Podcasts about Op art

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What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Jennifer exhibits all over the country. She's been an active member of SNAG, the Society of North American Goldsmiths. She is also a member of other major jewelry organizations. Jennifer is going to tell us all about why she has chosen this route and her process in general. Jennifer, welcome to the program. Jennifer: Thank you so much for having me, Sharon. Sharon: I'm glad to have you. Why did you start working with acrylics? Jennifer: I actually started working with acrylic while I was still in college at the Savannah College of Art and Design studying metalsmithing and jewelry. Our professor gave us little chunks of acrylic one day, probably with the thought of using it for die forms. But I decided, “Hey, you can cut and sculpt this very similarly to working with waxes for lost wax casting.” I liked the immediacy of the acrylic, that once you carved it and sculpted it and polished it, it was a finished piece. It had a lot of really cool optical properties. So, I always kept it on the back burner as an interesting material. Then when I graduated from college and I moved back to my hometown of Minneapolis, I didn't have the tools and equipment to keep working with metal. So, I kind of fell into, “Hey, there was that acrylic I worked with a couple of times in school. It was very interesting. Let's see what we can do with that,” because it was cheap, and I could cut it with simple tools. I started experimenting with it from there. Sharon: And you make all sorts of jewelry with it. Do you know when you start out that you'll be making a necklace or a bracelet with the pieces you have, or do they talk to you as you put them together? Jennifer: I make pieces both ways. Sometimes I'll design a piece very specifically and have an idea and a picture in my mind of what I'm making. But then there's other times, especially when I'm working with the scraps that are left over from pieces that I've made in the past. A lot of those scraps are still very interesting, and they'll be in weird shapes. Those will speak to me, and I'll create something new and different with some of those. I kind of work both ways. Sharon: I know you're in a lot of stores and galleries. Do stores tell you what to do, or do you just say, “Here it is, do you like it”? Jennifer: I'm more of a, “Here's what I've been making. Let me know which ones you like.” I think sometimes it's important to follow your own inspirations. People tend to be drawn to the things that I'm most excited to make. That being said, some galleries have different clientele bases with different price points, so they'll tell me, “Hey, these pieces were working really well.” I'll take some feedback. But ultimately, I focus on making the things that I'm drawn to. Sharon: Do you have a studio inside your home or do you have a place that you go? Jennifer: For years I did have a studio outside of my home that I really loved, but a few years ago my husband and I bought a home, and I decided to move my jewelry practice into my home. So, now I work from home. But who knows, maybe in the future I'll expand a little bit and have another space in addition outside the home. It can be kind of a challenge working at home sometimes, but I've done both. I like working both ways, so we'll see what the future has for me. Sharon: Do you have assistants who work with you? Jennifer: I've had assistants in the past. I don't anymore. I scaled my business way back during COVID and took a breather to reevaluate what I'm doing and where my motivations are. I'm only just beginning to build it back. At this point, I don't work with anyone, but hopefully in the future I can find someone to help out with some of the production. It's a little challenging to find an assistant because my process is very unique. It's not something that people know how to do, so there's a lot of training involved. When I do work with people, it takes quite a while to get somebody that can help finish pieces to the quality standards that my galleries and clients expect. Sharon: When you were reevaluating things, what did you decide? Did your method change during COVID? Jennifer: I think things just slowed way down during COVID. 2020, honestly, it was going to be my year. I had a couple of really big events planned, one of which I got to do because it was in February, but the rest all moved online. There was such a lull in events and things to participate in. I had started questioning what my motivations are, because you really have to love what you're doing in order to be an artist as a profession. We had bought a house and were settling in. I've just been taking the last few years to figure out life so I can bring my A-game to my business again. Sharon: Did you stop production because you were doing it yourself during COVID? Jennifer: I did slow way down on production. If I had a client that was interested in something, or if I had an online event or that kind of thing, that would motivate me to produce some new pieces. But there were just fewer things going on to spark that creation. I have a harder time making things just because. I like to have an outside influence, like a show that's coming up or events that are going to happen and people are going to see my pieces. When I don't know when those things are going on, I have a little bit of a harder time. I think that is why during COVID, everything slowed down for me especially. But it also gave me a lot of time to think about what I want out of my business and where I want to go. And in May, I'll be launching my first web shop where you can actually buy my pieces directly from me. Sharon: Wow. I