on the arts @onthearts-blog - Tumblr Blog

TAKEOVER DAY 2012

Whitworth Art Gallery, Manchester

Friday 23rd November 2012 was the Children Commissioner's Takeover Day; a day where young people are given meaningful roles in museums and galleries across the UK. Pupils from Crab Lane and Oswald Primary Schools in Manchester were invited into Whitworth Art Gallery to ‘take over’ the gallery’s twitter account and pose questions to followers based on things they could see throughout the gallery's exhibition spaces. It took only some brief encounters with the works of David Hockney, Aisha Khalid and Jane and Louise Wilson for their young minds to start whirring and for imaginations to soar.

A ‘board meeting’ was called for all of the new 'tweeters-in-charge' and various potential questions were entertained. The pupils' unique interpretations of the Whitworth's current exhibitions were all incredible. Armed with DoodleBuddy, Audioboo and FrameArtist, pupils then kept the South Gallery 'tweetdesk' extremely busy, challenging their followers with ipad drawings, recorded sounds, video performance and at one point even a maths quiz devised using photographs taken around the gallery.

The event proved to be a highly valuable opportunity for the children to explore the decision-making processes behind an institution's online presence; a particularly apt take on the 'Kids in Museums' Takeover Day in a society becoming more and more reliant on new forms of technology and the quirky use of social media to engage with audiences. The team at Whitworth gave pupils the chance to contribute and be playful within a museum environment in a brand new way. Simultaneously, the takeover became a wonderful opportunity for staff and visitors to view the exhibitions through the eyes of those whose imaginations know no bounds.

Follow @WhitworthArt and read back through the children's Takeover day tweets, and follow @agms10 for further coverage of the event.

#Whitworth Art Gallery #Whitworth #Manchester #Takeover Day #Takeover Day 2012 #Children Commissioner's #Kids in Museums #Jane and Louise Wilson #David Hockney #Aisha Khalid #ipads #Centre of Museology #@WhitworthArt #@agms10

We have become accustomed to think of museums in terms of discovery, and there is no category of people as closely associated with the novelty and satisfaction of discovery as children. In museums, everyone becomes a child because new, precious, and important objects are the source of revelation to visitors. That at least is the idealised image. The reality is rather more complex...

Ludmilla Jordanova, Objects of Knowledge: A Historical Perspective on Museums, 1989

#Ludmilla Jordanova #Objects of Knowledge: A Historical Perspective on Museums

TIME CAPSULE COMMUNITY PARTY

betahaus, Berlin

With just one week to go before heading back to live in the UK, it seemed perfectly apt that I should be standing in front of a giant map of Berlin in a dark Kreuzberg courtyard, suitably fuelled with wine and a good curry, contemplating specific places to place several small rounded stickers, each representing a 'time capsule'.

I had come to the Time Capsule Community Party, joining many others at betahaus in welcoming and celebrating the innovative brainchild of Israeli ex-theatre director Michael Ronen- a new mobile App for sharing and discovering online experiences in the world around us. One could certainly argue that we have enough of these already, but this one's a little different...

With Time Capsule, you share personal experiences about a specific location, and dictate the exact time and place that these experiences are to be discovered and enjoyed by others. For Ronen and his start-up business partner Daniel Paz, there was an urgency to create something set apart from the 'overwhelming, often meaningless flood of internet content'.

"Our digital memories shouldn’t fade out on social network walls or rot in our hard drives, but rather be shared constantly through the places where they were created. Our vision is to introduce a playful and exciting way to get connected to your environment and leave your own mark on it. Give a future to your digital memories by allowing places to remember people."

In the crowded hinterhof of betahaus the App's concept was playfully represented: firstly with a map and stickers, encouraging people to consider both their most memorable intimate and public experiences in the city; then with balloons- capsules onto which this personal reflection was to be expressed, before being exchanged for somebody else's. Once all of the frenzied interaction was over DJs Ipek and Yavuz ak got everyone dancing and led us into the early hours of Sunday- another classically quirky and exciting night in Berlin accomplished. Another memory to bank. And on the brink of leaving a city I have enjoyed living in so much, with thousands of experiences to look back on and remember, it was pleasing to contemplate the idea that with something like Time Capsule, Berlin could actually remember me back.

