Art Unbound

theatre, dance, music, film, design, visual art, architecture, graphics, culinary arts, creation unbound

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Third Street by Briandaniel Oglesby

Presented by The Cohen New Works Festival 

  Shane is focused on one thing: The Bakersfield Renaissance Festival. For weeks, he has been training in a dirty alleyway on Third Street. To him, it is a fantastical medieval land, where knights do battle, and where he challenges the evil Lord Pain daily, in hopes of finally becoming a knight. When his thuggish classmate named Otis’s delusions of dinosaurs start to seep into this world, he is forced to confront not only his own fantastical problems, but Otis’s as well. It is, of course, a knights duty to help those is distress. 

Third Street will be presented as a staged reading, married with theatrical performance elements.

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WIND VEIL by Ned Kahn

GATEWAY VILLAGE, CHARLOTTE, NORTH CAROLINA. 2000

"A 260’ long by 6-story tall facade of a new parking garage in Charlotte, North Carolina was covered with 80,000 small aluminum panels that are hinged to move freely in the wind." - Ned Kahn Studios 

This parking garage reacts to the wind like leaves on trees casting intricate shadows on the interior. This design also provides shade and ventilation to the garage. 

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Perceiving Campus,  an Instillation in The Cohen New Works Festival

By Charlotte Friedley, Alex Dallas, Lincoln Davidson, Stephanie Nguyen, Estrella Juarez, & Michael Rahmatoulin

"What if you could no longer see the UT Tower from those iconic views? How would your day change? Would you take the chance to see something new and unexpected?

We aim to blind students to expected. As we remove the familiar, we strive to highlight the forgotten. Suspended framing devices will bring awareness to moments throughout campus of intrigue yet often unperceived." - Perceiving Campus Team

This team of architecture students plans on de-emphasizing the recognizable and bring awareness to the obscured. This new work will be highlighting the beauty of architecture hidden throughout the University of Texas campus from March 25th- 29th.

Source: The Perceiving Campus Team, UTSOA students & The Cohen New Works Festival presented by the University Co-op   

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Top 3 Images: Study in Perspective part of Ai Weiwei’s “According to What?” tour at the Hirsh Horn in Washington DC. 

Bottom Image: The documentary Ai Weiwei: Never Sorry, which was directed by Alison Klayman and won the U.S. Documentary Special Jury Prize for Spirit of Defiance at this year’s Sundance Film Festival.

Ai Weiwei (Chinese, b. Beijing, 1957) is one of China’s most prolific and provocative contemporary artists. He is best known for projects such as his collaboration with architects Herzog & de Meuron on the design of the 2008 Beijing Olympic National Stadium, as well as his embrace of the internet and social media as an active platform for commentary and as an art form in itself. Ai has been a leading figure among Chinese artists since he returned to China in 1993 after spending more than a decade in the United States. He has also become internationally recognized as a result of his actions that challenge the political status quo in China. Despite his arrest and detention for eighty-one days in 2011, the artist has continued to create art that transcends dualities between East and West, focusing on fundamental questions about the interrelations between art, culture, society, and individual experience.

This exhibition demonstrates Ai Weiwei’s broad artistic practice and includes sculpture, photography, audio, video, and site-specific installations. Many of his works employ simple forms and methods that evoke and play with notions of conceptual and Minimal art, while others manipulate traditional furniture, ancient pottery, and daily objects in ways that question cultural values and political authority. More recent works address his ongoing investigation into the aftermath of the 2008 Sichuan earthquake as well as his detention and continual surveillance by Chinese authorities. In each piece, Ai emphasizes the value and place of the individual within society.

Text Source: Hirsh Horn Museum, Washington D.C

Image Source: Ai Weiwei, According to What? Tour & Ai Weiwei: Never Sorry Documentary

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Paper Lanterns Mark End to Lunar New Year Festivities

On the 15th day of the lunar new year, countries throughout Asia mark the end of lunar new year festivities by lighting elaborate paper lanterns. The Lantern Festival is variously known as Shangyuan or Yuanxiao (China), Chap Goh Meh (Indonesia, Malaysia and Singapore), Tết Thượng Nguyên (Vietnam) and Koshōgatsu (Japan).

These festivals mark the first full moon of the lunar new year, and while their exact origin is unknown, releasing lanterns typically symbolizes letting go of the past and embracing the new year. The day also serves to build community and goodwill within and between families.

artunbound: These paper lanterns are part of the Chinese New Year celebrations, one of the most important traditional Chinese holidays.

