east village traffic cone tours
sunday, september 20, 2009
starting location: west entrance of tompkins square park (avenue a @ 9th street)
meet-up times: 11:00am, 2:00pm, 4:00pm
rain or shine
http://eriksanner.com/enjoycones
invitation to an exhibition
http://eriksanner.com/random/2009/how_to_enjoy_traffic_cones/Chashama_Press_Enjoy_Traffic_Cones_090825.pdf
For IMMEDIATE RELEASE
Contact: Janusz Jaworski
212.391.8151 x 26
janusz@chashama.org
c h a s h a m a
presents
“How to Enjoy Traffic Cones”
A collaborative exhibition instigated by Erik Sanner
A chashama Windows project, at 266 West 37th St. (between 7th & 8th Aves)
Viewing Hours: Wednesday, September 30tt through Sunday, October 4th, from 12pm to 6pm
Opening Reception: Friday, October 2nd, 6pm-8pm
Directions: A, C, E, 1, 2, 3 to 34th Street or to 42nd Street (use 40th Street exit)
M16, M34 to 8th Ave; M10, M20 to 36th Street
FREE and open to the public
For more information visit www.chashama.org
Traffic cones are almost art. Like paintings, their primary function is to be looked at. How to Enjoy
Traffic Cones is an exhibition of contemporary new media art celebrating the aesthetic practice of traffic
cone viewing. Works include “Conescape,” an interactive piece by JudsoN and Erik Sanner, and “Eight
Views of a Traffic Cone, Eight Times Removed,” a new media installation by Jeffrey Chuang, Isaiah
King, and Erik Sanner. Additionally, a limited edition brochure suggesting ways to engage in traffic cone appreciation is available at the gallery. How to Enjoy Traffic Cones is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of
Cultural Affairs and administered by the Lower Manhattan Cultural Council.
About the Artists:
Jeffrey Chuang is an art director, illustrator, designer, painter, father, tennis player, and, like many
people, deeply conflicted.
Jason Wilder Evans has shared stages with Steve Azar and the Nashville Star Tour. With his wife
Dawn-Lee, he is walking every street in Manhattan. Jason is currently working on a creative writing and video project called HIV: USA that will take place in every state.
JudsoN has been programming interactive artwork since 1996. His work has been featured in MoMA’s
web art collection, the Kennedy Center in Washington DC, and the Kitchen in NYC, among others. He
recently contributed to The Handbook on Computational Arts and Creative Infomatics.
Isaiah King’s prints, paintings and drawings pursue an ongoing study of the human form in all its
complex emotive facets while his design work is committed to the idea of encouraging public discourse
on social and political issues.
Erik Sanner integrates traditional media with technology to create dynamic installations he calls
“paintings that move.” He has been treating traffic cones as aesthetic phenomena for about fifteen years.
chashama is a NYC arts organization whose mission is to support artists of all genres. chashama adopts vacant properties that are donated by their owners and converts them into theatres, galleries, studios, and window performances sites; chashama then regrants this space for free or at heavily subsidized rates. Since 1995, chashama has transformed more than 20 vacant properties and has given more than 5,000 artists access to space.
* * *
201 East 42nd Street 32nd Floor New York, NY 10017 212.391.8151/53 fax chashama@chashama.org www.chashama.org
transforming a traffic cone into art
always tough for me to make art depicting traffic cones - since they're so close to art already, hard to come up with something which amplifies their coneness. instead of trying to do that, will attempt to, in a piece, bridge the narrow gap between traffic cones and art.
here's a proposal for a piece which came out of the studio session last week. starting at the bottom, the image will become further removed from the original traffic cone with each repetition of projecting-and-painting. don't know how much degradation will take place, don't know if the top level will even be identifiable as views of a traffic cone - on the other hand, maybe there will be very little differentiation between levels - anyway, will know the outcome in a few weeks. right now, enjoying the not-knowing.
http://eriksanner.com/random/2009/how_to_enjoy_traffic_cones/proposals/090824_eight_views.pdf
messing around
was hoping that if isaiah, jeff, and i got together, and we got in the studio, something interesting might happen. we were all tired and got a very late start but still i think we laid the foundation for a piece i hope we can explore together.
applications
http://confluxfestival.org/2009/
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PROJECT NAME (will be displayed on Conflux website)
How to Enjoy Traffic Cones
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LOCATION For the map of ConfluxCity. If moving, please provide starting location. ConfluxCity will not be able to provide space nor allow projects to be located at Conflux HQ.