Watch the Time Capsule video here

#betahaus #Time Capsule #Time Capsule Community Party #Michael Ronen #Daniel Paz #digital memories #App

PAUL McCARTHY

<![CDATA[// <![CDATA[ // <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]]]><![CDATA[><![CDATA[><![CDATA[> // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

THE BOX

Neue National Galerie, Berlin

In the expansive ground floor hall of Mies van der Rohe's magnificant Neue National Galerie sits a singular, oversized wooden crate. Empty space stretches out around it (providing a welcome view of Mies' architectural prowess), though it's snug twenty foot height spans from floor to ceiling. Somewhat bizarrely 'The Box' is described as inconspicuous; "not easily noticed or seen; not prominent or striking" but in my eyes this is far from true. In fact, I feel quite drawn to the über-simplistic, mundane appearance of it's unfinished timber exterior. After all, what could possibly be so interesting about this box for it belong here?

It turns out that lying inside Paul McCarthy's box is his entire studio, freeze-framed in 1999 and reconstructed exactly as it once existed- furniture, video equipment, tools, paper, props and clutter all claiming a space amongst the chaos. A window in the far end allows public and private space to finally meet, giving visitors the opportunity to peer into the creative setting of McCarthy's socio-critical oeuvre.

Though the view into the studio is certainly not an original theme amongst modern art, there is always something so appealing about an artist's vulnerability in offering up to the world a glimpse of their everyday existence. There is an affinity to be found- an understanding of a person- that comes with this kind of spatial encounter. This particular encounter, however, is different.

Tipped at 90 degrees and onto its side, 'The Box' is something that I cannot enter, and in some ways, cannot even imagine entering. Separated by opposing spatial occupations, I am removed from the artist's world. Boundaries have been set. The interior of McCarthy's workspace is merely a stage- a surreal three-dimensional collage in which I cannot attain a physical presence. It is surprisingly disconcerting when, at the meeting of these public and private realms, invitation and rejection at once become simultaneous.

#Paul McCarthy #The Box #studio #Neue National Galerie #Berlin #Mies van der Rohe

The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning.

Robert Hughes, 1938-2012

GABRIEL OROZCO

<![CDATA[// <![CDATA[ // <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]]]><![CDATA[><![CDATA[><![CDATA[> // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

ASTERISMS

Deutsche Guggenheim, Berlin

The eighteenth commission of the Deutsche Guggenheim 'Asterisms' comprises of thousands of objects collected, photographed and exhibited by Mexican artist Gabriel Orozco. Whilst the taxonomic arrangement of the debris makes for a very aesthetically alluring display, the real interest here lies in the provocative contrast between the two different locations from which the items originate. The first is an astroturf playing field near the artist's home in New York City. The second is a whale mating ground and industrial wasteland on the coast of Mexico. In pitching the two collections, 'Astroturf Constellation' and 'Sandstars', against each other, Orozco plays micro off against macro in a poignant exploration of the ongoing tensions between nature and culture.

I am always fascinated by the ways in which artists use encounters with the mundane- the everyday- and likewise, the discarded, within their works. Perhaps even more fascinating is why they choose to do so. What is so alluring about garbage? Individually, Orozco's objects here evoke intrigue- of past use and former lives; of age, erosion and time gone by. Collectively though, they form constellations- or asterisms- each belonging to the same 'night sky' (in this case, a coastal biosphere or sports pitch), connected in geography and in time yet not physically related. Still, physicality is hugely important to Orozco, and it is the artist's arrangements of these 'night skies' according to formal properties of classification which speak so powerfully of the human need to create order in the world.

"What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again."

The work is displayed beautifully within the Guggenheim's long and narrow space, the sculptural carpet of 'Sandstars' taking due precedent in front of a sea of white at the far end. Effectively, this wall is kept blank and the photographic documentation of Orozco's project is exhibited only down the two sides of the room. A subtle addition to the atmosphere and sense of place (that is, the place from which these objects once belonged) is the sound of ravenous birds and the crashing of waves. Orozco's film depicting a whale washed up on the shore lies just outside of the main space but is clearly audible throughout. As one's eyes oscillate between the various glass bottles, lightbulbs, buoys, tools, stones and oars lying on the gallery's floor and the screen in the neighbouring room, the confrontation with the lifeless body becomes absurd. The whale is now a discarded, and found object, just like the rest.

