Siena Palio Banners

Young fellows from the Contrada del Leocorno (Unicorn) and Contrada di Valdimontone (Valley of the Ram), Siena. Image courtesy of LIFE.

While studying abroad in Italy a few years ago, I made my way to the city of Siena on a day trip. One of the signature events the city is known for is Il Palio, a horse race held in the tight confines of the Piazza del Campo. Held twice a year, in July and August, the race divides the medieval walled city into seventeen rival neighborhoods or contrade, each of which are represented by a horse and rider. What caught my eye while I was there were the bold, graphic, colorful banners representing each city ward. These banners have definitely been a source of inspiration for me, and a little bit of that can be seen in an installation piece I did called Streetscape. Continue reading…

Marina Abramović and Art of the Present

Marina Abramović, The Artist Is Present

I’m going to transition from talking about crafting the past into discussing an artist whose work relies completely on the present moment. Last week, for the second week in a row, I found myself at a talk at SCAD Atlanta, this time given by one of the most influential artists of our time, Marina Abramović. Born in Yugoslavia, she was instrumental in helping raise the prominence of performance art, an often ill-understood medium of artistic expression. Her work tends to focus on body endurance and harnessing extreme self-awareness, all the while engaging the viewers in her presence during her performances. Her philosophy holds that art must “lift the human spirit,” but it also “has to be disturbing” in a way to actually resonate with an audience. Performance art depends heavily on how the artist interacts with live, physical space—it is most definitely ephemeral work. Continue reading…

The Modern-Day Court Painter

Andrew Vicari, self-proclaimed “King of Painters. All images are from the BWW Society.

As I discussed in my last post a few days ago, imagery and symbols play an important role in how we remember the past. Going along with that theme and applying it to institutions like governments and organizations, it’s a pretty common occurrence to see the use of imagery as a means to subtly project a level of legitimacy and to tell a preferred story of past events.

An amazing and quirky example comes to mind that I’d like to share: A month ago, I read an interesting article in the New York Times about British artist Andrew Vicari. This man somehow found himself on board a plane destined for oil-spewing Saudi Arabia in the 1970s, where he made a series of connections that landed him the role of court painter to the ruling House of Saud. On the unsteady political ground of the Arabian peninsula, the Saudi royal family looked to Vicari to provide them with large, gradiose paintings that told the story of their rise to power. Over the course of several decades, Vicari wined and dined with royal elite from all over Europe and the Middle East while reeling in obscene amounts of money for, quite frankly, nothing more than cliché-laden amateur work. Continue reading…

The Designer As Cultural Curator

Special Exhibition at the Sackler Museum at Harvard University, 2010

It’s been almost nine months since Furman University sent me packing from its beautiful campus with my big purple diploma into the daunting landscape of “the real world.” I must say, it’s true that an education rooted in the liberal arts seems to make you observe the world closely, to take nothing for granted, and to question everything. All of that certainly didn’t go away when I graduated; however, I seem to have lost a good outlet for expanding on everything I’ve been thinking about. So, finally, after a few ill-fated attempts in the past, I’m really leaping into the blogosphere. Continue reading…