know that's a Herculean task. Jennifer: For me personally, the web shop is an extra big step because all of my pieces, even my production work, is one of a kind because of the images I'm using within my jewelry. They're all found images from art books and other sources. So, even if it's the same shape, like the marquee hoop earring, no two are going to be the exact same. So, every time I list a piece online for sale, I have to photograph each and every single one of them. It's taken a long time to get some of those things down where I could do it quickly enough and efficiently enough to be able to post all of these pieces with the right listings. It's a lot more work than having a design where you can put a picture of it and sell 25 of them. It's been a daunting thing to tackle. Sharon: Did you have to wait until you were efficient at photographing and making them so you could just churn them out? Jennifer: My work is very difficult to photograph because it is clear and transparent from some angles, and then it's bright and colorful from others. It's also very reflective. So, trying to photograph it cleanly and communicate the piece in a single image is very difficult. My work tends to resonate more from multiple angles. It has taken years to figure out the best way to represent these pieces in an image or two. Sharon: The online shop, do you think it's your most valuable social media outlet? Is there one? What do you think that is? Jennifer: For me, I'm not huge on social media. Instagram, I think, is the most fun. It's very image forward, which is something I really enjoy. Definitely, as I launch my website, I will be on social media a lot more to market. I think up until now I've mostly worked with galleries and shops or done specific events, so I haven't cultivated my online audience as much. I'm excited to explore that new chapter and get more into it and see what I can do from my home. That way in the future, when something happens where in-person events may not be happening as much, I can still have a connection to my audience. I've been getting asked for years, “Where can I find your pieces?” Because everything is one of a kind, if it's at a gallery in California, someone in Georgia is going to have a hard time getting their hands on it. I think it'll be really nice having my own shop so that people can have one destination to go, as well as all of the others, to be able to have that access. Sharon: How did you start getting galleries and stores interested in you? Jennifer: I have been contacted by most of the places that I work with. Earlier in my career, I did a lot more events and shows and I was able to meet gallery owners. Also, early on in my career, I met some of the people that work for the American Craft Council, which is based in Minneapolis. When they saw a local Minneapolis artist at a show in Chicago and met me and thought my work was cool, they were like, “You're in our city. Let's invite her to some events.” They really took me under their wing and wrote about my work and got me out there. I got a lot of contacts just from people seeing the articles that they had posted. For me, it's been a lot of just doing what I do, and because my work is so unique and different, people that it resonates with will remember and contact me, like, “Hey, we've never seen anything like this. Let's try it out at our gallery.” I've been very fortunate in that way, where I haven't really had to go out on my own, cold calling and trying to get appointments and that sort of thing. I just try to make really interesting work, get it out there as much as I can, and then hope that it snowballs from there. So far, that's been working for me. Sharon: Wow. I think it's great that you didn't have to cold call and that people were interested in your stuff, which is very unusual. I don't know anybody who does anything like that. So, you're very lucky. Jennifer: I'm very lucky that it worked out for me because I can be a little socially awkward with the cold calling and things like that. That was never my favorite part of the business. I am fortunate that my work speaks for itself. It's kind of a love it or hate it thing, which can be its own challenge, but it's definitely unique enough where when people see it, if they're interested, they will hunt me down and ask me about it. That's been very nice. Sharon: If an outlet wants more than one, maybe they want five bracelets, do you tell them right away that you can make the five bracelets, but they'll all have different graphics? Jennifer: Yeah. I did a couple wholesale shows a while ago where it was that challenge of, “Well, here's a design, but they're all going to be different, and you're not really going to know until you get them.” I think most people that are interested in my work like that one-of-a-kind nature of it. That's part of the interest, so they trust me. If they get pieces that maybe that imagery doesn't speak to them or their clientele, we'll talk about it and I can swap it out, get them some prints and patterns that they like better. It's kind of a back-and-forth process. And the longer I work with a gallery or a person, the more I get to know what works there. Then I can tailor my offerings to them for what works. Sharon: Where do you find your images and the pictures that you put in your jewelry? Jennifer: When I first started, I was using magazines because they were readily available, fairly inexpensive, and that's how I started this whole process of layered acrylic. But the paper in those is not very good quality and the pictures fade. It's also a challenge to find enough usable content. So, then I started purchasing art books. I would become interested in a specific artist and start collecting