DC -- Renwick Gallery -- Exhibit: No Spectators: Beyond the Renwick:
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Description of Pictures: No Spectators: Beyond the Renwick
In addition to the in-gallery presentation of No Spectators: The Art of Burning Man, the Renwick is expanding beyond its walls for the first time through an outdoor extension of the exhibition entitled No Spectators: Beyond the Renwick, displaying sculptures from Burning Man throughout the surrounding neighborhood in partnership with DC’s Golden Triangle Business Improvement District (BID).
No Spectators: The Art of Burning Man
March 30, 2018 – September 16, 2018
The exhibition will take over the entire Renwick Gallery building, bringing alive the maker culture of Burning Man through artworks, room-sized installations, jewelry, costumes, and ephemera that will transport visitors to the gathering’s famed desert location, the “playa.” Immersive works by individual artists and collectives will highlight the ingenuity and creative spirit of this cultural movement. Photographs and archival documents drawn from the Burning Man Archives at the Nevada Museum of Art and their exhibition City of Dust: The Evolution of Burning Man will trace Burning Man’s growth and its bohemian, counterculture roots.
While photographing, I ran into into artist Kate Raudenbush finishing up her "Future's Past" piece. She showed pictures of how she had been installing it during our recent snow storm. Months later, I also ran into her dismantling her piece. They had planned to keep it up longer but anticipated winter storms pushed the schedule up a bit. Funny how snow storms were involved in both setting up and taking down the piece.
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BURNBE_180327_013.JPG: Jack Champion (based Oakland, CA)
Untitled 2017
In 2016, Jack Champion brought his first solo artwork to the playa at Burning Man: a group of five resin crows collectively called Murder. Champion later cast this pair of sturdier, oversized bronze birds in the image of the originals.
Observe how the vastness of the desert landscape at Burning Man has a tendency to fool the eye, Champion began making the crows to play with perspective. The birds appear small from afar, but then overwhelm viewers with their unexpected scale up close. Crows play a meaningful role in Champion's life: his grandmother kept a pet crow when he was five, and later at Burning Man, an uncanny encounter with the creatures in the desert spurred the creation of this series. He still feeds the crows outside his house in Oakland.
The placement of these outdoor sculptures and related programming are made possible by the Golden Triangle Business Improvement District in collaboration with the Renwick Gallery of the Smithsonian American Art Museum. Support is provided by Lyft.
#NoSpectators #GoldenTriangleDC GoldenTriangleDC.com
BURNBE_180327_099.JPG: Laura Kimpton with Jeff Schombert (based San Francisco, CA)
XOXO 2017
steel & LEDs
Kimpton is best known for her monumental word sculptures, which she has been bringing to Burning Man since 2009. Kimpton often covers these works with laser-cut birds, a motif she uses to represent freedom from the weight of our words and thoughts. In addition to conveying this universal message, the sculptures have an intimate dimension for Kimpton, who confronts personal issues in her work ranging from her severe dyslexia to the death of her father, the hotelier Bill Kimpton, in 2002. The artist's works have earned her six Burning Man Honorarium Grants, solo exhibitions in New York, Los Angeles, and San Francisco, and commissions and permanent installations in cities around the world.
Artist Laura Kimpton works primarily in painting, mixed-media installation, and sculpture. She received a B.A. in Art Education from the University of Iowa in 1986, a B.F.A. from the San Francisco Art Institute in 1989, and a M.A. in Psychology from the University of San Francisco in 1994. In her work, Kimpton draws from this multifaceted background to question traditional views on social interaction and search for revelatory forms of communication.
The placement of these outdoor sculptures and related programming are made possible by the Golden Triangle Business Improvement District in collaboration with the Renwick Gallery of the Smithsonian American Art Museum. Support is provided by Lyft.
#NoSpectators #GoldenTriangleDC GoldenTriangleDC.com
BURNBE_180327_113.JPG: Mr. and Mrs. Ferguson (based in San Francisco, CA)
Ursa Major 2016
pennies, steel, Styrofoam, and concrete
Mr. and Mrs. Ferguson met on a dance floor at Burning Man in 2008 and fell in love. Though she lived in Canada and he in the U.S., they began a long-distance romance and artistic collaboration, inspired by the DIY, can-do attitude fundamental to Burning Man. The couple was married at Burning Man in 2011 and Lisa moved to California in 2013.
In their working relationship, Lisa, a filmmaker, develops a concept for a piece while Robert, a welder, determines how to execute it. Their work with pennies began in 2013 as the Canadian government began phasing out the coin. The durability and metaphor of the penny appealed to Lisa, as did its metaphorical connection to her journey, so she designed Penny the Goose, a Canada goose made of Canadian and U.S. coins. The Fergusons, with the help of friends, went on to create the much larger, penny-covered grizzly bears Ursa Major (2016) and Ursa Mater (2017). Ursa Major integrates 170,000 pennies and takes its name from the constellation, inviting those standing below the sculpture to look up at the night sky. The tactility, whimsicality, and absurdity of these painstakingly constructed sculptures have inspired a sense of awe and delight in Burning Man attendees of all ages.
