even the guide was confusing. That said, I love the concept
behind the exhibit and I hope MAD continues to celebrate makers.
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