books about their work, and those books always had a lot of really amazing images. They're printed on really nice paper with good quality inks, and they're much more successful layering than magazines. Now I exclusively use books. I've become somewhat of a rare and vintage book collector. It's a really fun part of my job, hunting down these different books, figuring out artists that inspire me to start collecting things about their work and then finding really cool images. If there's a particular book that has a lot of really great images that I like, I will start looking for other copies of it. There are certain books about Roy Lichtenstein's work. There's one about posters that has a catalog in the back with all these smaller thumbnail images, and they're so great for making earrings, things like that. I must've bought that book like 10 times. So, that's where I get my images. It's all purchased materials like books that I then rip up and cut up and put in between the acrylic. Sharon: Well, you answered the question. I was going to ask you if you cut the books up or what you do. You also mentioned that magazines got you going with layered acrylic. Can you tell us about that? Jennifer: When I was younger, I subscribed to all kinds of fashion magazines and fun things, and I would keep them after reading them. I had shelves and shelves of magazines. When I first started working with acrylic, I had this idea that acrylic has pretty cool visual properties, optical properties, and when you put images underneath it, it looks so interesting. That's when I started going through my fashion magazines, lots of issues of Vogue. I would see cool prints on dresses and things like that, and I would rip those pages out and try to fit the prints and things that were in there within my jewelry designs. That's how I got started with the whole thing. It was just cheap materials I already had. Sharon: What are your sales policies? Do you accept returns? If I'm a client and you give me something and I say, “No, that's not what I want,” do you accept returns? What do you do? Jennifer: Yeah, I do accept returns. I think it depends. If it's a piece that already existed and they buy it and it just didn't work out, or it doesn't fit quite right or it wasn't what they were expecting, absolutely. It becomes a little more of a gray area when it's a custom piece, when someone wants specific imagery and this and that. That tends to be a little more delicate. That being said, I want people to keep my jewelry because they love it, not because they're trapped. So, even a custom order, if it doesn't come out quite as they were expecting, I try to work with people to either make it right or try something new. Some of the events that I do, it's a museum show where they're handling the sales and they're getting a commission, I'm getting a commission from the sale. Even though I'm selling to the customer directly, because it goes through the museum, usually it's an all-sales-are-final type situation, just because of the nature of the commissions and if they've already paid me and then the person changes their mind. It depends on the venue through which I'm selling the work. I would say most times, yes, returns are acceptable within a certain time frame, but there are certain instances where they are final sale. But even in that situation—I had a client come a couple of years later to a show, and she had this ring. I decided, “You know what? It's a really cool ring. Let's swap it out.” She wanted a pendant. I like to be a little flexible. Like I said, I want people to have my jewelry because they love it, not because they're forced to keep it. Sharon: I'm curious; in your studio, do you have pets that keep you company? Jennifer: I do. I've got a dog and a cat. My cat, Shackleton, likes to work with me. I have two workspaces in my home. Downstairs is the shop, the studio, and then upstairs I have an office where I do the bonding and the image gathering and looking through layouts. The cat, Shackleton, likes to hang out upstairs in the office and sit on all my papers and be in the way, but be very cute. Then my dog, her name's Sophia. She tends to stay out of the studio because it's loud and dusty. She'll come in the office and hang out, too, sometimes. But I don't know. She kind of does her own thing. She lets me work. Sharon: Well, it sounds like nice company. Do you make more than one piece at a time? All the pieces and extras, let's say, do you put them in a closet and then pull them out if somebody wants them? What do you do? Jennifer: I definitely always have some inventory on hand. I think as far as when I'm making pieces, as I was saying earlier, I tend to make when I have an event or I'm preparing for something coming up. Then I'll usually go above and beyond and make extra just to have. Also, because my pieces are one of a kind and the imagery is different on each earring, each ring, each bracelet, I will make more than I know I'm going to need or sell at a specific time, mostly to have options for my clients, because all the pieces are different and have different images. You never know what someone's going to be drawn to. It's especially difficult with things that have a size, like a ring or a bracelet. Then I make tons of them because you have to have lots of options. With those kinds of things, I'll take a lot more custom orders because someone will see something in person that they love, but it's not their size. I do my best to recreate things for people. I don't generally remake things with the exact same images because usually it's impossible, but I will do my best to get something with a similar aesthetic or feeling for people. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