The placement of these outdoor sculptures and related programming are made possible by the Golden Triangle Business Improvement District in collaboration with the Renwick Gallery of the Smithsonian American Art Museum. Support is provided by Lyft.
#NoSpectators #GoldenTriangleDC GoldenTriangleDC.com
BURNBE_180327_151.JPG: Kate Raudenbusch (based New York, NY)
Future's Past 2010
laser cut steel, light, and hourglass
Kate Raudenbush is a self-taught, Burning Man-bred sculptor, known for her large-scale, geometric works. Her immersive, experiential environments are spaces for exploration, human connection, and intellectual curiosity -- even sacred -- works serve as allegories for social and environmental concerns.
Visitors to Raudenbush's Future's Past encounter a temple to technology, abandoned and consumed by nature. Referencing both the roots of trees and computer circuitry, this modern ruin is a meditation on technology and the environment's vital role in our survival. The black pyramid evokes a Mayan temple, an homage to a collapsed culture and a reminder of the frailty of our own, while the tree alludes to the vegetation around Angkor temples and the sacred Bodhi, the fig tree under which Buddha found enlightenment. An hourglass inside the altar signals the urgency of our current technological evolution.
The placement of these outdoor sculptures and related programming are made possible by the Golden Triangle Business Improvement District in collaboration with the Renwick Gallery of the Smithsonian American Art Museum. Support is provided by Lyft.
#NoSpectators #GoldenTriangleDC GoldenTriangleDC.com
BURNBE_180327_205.JPG: Kate Raudenbush
BURNBE_180327_342.JPG: Mischell Riley (based in Carson City, NV)
Maya's Mind 2017
cement
Mischell Riley brought Maya's Mind to Burning Man in 2017; this work followed a ten-foot-tall bust of Leonardo da Vinci that she created for the event in 2016. With their rugged finishes, Riley's works blend with the dusty surrounds of Burning Man and have the patina of ancient ruins.
As a professional sculptor for more than three decades, Riley has received numerous public and private commissions for portrayals of wildlife, notable Americans, and people in profound circumstances. She is adept at capturing the emotional spirit of her subjects. Maya's Mind is the first in a series of monuments -- soon to include Jane Goodall and Amelia Earhart -- aimed at increasing the representation of women of all races and religions in public sculpture. The sculpture features a cast twenty-foot bust of the late Maya Angelou set on a stack of books. Adding a layer of sensory experience, the artist added an audio component that recites excerpts from Angelou's poem, Still I Rise, at the push of a button.
The placement of these outdoor sculptures and related programming are made possible by the Golden Triangle Business Improvement District in collaboration with the Renwick Gallery of the Smithsonian American Art Museum. Support is provided by Lyft.
#NoSpectators #GoldenTriangleDC GoldenTriangleDC.com
BURNBE_180327_366.JPG: Maya's Mind
Artist: Mischell Riley
Maya's Mind is a twenty foot tall by nine foot wide sculpture of Maya Angelou, great African American poet, singer, activist. This sculpture is a large bust that is mounted on three stacked books creating steps that you can climb up and into Maya's Mind to hear her recite her poem "Still I Rise". Her voice is unique and powerful, adding a dimension and presence in the sculpture that evokes a sort of reverence. At the top of her head bangs an empty birdcage that has no bottom in honor of her famous book "I Know Why the Caged Bird Sings". Her head wrap turns into birds taking flight symbolizing her poem "Still I Rise". Walking up into the back of the open head area will be a written page saying "Rise".
I have chosen Maya Angelou for the purpose of promoting women in history. I think women are underrepresented in historical sculptures and monuments. Most of all my nine life size bronze government grants were for men, by men, about men and nothing representing women. For my next pieces, I will be sculpting Jane Goodall, Amelia Earhart, and Camille Claudel. When young women go to parks and public places they will have someone to aspire to. Women of strength and power. Women who challenge us to take greater steps in our own lives. Working through their foundations with smaller sculptures, I want to raise funds for scholarships for women in arts and science. I want to help the next generation of women of every race, religion and nationality to lead us all. Women represent half the planet and I want them to have a voice in history through the Arts.