#Gabriel Orozco #Asterisms #Deutsche Guggenheim #Mexican #New York City #Found objects #Mexico #Guggenheim

TRANSFORMERS : COILED POTENTIALS

THE MIDISSAGE

Atelierhof Kreuzberg

Some photographs documenting the TRANSFORMERS exhibition 'Midissage' (which, we've all learnt, is the name used for an opening reception which occurs in the middle of an exhibition!) we hosted on Saturday 28th July.

#Transformers: Coiled Potentials #Trampoline #Transart #transart institute

TRANSFORMERS: COILED POTENTIALS

INSTALLATION CONTINUES...

Atelierhof Kreuzberg

TRANSFORMERS: COILED POTENTIALS

<![CDATA[// <![CDATA[ // <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]]]><![CDATA[><![CDATA[><![CDATA[> // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

TRANSART INSTITUTE MFA SHOW

Atelierhof Kreuzberg

This summer I am working as Production Assistant for TRAMPOLINE; Agency for Art and Media. I had met Trampoline curators Miles Chalcraft and Anette Schäfer previously, when briefly involved in their Tracing Mobility symposium back in November 2011- see my LIVE BLOG of the event here. I was really inspired by the programme- including exhibition, symposium and open platform- that they had put together for Haus der Kulturen der Welt, and was therefore over the moon to be able to work with them more closely on a new project. Below is some press information I have written for the exhibition we have been putting together at Atelierhof Kreuzberg;

..........

Transformers: Coiled Potentials Trampoline and Transart join forces...

The Transart Institute believes in a different kind of arts education. They believe in a kind of education which one can only gain from life experience, rather than from the confines of an institutional framework. Dissatisfied with the established models of control and discipline within schooling where students are all fed the same knowledge in the same ways over and over again, Transart set to work on a multi-perspective approach which re-imagines the development of sustainable artistic practise and allows students to lead their own paths to academic success. They are the drivers, Transart only the vehicle.

[ ABOVE: Lark Gilmer-Smothermon – “Grass Text: GENUG O, laurin” (2011), hand-tied pasture grass and fishing line with Margie ]

This month, eleven Transart artists from all over the world have gathered in Berlin for their third summer residency, during which they will present the work which they’ve been rigorously developing over the last two years. The results of their vastly diverse yet consistently determined trajectories will be exhibited at Atelierhof Kreuzberg, with Trampoline curators Miles Chalcraft and Anette Schäfer (who produced last Autumn’s Tracing Mobility exhibition and symposium at Haus der Kulturen der Welt) overseeing the show.

Bringing together film, painting, sculpture, photography and sound, the show unites a set of completely independent artists working with various means and various influences. German/Jamaican artist Sonia E. Barrett works with disassembled and rearranged 18th and 19th Century furniture to explore the relationship between empathy and subordination, whilst Venezuelan-born Livia Daza-Paris documents her search for her disappeared father, translating complex notions of grief, love and courage into something visible. Conversely, artists Eto Otitigbe, Andrew Telichan and Daniel Marchwinski have employed the use of contemporary digital technology in their explorations of identity, language and place. Throughout the exhibition, personal, social and political histories have been re-visited, re-interpreted, re-shaped and re-figured to reveal potential and produce things more desirable. Collectively, the body of MFA work speaks of transformation.

[ ABOVE: Sonia E Barrett – “Table Number One” (2012), Metal table top, antique wooden wheeled table legs, rope, sheeps intestines, styrofoam ]

“WE ARE TRANSFORMERS, alchemists at play, steeped in the fumes of our reflections, turning base experience into something more desirable. We are the arbiters of potential, conjurers of resistance, stepping up the voltage from one set of coiled emotions to another, spinning up just enough power to transmit our story across the globe. We are hard-wired components straddling our past and our future, turning our personal histories, mythologies, cultural genetics and ethnic dynasties into the future stories we want to tell about ourselves…”

Transart artists are: Sonia E Barrett, Paula Billups, Livia Daza-Paris, Lark Gilmer-Smothermon, Daniel Marchwinski, Eto Otitigbe, Alessandro Sau, Dianne Smith, Stephan Takkides, Andrew Teheran and Andrew Telichan

#Transformers #Coiled Potentials #Sonia E Barrett #Lark Gilmer-Smothermon #New York City #Transart Institute #Trampoline #Berlin #Atelierhof Kreuzberg #Production Assistant #Tracing Mobility

TRANSFORMERS: COILED POTENTIALS

IN THE BEGINNING...