We're diving into the hypnotising world of Op Art, shining a spotlight on the remarkable contributions of a woman artist arguably overlooked in traditional modern art narratives – Bridget Riley. Riley is such an important artists and her print market is truly fascinating given that each of her collections was produced in relatively small edition numbers making them rare finds, more affordable finds and in my opinion slightly undervalued given her important contributions to art history. Introducing our guest expert, Jasper Tordoff. Jasper is our sales specialist at MyArtBroker, whose expertise in Riley's market is unparalleled.

On this day in 1966, the Scott Paper Company launched a promotion for disposable paper dresses. See omnystudio.com/listener for privacy information.

This month's guest is French artist Malika Favre.And even though she speaks perfect English, we hesitated and finally decided to do the interview in French. Because it's her mother tongue — and so that her mother, Ouisa, could actually listen to one of her daughter's podcasts for once ! So I thought it would be nice to add a bonus in English for non French speakers, with a quick recap of our conversation.• You might not know Malika Favre's name — but you have most likely come across her illustration work over the internet, billboards, books and/or magazines.Famous for her Pop Art meets Op Art bold style, she has already done a dozen of covers for The New Yorker — the ultimate goal for all illustration artists — ; the poster of the 2017 edition of the Montreux Jazz Festival — the ultimate goal for all jazz fans — ; dozens of covers for Penguin Books, editorial work for Vogue, and even 2 art books published by Counterprint.  • • We addressed many subjects including: starting a career as an artist; why and how to choose your agent(s); copycats; building a reputation; building a community; collaborating with cool people and great brands; workload and time-management.• What's next?Never stop drawing.Make more objects. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Victor Vasarely was a Hungarian-French artist known for his innovative style and contributions to the Op Art movement. One of Vasarely's most famous works is "Zebra," created in 1937. This painting showcases his ability to create optical illusions through the use of black and white stripes. When viewed from a distance, the stripes appear to vibrate and create a sense of movement. This technique, known as the "Vasarely effect," became a hallmark of his style. The Zebra painting is considered to be the first Op Art painting. Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When we design beautiful spaces for our clients, we want the art on the wall to not only fit well in the space but also enhance it. I'm talking with Founder and Lead Curator of JFiN Collective Jennifer Findley about the importance of art and how to navigate the art collecting world as a designer, even if you've never done it before and find it intimidating. An advisor like Jennifer can help you find and purchase the right piece that will take a space to the next level–and still fit in your client's budget!Jennifer will be part of the upcoming Gallery Talk we're doing with the Design Coven on July 28 at 5 PM PT at Madison Gallery. Jennifer, along with Madison Gallery's Owner/Founder Lorna York and Principal Art Dealer Rebecca Hiller (our guest in episode 119), will go through all the details of what it's like to work with them and how you can help your clients embark on their art collecting journeys.About JenniferJennifer is an art advisor and the founder of the JFiN Collective, as well as an avid Op-Art collector. At the JFiN Collective, she provides art advisory and consulting services and helps established and emerging collectors develop, create, and maintain curated collections whether it be for investment, pleasure, or both. She mainly works with collectors interested in establishing institutional-level collections focused on Post-War Abstraction and cutting-edge Contemporary Art. She has a particular expertise in Op, Kinetic, Constructivist, and Hard-Edge Art from the 60s to the present.Through her access and connections, her clients have an open door and ‘first choice' to the premier galleries, artists, and auction houses around the world—art that is not available to the general-public. Along with private and corporate collectors, she regularly consults with museums, curators, and galleries on artists, acquisitions and sales. Last year, she was invited to present in San Diego Design Week on finding inspiration for a collection and integrating art and design and was featured in Modern Luxury as “the curator to know” and a “Power Player” in the San Diego art scene.Featured in this episodeFeatured deck: Radiant Crystal CardsConnect with JenniferWebsiteInstagramAre you an interior designer or are you interested in Holistic Interior Design? Check out my membership program, the Design Coven! This program is a real-world industry mentorship for Holistic Interior Designers that has everything you won't find in traditional design school curriculum. You'll learn from practicing interior designers working on real life projects, and get access to cutting edge vendors, suppliers, furniture makers, textile designers, and design resources that I've curated over my 17 years of design experience. As a member, you'll have the opportunity to build valuable relationships of your own. Learn more.Connect with Rachel LarraineWebsiteInstagram