The lanterns are an iconic part of the 15 day celebration. These lanterns differ from those of Mid Autumn Festival as They are red in color and tend to be oval in shape. These are the traditional Chinese paper lanterns. Lanterns, used on the fifteenth day of the Chinese New Year for the Lantern Festival, are bright, colorful, and in many different sizes and shapes. 

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Audrey Hepburn & Julie Andrews - The Academy Awards, April 5th 1965

Audrey was nominated for her role as Eliza Doolittle in My Fair Lady. Julie originated the role on the stage & it was assumed that she would receive the movie role, but it went to Audrey because she was a big movie star. Audrey recorded a vocal track for the movie, but it was dubbed with the incomperable Marni Nixon’s voice because Audrey’s voice didn’t have enough range. Julie ended up taking home the trophy for her role as Mary Poppins.

This is one of my favourite Oscar stories. There was no personal animosity between the two actresses & these two elegant friends spent time together after the show posing & looking stunning in opera gloves as classy dames are apt to do. It’s lovely knowing that Julie received the award that year, especially since she’s the best Eliza (though Audrey’s performance was, as always, very charming) & because she’s absolutely enchanting as Mary. I’d go so far as to say she’s practically perfect in every day.

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Image credit: Lincoln Davidson

Rendering project, 2012 

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Neil Dawson Horizons sculpture. 

Dawson’s Horizons is one of the earliest sculptures to be commissioned for the Gibbs Farm. Sitting as it does on one of the highest points in the property it is also one of the few works that can be seen from the road. This seems fitting given the way the tromp l’oeil character of the work is suggestive of a giant piece of corrugated iron that might have blown in from a collapsed water tank on some distant farm, only to rest precariously until the next gale lifts it into the air again.

Source: Gibbs Farm 

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Richard Serra’s 56 steel plates lean out by 11 degrees from the vertical and trace a single contour line across the land in a way that, in the artist’s words, “collects the volume of the land.” The work is a hallmark of the strong relationships formed between collector and artist. Serra says of meeting Gibbs, “The first thing he said to me was ‘I’ve just been to Storm King [which has Serra’s Schunnemunk Fork 1990-91] and I want a more significant piece than that. I don’t want any wimpy piece in the landscape.’” 

Source: Gibbs Farm 

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Ai Weiwei, Cube Light (2008) 

Ai Weiwei hardly needs an introduction. For decades, his work has heckled, beaten, and ultimately overtaken the art world’s conventional boundaries, making room for a generation of critical, and often times angry artists whose work has likewise broken ground. But Weiwei’s satirical-rebel attitude, which can be seen quite clearly in his recentGangnam Style parody, seems much more subtle in his chandelier installation, “Cube Light,” which is drawing viewers from all over to the Hirshhorn Museum in DC, where it will be on display until the end of February.

The giant chandelier, which actually hangs from the ceiling, is made up of a cubical grid of metal tubing. Thousands of small crystals hang between the viewers standing outside of the cube and an internal light source. The light shines outward through the crystals, projecting a glistening sheen of extravagance all over the exhibit walls. To be sure, the installation doesn’t reek of rebellion like some of his other works, such as his Coca-Cola inscribed Han Dynasty urn. However, the grandiose chandelier will surely match a few necklaces and wristwatches parading through the Hirshhorn in the next few months, which, depending on who you ask, may point towards a more contemplative, though equally rebellious message. 

Source: The Creators Project 

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Light Instruments by Lincoln Davidson 

An Instillation in The Cohen New Works Festival

*art in progress, exhibition on March 25th-30th 2013

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Light Instruments by Lincoln Davidson 

An Instillation in The Cohen New Works Festival

*art in progress, exhibition on March 25th-30th 2013 

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Light Instruments by Lincoln Davidson 

An instillation in The Cohen New Works Festival 

This instillation aims to redefine the way people experience everyday spaces through the manipulation of light. Light is a primary consideration throughout the arts, but is usually applied in different ways. In theatre, light is a tool used to augment a performance. In architecture light engages spaces, creating a place for living. In visual arts light is an instrument by which ideas are conveyed. Our project aims to create a medium between these approaches, creating a seamless union between the functionality and the emotive aspects of light. The project consists of two modular systems installed in everyday spaces, that create emotional experiences, while encouraging the spaces use by the public. One will be installed in the Payne Theatre Lobby and the other at the McCombs UTC Fly Over. The first system is composed of triangular light diffusion modules, that work together to create a continuous surface. Each element allows natural and artificial light to t ravel through it, creating a pattern of diffuse and colored light. The second system is a surfaces that is generated by the  tessellation of simple t riangular plains that create a continuously flowing cover.  The system is illuminated by capturing natural light, though the use of a translucent fabric.

Image credit: Lincoln Davidson

*art in progress, exhibition on March 25th-30th 2013