Atelierhof Kreuzberg

HOMEBASE BUILD II FESTIVAL

PANKOW, BERLIN

At the beginning of this year I was lucky enough to be introduced to the HomeBase project; a unique, international Artist-in-Residence and research program based in Pankow. Their Private Networking Salon in January provided a fantastic opportunity to preview the multi-disciplinary work of the sixteen artists, of nine different nationalities, currently living in Berlin’s HomeBase LAB.

To visit the transformed historic brewery was a wholly interactive experience. On meandering from room to room (each a living space and studio) and speaking to the residents it became evident how powerful a role communal living and the sharing of ‘home’ has in stimulating creativity and inspiring the artists’ individual site-specific projects. This is exactly what HomeBase founder Anat Litwin, an Israeli/American artist and curator, had envisaged six years ago.

Initiated in 2006 in Brooklyn, NYC, the HomeBase project explores the notion of ‘home as a central window into questions of identity and belonging’. Litwin was interested in moulding a nomadic and urban social sculpture in which contemporary art and creative collaboration could be cultivated. Six years on, and the HomeBase project will soon be ready to move on from Berlin to its seventh location; Jerusalem.

Fortunately before this migration, we are invited to see the result of this year’s projects at a three-day multi-disciplinary event from March 3 to March 5; The HomeBase BUILD festival. The event promises to be one-of-a-kind, with a rich interactive programme of installations, performances, music, lectures, readings, as well as a symposium discussing the meeting of contemporary art and social innovation. Plus, sampling some of the HomeBase’s-own Ignatz Bier, which celebrates the building’s vibrant history as the Engelhardt brewery, is also on the cards. I, for one, cannot wait for my second visit.

#HomeBase Project #Homebase Build Festival #Anat Litwin #Berlin #Pankow #New York City #Brooklyn

GUNDULA SCHULZE ELDOWY

<![CDATA[// <![CDATA[ // <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]]]><![CDATA[><![CDATA[><![CDATA[> // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

RETROSPECTIVE

C|O Berlin

Gundula Schulze Eldowy’s immunity to tragedy and despair is impressive. Fear of not only witnessing the most harrowing of existential circumstances, but capturing them forever through the medium of photography, was conquered wholly by curiosity- a ruthless, unrelenting curiosity which gifted her with the courage to expose a reality which others would not dare to.

ABOVE: “Dresden 1987″, from the series “Der große und der kleine Schritt”, C-Print Vintage, 120 x 80cm, Image courtesy of C|O Berlin

Fuelled by a backdrop of social crisis in the GDR, Eldowy spent her early years documenting the harshness of everyday city life in Berlin, Leipzig and Dresden. The results are classically composed and hauntingly beautiful images spanning various different series’, four of which are currently on display at C|O Berlin.

Loneliness, poverty, alienation, misery, and decay are predominant themes throughout each series. Particularly affecting is the collection ‘Tamerlan’ which documents the fragility and physical decline of a elderly woman over the course of nine years. In ‘Der Grosse und der Kleine Schritt’ -on display in its entirety at the gallery- we see a focus on birth, death, and the critical moments which epitomise the unceasing cycle of life. Images of decapitated animals in slaughterhouses and the bloody aftermath of difficult childbirth provoke immediate urges to look away. Within seconds you’re not only looking back- you’re staring- harder and longer than at anything ever before, in complete awe.

It soon becomes clear that Eldowy’s existential snapshots are not primarily out to shock. These seemingly ‘nightmarish’ scenes are nothing but hard, cold reality. Her prerogative was simply to capture this reality as honestly as she could. Birth, death, decay and renewal are exalted as things which we all must live through – things which unite us as human beings. For Eldowy, turning a blind eye to the harrowing brutality of the everyday is not an option. With a uniquely direct yet sensitive pictorial approach, her photographic narratives tug wildly at the heartstrings of anyone who experiences them. Such artistic courage allowed Eldowy to successfully fulfil her intentions in exposing the despair and intense beauty in truth. And let’s not forget that sometimes, the truth hurts.

ABOVE: “Berlin, 1982″, from the series “Berlin in einer Hundenacht”, Gelatin silver print, Vintage, Image courtesy of C|O Berlin

#Gundula Schulze Eldowy #Berlin #C|O Berlin #Photography #Retrospective #Eldowy #Berlin in einer Hundenacht

Viktoria Binschtok

<![CDATA[// <![CDATA[ // <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]]]><![CDATA[><![CDATA[><![CDATA[> // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

WORLD OF DETAILS

Klemm's Gallery, Berlin

It is the juxtaposition of small-scale, black and white, digitally produced prints with their much larger, full colour, analogously prepared counterparts on the walls of Klemm's that arouses great curiosity at even the slightest glance through the gallery’s glass frontage. It is the relationship between the two that presents Viktoria Binschtok as a thoughtful and analytical artist whose pictorial explorations raise questions about visibility, function and artistic intent.