What Are Surrealism, Pop Art, and Op Art? Join us today as we learn about these styles of art. Sources: https://www.britannica.com/art/Surrealism  https://www.britannica.com/art/Pop-art  https://www.history.com/news/andy-warhol-1962-soup-can-paintings-meaning-reaction  https://www.theartstory.org/artist/riley-bridget/  https://www.britannica.com/art/Op-art  Send us listener mail!  Send an audio message: anchor.fm/inquisikids-daily/message  Send an email: podcast@inquisikids.com 

Op Art Antwerp zie je opkomend kunsttalent naast gevestigde waardes. Met galeries uit 11 verschillende landen heeft de beurs een internationaal karakter. Maar ook de lokale kunstscene is sterk vertegenwoordigd, met 15 in Antwerpen gevestigde galeries. Er is werk van zo'n 300 kunstenaars te ontdekken. Chantal Pattyn gidst je door het aanbod en praat met kunstenaars, galeriehouders en bezoekers.

Today on the Tales of a Red Clay Rambler Podcast I talk with Jackie Head. She creates Neo-Op Art installations that manipulate space through the interplay of color and undulating pattern. She recently finished a mixed media installation at the Indianapolis airport that stretched fourteen hundred feet and was made with 350,000 colored plastic cups. In our interview we talk about her public art pieces, developing specific glaze colors for her ceramic tile, and directing a team to accomplish a complicated install. To see examples of her work, visit www.jackiehead.com. Today's episode is brought to you by the following sponsors:   For the past 100 years, AMACO Brent has been creating ceramic supplies for our community ranging from underglazes to electric kilns, and they have no plans of slowing down. www.amaco.com   Do you have a story to tell about the history of the Archie Bray Foundation or your experience at The Bray? We are collecting stories for an upcoming podcast and our 75th anniversary. Call the new Bray Story Line and leave your story at (774) 500-BRAY (2729).

Time Magazine coined the term Op Art in 1964. The article was about a show called Optical Paintings by the artist, Julian Stanczak. Of course, the term Op Art is used to refer to abstract, non-objective art that creates optical illusions. Commonly the illusions might be a suggestion of movement, vibrant effects of contrasting colors, hidden images, after images or creating an appearance a surface bubbling out, going deeper into space or warping in some other manner. Art Smart is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.ArtSmartPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Artmatcher podcast, Morgan Echols speaks with Michael Goodman about her process. She describes how her precise paintings are created, and how she brings her visions to life through different mediums and tools.About Morgan EcholsMorgan Echols was born and raised in Huntsville Alabama. She has a degree in psychology from the University of Alabama, and no formal art training. She is self taught through trial and error. She strives to create work that reflects balance and symmetry in both design and color. And part of her process has been sharing what she has learned through social media, to inspire and aid in the pursuits of other artists. She paints in the style of “hard-edge” painting, and much of her work can be categorized as Op-Art, which plays tricks on the mind through illusions. She uses heavy body acrylic paints on canvas.Recommended LinksMorgan Echols' webisteMorgan Echols on TikTokMorgan Echols on Instragram

