On the Museum’s Ruin (Morris-Hunt – Corbusier – Piano)

“On the Museum’s Ruin (Morris-Hunt – Corbusier – Piano) was created at the Carpenter Center for the Visual Arts, designed by le Corbusier, during the renovation of the Fogg Museum of Art, initially designed by William Morris Hunt, with renovation by Renzo Piano. The chairs were cast based on Le Corbusier’s iconic LC2 design using rubble from the museum renovation.”

- www.lizglynn.net

The Commons, 2011
Materials: Cork, pushpins, notes contributed by the public.

“This is an equestrian monument. Unusual in that it has no rider. Unusual in that it implies the viewer. It is made of cork instead of bronze. Cork is a material that can ‘publish’ an endless number of voices. In opposition to the singular voice of the state, or the singular identity of the hero portrayed riding the horse, or the immutable inscription on thepublic space that bronze and stone allow.” – Paul Ramirez Jonas

http://www.jeffreypena.com/?p=2435

Or read his features on:
Triangulation Blog
Booooooom
It’s Nice That

Jeffrey Pena: I checked out your podcast with Throat Art and appreciate the honest insight into your process. The process is even more transparent in videos that you publish with major works. The videos also reveal a commendable work ethic… Thank you for that dedication.

Micah Ganske: Thank you Jeffrey! I really believe that art needs to become as open as possible. The general public distrusts fine art because they don’t feel like the motives of artists are always trustworthy. When it comes down to it, I make art about things that I want people to be excited and interested in, and in order for them to get interested they need to understand why I do what I do. The videos were the easiest way to do that.

JP: Your “Tomorrow Land” paintings are about ‘casualties of technology’. Depicted are abandoned, toxic or decaying sites across the United States. In your Michigan Central station painting there is a small house depicted that is being used as an art installation by a collective that critiques similar issues regarding neglect of the site. I visited last Spring. Catie Newell had a beautiful installation reconstructing a part of the house with charred wood.

MG: That’s a really cool project and something really should be done with Michigan Central because it’s a beautiful and cultural landmark. I haven’t been to Detroit yet. Eventually I would like to go on a cross-country road trip where I rent a Winnebago and visit all these abandoned sites. There are also a ton of abandoned sites that I couldn’t get aerial data for that I would like to photograph. Maybe there’s a grant that I can apply for– I need to do more research.

Thanks for this video Michael, Happy New Anus to you too.

www.wendywhite.net
www.leokoening.com

 
Arianna shares, “The classical music industry is changing. As a violinist who’s about to leave the safety of Juilliard and enter the real world, I’m slightly concerned for my well-being; there are more truly exceptional musicians competing for careers and jobs than ever before. But as a lover of classical music, I’m frightened. Our audiences and our funding are shrinking, and as other forms of entertainment evolve to become more and more accessible, classical music is falling behind. But our product–our music–is as amazing as ever. And so not only are we (Meta, Rod, Caitlin, and I) unwilling to accept the possibility that classical music audiences might continue to shrink — we feel strongly that, in this age of internet and media, our audiences should actually be growing. Despite its traditional (and often archaic) image, classical music is relevant to all of us, and we are convinced that exposure is all it really needs in order to thrive.”

If you missed it, I chatted with Arianna about the project in July. (Interview here.) In this interview Arianna speaks about the role of the performer, making classical music accessible, and engaging a new audience.

Art In America
Lennon Weinberg Gallery
The Brooklyn Rail
Art Net
@dthomasos