ABOVE: “World of Details” (2011), exhibition view. Photograph courtesy of Klemm’s, Berlin

For the series World of Details Binschtok’s starting point was a selection of images opposing all notions of traditional picture-taking; products of automated panorama-shooting equipment set up on the roof of a van- more specifically, a Google van. By weeding through the vast Google Street View archive, Binschtok cunningly selected images in which by-passers are looking straight into the lens of the camera. The next stage was for the artist to visit each location presented in these ‘street views’ with the intent of producing her own visual representations of the same environments. The resulting c-prints are wonderfully detailed artefacts which capture perfectly the real soul and character behind each respective site.

Suddenly the small monochrome prints appear somewhat lacking and Binschtok’s hypotheses become clear. How does an image which features actual ‘characters’ convey so much less character than one without? How can an image completely absent of any human presence appear more ‘human’ than one with? The processes behind a captivating image- installing a sense of composition, making choices about content and context, going beyond the simply ‘informative’ etc- are powerful tools indeed. Whilst recognising that both forms of picture-taking are as authentic and as valid as one another, here- through the documentation of just seven sites- Viktoria Binschtok celebrates the significance of a photographer’s intent.

ABOVE: “World of Details (exit + snackbar)” (2011); c-print, object frame, 98 x 104 cm, ink jet print on mdf-plate, 18 x 26 cm, edition 3+1 a.p. Photograph courtesy of Klemm’s, Berlin

ABOVE: “World of Details (exit + snackbar)” (2011), Ink jet print on mdf-plate, 18 x 26 cm. Photograph courtesy of Klemm’s, Berlin

#Viktoria Binschtok #World of Details #Klemm's #Photography #Berlin #Google Street View #Google

IOANA NEMES

<![CDATA[// <![CDATA[ // <![CDATA[ var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-34729196-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); // ]]]]]]><![CDATA[><![CDATA[> // ]]]]><![CDATA[>]]>

MONTHLY EVALUATIONS (TIME EXPOSURE)

Jiri Svestka Gallery

ABOVE: Three pieces from the series Time Exposure, epoxide, paint, laquer; 100 x 70 x 10cm, 2005-2010

This week I was lucky enough to discover the conceptual work of Romanian artist Ioana Nemes following a visit to the Jiri Svestka Gallery in Schöneberg for their summer show On the Threshold. Three large wall pieces, each a different colour but each resembling a giant tombstone, dominate the brightest of the spaces at the gallery and demand a somewhat ominous sense of intrigue. As one reads the exhibition notes the forboding feeling is deepened…‘As an obituary for one of the most talented artists from the gallery…’ Sadly, Ioana Nemes passed away in Spring of this year. The pieces shown are part of Monthly Evaluations (Time Exposure), a long-term project in which Nemes’ attempted to analyze her interior system of organization- the way in which she truly functioned as a human being. Between 2005 and 2010 Nemes derived a personal methodology for transforming qualitative data regarding her own existence into quantitative measures. Daily thoughts and experiences were recorded using five parameters; physical, emotional, intellectual, financial and luck factor (P, E, I, F, L). Inspired by Swiss psychologist Max Luscher’s notions about colour, Nemes allocated each day logged a particular shade, along with a quotation or saying, before sculpting them into objects and/or installations.

ABOVE: Details from the series Time Exposure, epoxide, paint, laquer; 100 x 70 x 10cm, 2005-2010

It was impossible not to begin speculating about my own day-to-day self-evaluation. What would this day score in terms of ‘P, E, I, F and L’? How would the chronology of my life look if I were to archive each day- not just in standard journal format- but as imposing panels on the wall? What would the scientific experiment all mean when those days came to an end? On this particular day at the Jiri Svestka Gallery it seemed a great tragedy, for an artist whose primary medium was time to run out of it so soon.

#Ioana Nemes #Monthly Evaluations #Time Exposure #Jiri Svestka Gallery #On the Threshold

Trending Blogs

Recently Viewed Blogs

on the arts