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amamblog:

While the artist is commonly present in depictions of performance art, this presence is not intended as an exploration of the self as in self-portraiture. Instead, the artist’s body serves as a catalyst for ephemeral actions, preserved only through documents and photographs. Vito Acconci captures the use of his own body as an art-making implement in Kiss Off. For this work, Acconci transferred red lipstick from his own mouth to various parts of his body, which he then pressed onto a printing stone to be transmitted to paper. The artist is thus present not only in the photographic documentation of the act, but in his body’s literal inscription in the final work.On view through July 29 in the exhibition Artists on Artists. Image:Vito Acconci (American, b. 1940)Kiss Off, 1971Lithograph Art Rental Collection Fund, RC1971.5 

amamblog:

While the artist is commonly present in depictions of performance art, this presence is not intended as an exploration of the self as in self-portraiture. Instead, the artist’s body serves as a catalyst for ephemeral actions, preserved only through documents and photographs. Vito Acconci captures the use of his own body as an art-making implement in Kiss Off. For this work, Acconci transferred red lipstick from his own mouth to various parts of his body, which he then pressed onto a printing stone to be transmitted to paper. The artist is thus present not only in the photographic documentation of the act, but in his body’s literal inscription in the final work.

On view through July 29 in the exhibition Artists on Artists

Image:
Vito Acconci (American, b. 1940)
Kiss Off, 1971
Lithograph
Art Rental Collection Fund, RC1971.5 

Filed under oberlin oberlin college art art museum museum amam Allen Memorial Art Museum Vito Acconci kiss off artists on artists

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The Official Blog of the Allen Memorial Art Museum: Commencement/Reunion Weekend 2012 Schedule

amamblog:

Oberlin College Commencement and Reunion Weekend 2012
ALLEN MEMORIAL ART MUSEUM, 87 North Main Street

Commencement Weekend Hours:
Saturday, May 26, 10:00 a.m.-7:00 p.m.
Sunday, May 27, 10:00 a.m.-5:00 p.m.

Highlights Tours, led by Oberlin College student docents:
Saturday, May 26,…

Filed under oberlin oberlin college art art museum museum Allen Memorial Art Museum amam commencement reunion commencement reunion weekend 2012 oberlincrw12 crw12

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amamblog:

The Weltzheimer/Johnson House, a 1948 Usonian style home designed by Frank Lloyd Wright, holds it next open house Sunday, May 20, from 12pm to 5pm. The house will also be open over Oberlin College’s Commencement/Reunion Weekend - Saturday, May 26, from 10am until 5pm, and Sunday, May 27, from 12pm until 5pm. If you’ve never been to a Wright designed home, this very approachable and comfortable house makes a great first experience. 

The W/J House will be open the First and Third Sundays of each month, through November. 
 

Filed under oberlin oberlin college amam art museum art museum Allen Memorial Art Museum frank lloyd wright Weltzheimer/Johnson House usonian commencement commencement reunion weekend crw12

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amamblog:

John Martin is known for sublime compositions with tiny figures overwhelmed by catastrophic landscapes, carefully delineated architectural structures, and a virtuoso rendering of perspective. An accomplished painter and printmaker, Martin produced more than one hundred mezzotints after his own work. The medium’s rich tonal range suited the drama of subjects like The Fall of Babylon, which he engraved after one of his most important paintings. The hand-coloring attests the mezzotints’ popularity, as it was probably added by the publisher during a later issuing to mask areas of the plate worn by earlier printings.Image:John Martin (English, 1789-1854)The Fall of Babylon, 1831Hand colored mezzotint; re-engraved lettered print Friends of Art Endowment Fund, 1974.60 

amamblog:

John Martin is known for sublime compositions with tiny figures overwhelmed by catastrophic landscapes, carefully delineated architectural structures, and a virtuoso rendering of perspective. An accomplished painter and printmaker, Martin produced more than one hundred mezzotints after his own work. The medium’s rich tonal range suited the drama of subjects like The Fall of Babylon, which he engraved after one of his most important paintings. The hand-coloring attests the mezzotints’ popularity, as it was probably added by the publisher during a later issuing to mask areas of the plate worn by earlier printings.

