All that ukulele playing finally paid off when I went to the Ukulele Rebellion last weekend after my clay class at Sharon Arts Center. So good.
I have some thinky blog posts coming, just haven’t had the time to write them down, they’re just in my head.
At a YBCA event last night I learned about the work of Capacitor, a bay area dance-circus group, showing this crazy piece with four dancers in a kind of cage, but with the sides made of an amazing stretchy rubber, like if a net had a baby with a trampoline. It was quite something! Their underwater highlight reel is here, but not quite the amazingness of the stretchy cage piece.
At the same event, I learned about Kote Ezawa’s work, another Bay Area artist who teaches at CCA, whose best known work is an animation of the verdict of the OJ Trial. Ezawa was born in Germany, came to San Francisco to attend the Art Institute, and decided to stay. I liked this: “At the Art Institute, I always asked the security guards for their opinions. Security guards in museums and art schools often have an incredible knowledge of, and affinity with, art because they spend so much time looking at it. The artist Robert Ryman is just one of many well-known artists who started out as a guard. The best person you can have a conversation about art with is ‘the passerby.’ I like when people happen upon art, in contrast to the dedicated art audience that is looking for art.”
“It’s like, how much more black could this be? …and the answer is none. None more black.” — Nigel Tufnel, This is Spinal Tap
I was astonished that no one at my office had heard of Ron Popeil. I was extolling his virtues as a product designer.