Participate in the cause
www.bronzebymischell.com
Used with permission of Caged Bird Legacy, LLC
BURNBE_180329_021.JPG: Maya's Mind
Artist: Mischell Riley
Maya's Mind is a twenty foot tall by nine foot wide sculpture of Maya Angelou, great African American poet, singer, activist. This sculpture is a large bust that is mounted on three stacked books creating steps that you can climb up and into Maya's Mind to hear her recite her poem "Still I Rise". Her voice is unique and powerful, adding a dimension and presence in the sculpture that evokes a sort of reverence. At the top of her head bangs an empty birdcage that has no bottom in honor of her famous book "I Know Why the Caged Bird Sings". Her head wrap turns into birds taking flight symbolizing her poem "Still I Rise". Walking up into the back of the open head area will be a written page saying "Rise".
I have chosen Maya Angelou for the purpose of promoting women in history. I think women are underrepresented in historical sculptures and monuments. Most of all my nine life size bronze government grants were for men, by men, about men and nothing representing women. For my next pieces, I will be sculpting Jane Goodall, Amelia Earhart, and Camille Claudel. When young women go to parks and public places they will have someone to aspire to. Women of strength and power. Women who challenge us to take greater steps in our own lives. Working through their foundations with smaller sculptures, I want to raise funds for scholarships for women in arts and science. I want to help the next generation of women of every race, religion and nationality to lead us all. Women represent half the planet and I want them to have a voice in history through the Arts.
Participate in the cause
www.bronzebymischell.com
Used with permission of Caged Bird Legacy, LLC
BURNBE_180329_032.JPG: No Spectators: Beyond the Renwick
Hybycozo (Yelena Filipchuk and Serge Beaulieu)
Golden Spike, 2015
In their work, Yelena Filipchuk and Serge Beaulieu, the artist duo behind art and design studio HYBYCOZO, investigate the influences of mathematics and geometry in the history of artwork, and human evolution, as well as the interconnections among contemporary physics, biological patterns, and ancient craft. Using advanced manufacturing and prototyping technology, their works generate tension between hard geometric surfaces and soft interior illumination, promoting a sense of contemplation and awe of the inherent beauty of universal forms.
In 2014, the duo brought their first collaborative installation, Hyperspace Bypass Construction Zone (HYBYCOZO), to playa -- three steel polyhedral sculptures that, by day appear solid and, at night, cast otherworldly patterns of light and shadow on the surrounding earth. Soon after, they took the name HYBYCOZO for their continued collaboration, focusing on installations that reflect patterns drawn from mathematics, science, nature, and culture.
The moniker comes from Douglas Adams's classic sci-fi novel, The Hitchhiker's Guide to the Galaxy, for which the artists share an affinity, and the titles of several subsequent works by the pair are drawn from that same source.
BURNBE_181130_12.JPG: Kate Raudenbush
BURNBE_181224_01.JPG: By this point, 4 of the 6 outdoor sculptures had been removed
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Description of Subject Matter: No Spectators: The Art of Burning Man
March 30, 2018 – January 21, 2019
The exhibition takes over the entire Renwick Gallery building, bringing alive the maker culture of Burning Man through artworks, room-sized installations, jewelry, costumes, and ephemera that will transport visitors to the gathering’s famed desert location, the “playa.” Immersive works by individual artists and collectives highlight the ingenuity and creative spirit of this cultural movement. Photographs and archival documents drawn from the Burning Man Archives at the Nevada Museum of Art and their exhibition City of Dust: The Evolution of Burning Man will trace Burning Man’s growth and its bohemian, counterculture roots.
PLEASE NOTE: THE EXHIBITION WILL CLOSE IN TWO PHASES
The first floor galleries will be open through September 16, 2018. This includes works by Candy Chang, Marco Cochrane, Duane Flatmo, Michael Garlington and Natalia Bertotti, Five Ton Crane Arts Collective, Scott Froschauer, Android Jones, and Richard Wilks.
The second floor galleries will be open through January 21, 2019. This includes works by David Best, FoldHaus Art Collective, Aaron Taylor Kuffner, HYBYCOZO (Yelena Filipchuk and Serge Beaulieu), Christopher Schardt, and Leo Villareal.
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and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
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Raudenbush, Kate appears on:
2018_DC_InclusionPM_180914 Reynolds Center (SAAM) -- Symposium: Radical Inclusion and Tales from the Playa: Talks on Art, Inspiration, and the History of Burning Man -- (2 of 2) Afternoon Sessions
2018_DC_InclusionAM_180914 Reynolds Center (SAAM) -- Symposium: Radical Inclusion and Tales from the Playa: Talks on Art, Inspiration, and the History of Burning Man -- (1 of 2) Morning Sessions
2018 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000.
Trips this year:
Civil War Trust conferences in Greenville, NC, Newport News, VA, and my farewell event with them in Chicago, IL (via sites in Louisville, KY, St. Louis, MO, and Toledo, OH),
three trips to New York City (including New York Comic-Con), and
my 13th consecutive trip to San Diego Comic-Con (including sites in Reno, Sacramento, San Francisco, and Los Angeles).
Number of photos taken this year: about 535,000.
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