Image:
John Martin (English, 1789-1854)
The Fall of Babylon, 1831
Hand colored mezzotint; re-engraved lettered print
Friends of Art Endowment Fund, 1974.60 

Filed under oberlin oberlin college art art museum museum Allen Memorial Art Museum amam john martin the fall of babylon

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amamblog:

The practice of making copies after another artist’s work has longstanding roots. During the Renaissance, artists were encouraged to copy art from antiquity, as it was believed that imitating great art was the best way to learn. This convention of studying and venerating the masters remained a staple of academic training for centuries. Artists working in non-Western modes of art-making also have a long history of looking to the ancient masters. In emulating the work of their predecessors, artists from cultures such as China and Japan learned valuable lessons about traditional techniques and style.
In addition to its pedagogical function, copying also has practical purposes. Prior to the age of photo-mechanical reproduction, artists often made prints after their own or other art works for book illustration or other forms of dissemination.
Francesco Bartolozzi’s print, after Benjamin West’s allegorical murals in the Queen’s Lodge at Windsor, celebrates British advancements in the arts and sciences under King George III and glorifies the Enlightenment values of reason and knowledge. On the right, a woman peers through a Newtonian reflecting telescope at the H-shaped astronomical symbol for the planet Uranus, which British astronomer Sir William Herschel discovered in 1781 using a reflecting telescope he built himself. Image:Francesco Bartolozzi (Italian, 1727-1815) [after: Benjamin West, American, 1738-1820]The Genius of Light Awakens Science and Art, 1789 Engraving with etching Friends of Art Endowment Fund, 1982.96

amamblog:

The practice of making copies after another artist’s work has longstanding roots. During the Renaissance, artists were encouraged to copy art from antiquity, as it was believed that imitating great art was the best way to learn. This convention of studying and venerating the masters remained a staple of academic training for centuries. Artists working in non-Western modes of art-making also have a long history of looking to the ancient masters. In emulating the work of their predecessors, artists from cultures such as China and Japan learned valuable lessons about traditional techniques and style.

In addition to its pedagogical function, copying also has practical purposes. Prior to the age of photo-mechanical reproduction, artists often made prints after their own or other art works for book illustration or other forms of dissemination.

Francesco Bartolozzi’s print, after Benjamin West’s allegorical murals in the Queen’s Lodge at Windsor, celebrates British advancements in the arts and sciences under King George III and glorifies the Enlightenment values of reason and knowledge. On the right, a woman peers through a Newtonian reflecting telescope at the H-shaped astronomical symbol for the planet Uranus, which British astronomer Sir William Herschel discovered in 1781 using a reflecting telescope he built himself.

Image:
Francesco Bartolozzi (Italian, 1727-1815)
[after: Benjamin West, American, 1738-1820]
The Genius of Light Awakens Science and Art, 1789
Engraving with etching
Friends of Art Endowment Fund, 1982.96

Filed under oberlin oberlin college art art museum museum Allen Memorial Art Museum amam renaissance Francesco Bartolozzi The Genius of Light Awakens Science and Art

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amamblog:

For our final Sunday Object Talk of the academic year, Nicole Alonso (OC ‘13) will be discussing Claes Oldenburg’s outdoor sculpture and beloved Oberlin landmark “Giant Three-Way Plug (Cube Tap)” from 1970. The talk will meet in the King Sculpture Court before heading outside to view the Plug. You can watch a video of the installation of the Plug here.The Sunday Object Talk will begin at 2pm. We’ll take the summer off, and then talks will resume in the fall.  

Hmm. Is it just us, or has the plug shifted in placement from this photo? (We do know it was reinstalled just a few years ago.)

amamblog:

For our final Sunday Object Talk of the academic year, Nicole Alonso (OC ‘13) will be discussing Claes Oldenburg’s outdoor sculpture and beloved Oberlin landmark “Giant Three-Way Plug (Cube Tap)” from 1970. The talk will meet in the King Sculpture Court before heading outside to view the Plug. You can watch a video of the installation of the Plug here.

The Sunday Object Talk will begin at 2pm. We’ll take the summer off, and then talks will resume in the fall.
 

Hmm. Is it just us, or has the plug shifted in placement from this photo? (We do know it was reinstalled just a few years ago.)

Filed under oberlin oberlin college Claes Oldenburg giant three-way plug sculpture object talk sunday object talk art art museum museum Allen Memorial Art Museum amam

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oberlincomicscollective:

kickintheeyes:

Oberliners: come to the Friends of the Photocopier today to check out The Birdman, a 20-ish page minicomic by Matty Jay Robin-Avis (aka me and Matt), among other things.  Here’s a couple-page sneak preview!

come on out to the OCC table for this + more!

If we missed the OCC table on Sunday, where can we find the comics around campus?

Filed under oberlin oberlin college comic oberlin comics collective friends of the photocopier art creativitiy zine