Starting location: West entrance of Tompkins Square Park (Avenue A
between St. Marks & 9th Street)
Date: Sunday, September 20, 2009
Meet-up times: 11:00am, 2:00pm, 4:00pm, rain or shine.
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PROJECT DESCRIPTION - SHORT (max 35 words)
Traffic cone viewing is as valid and rewarding an aesthetic experience as visiting an art museum. I will lead three hour-long traffic-cone viewing tours and share fundamental principles and methods of traffic
cone appreciation.
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PROJECT DESCRIPTION - LONG (max 200 words)
Traffic cones are almost art. Like paintings, their primary purpose is to be looked at. Every traffic cone is unique, and provides an opportunity to speculate about its story. While manufactured characteristics (such as color, size, material, and angle of cone) vary, more intriguing is the frequently-mysterious placement of the cone. While New York City has an abundance of cones compared to many places in
the world, it is also a rough environment for traffic cones. The wear and tear apparent on most traffic cones invites speculation.
I've been photographic traffic cones for about fifteen years and am committed to fostering traffic cone appreciation. After a brief talk about why traffic cones are important and worthy of attention, and how gratifying I have found the pursuit of traffic cone aesthetics, I will lead a walking tour of select East Village streets, inviting participants to discuss and photograph the traffic cones we encounter.
This project is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs and administered by the Lower Manhattan Cultural Council.
http://www.eriksanner.com/
http://www.eriksanner.com/
http://www.eriksanner.com/
http://www.eriksanner.com/
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LOGISTICAL CONSIDERATIONS Indicate any permits, equipment, participant limits, etc. your project will need. ConfluxCity will not be able to assist with logistics, we will want to see that you have taken your own needs into account.
Participants will need to sign liability waivers. Groups will be limited to ten participants. Everyone will be provided with an orange reflective safety vest (so they will be visible to motorists), and encouraged to remain on sidewalks and cross the street carefully at all times.
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http://www.fluid.localproject.
http://www.eriksanner.com/2009_for_blog/090813_fluid_application.pdf
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Abstract (50 words max.)
Blue and Orange Painting consists of non-linear layered footage of a painting being painted projected onto the completed painting. A ghostly silhouette of the artist working is visible, and the new marks created with the brush appear in the video projection on top of the painted marks on the canvas. Original computer software continually recomposites footage chosen at random points in time. The viewer is constantly exposed to a new composition.
Blue and Orange Painting is an homage to de Kooning, who frequently painted and drew layer upon layer.
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Artist information (50 words max.)
New media artist Erik Sanner has been exhibiting in New York and Tokyo for over a decade. He was recently awarded a Manhattan Community Arts Fund grant for his public art project "How to Enjoy Traffic Cones," which includes traffic cone viewing tours and collaborative artmaking by artists and non-artists alike. Sanner's goal in all his work is to expand the definition of painting by embracing technology.
got a commission
thought i might be uncomfortable making art "for someone" (one of the reasons i make art is to do exactly whatever it is i want to do or think should be done, no compromises) but i wouldn't have pursued it if i didn't want to make the piece and frankly enjoyed both the conception and the work i've done so far - so, excited. video stills (just started):
studio=functional
over the past few days two big finishes.
one: blue and orange painting, have been working on it for a while and wasn't quite sure how to get it where i wanted it to be. here's a still:
two: seems like almost everybody hates moving. if you tell someone you hate moving, they often say "yeah but i really hate moving" as if it's extra hard for them. anyway i figure most of us don't like moving. but once you're settled in - i love having moved! here are some pictures of my new studio. it's multi-functional, i can create and project computer graphics at the same time as i paint, go back and forth between different media... very pleased that i can get the projector closer or farther from the easel depending on how large an area i want to use.
continuing leatherwood chalk
video to come and more details to come. but this is from friday night. (people drawing and tracing people with colored chalk and charcoal in a projection of other people drawing with chalk in a projection of other people tracing people and drawing with chalk.)
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