Sat, 02 Apr 2022 04:15:18 +0000 https://leckerkunst.podigee.io/14-carmen-herrera 4f612188aec066e78e115111fe71081a Lecker KUNST :leicht verständlich Eine Vision, Disziplin & künstlerische Phantasie lies eine Frau an Ihre Kunst glauben. Am Ende stirbt sie gefeiert mit 106 Jahren als international anerkannte Künstlerin. Wie dieser Kubanerin mit 89 Jahren in Deutschland der Durchbruch gelang erfährst du in dieser neuen Episode. Höre rein in das Leben der Carmen Herrera geboren 1915 in Havanna, Kuba und verstorben 2022 in New York City, NY. Mehr erfährst du unter: https://www.mino-art.de/ https://www.youtube.com/watch?v=_weHmiEXlFc full Lecker KUNST :leicht verständlich no Carmen Herrera,mino-art,mino,Museum Pfalzgalerie,Moderne Kunst,Lecker Kunst,Op ARt,abstrakte Geometrie,Kunst,Kunst Podcast,Michael Nolte Michael Nolte und Florian Wessels

Negli anni '60 il termine "Op-Art" cattura l'immaginazione del grande pubblico, diventando parte degli "swinging anni sessanta" L'articolo Bridget Riley | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Negli anni '60 il termine "Op-Art" cattura l'immaginazione del grande pubblico, diventando parte degli "swinging anni sessanta" L'articolo Bridget Riley | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Willkommen bei Die Sucht zu SEHEN, dem Podcast des Berliner Kunst- und Auktionshauses Grisebach. Alle zwei Wochen sprechen wir hier mit Künstler*innen und allen anderen, die etwas in der Kunst – oder über sie – zu sagen haben. Ab dieser Woche kann man bei Grisebach das besichtigen, was ab dem 2. bis zum 4. Dezember 2020 versteigert wird. Darunter befinden sich zwei außerordentlich schöne Sammlungen, und so haben wir diese Folge dem Thema Sammler*innen gewidmet. Gleich zwei von ihnen sind diese Woche zu Gast. Der erste ist der Kunsthändler Thomas von Salis. Er und seine Frau Raffaela versteigern Werke von Karin Kneffel, Sol LeWitt oder Alexander Calder. Unter den Hammer kommt auch die Sammlung von Mario Calábria, der brasilianischer Botschafter in Ost-Berlin und ein großer Freund und Kenner der Op-Art war. Was sie denn eigentlich unterscheidet von Menschen, die einfach gerne Kunst kaufen, warum sie sich von ihren Werken trennen und was sie niemals weggeben würden: Das erzählen Thomas von Salis und Vera Calabria in der 13. Folge von: Die Sucht zu SEHEN.

¿Qué tenemos frente a nosotros?¿Cómo se materializan las manifestaciones contemporáneas? El día de hoy hablaremos del arte en movimiento y de dos movimientos, cimientos en el arte contemporáneo.

Autor: Probst, Carsten Sendung: Kultur heute Hören bis: 19.01.2038 04:14

Graffiti, and Street Art for that matter, have been analyzed so much over the past few decades for both its content and social impact as both vandalism at times, and now, for the most part, as the seeds for urban development. Whether 6-story figurative murals or a tag caught on a rolldown, art made on the streets as many different roles to play and stories to tell. But when it comes to the work of Valencia, Spain-based artist, Felipe Pantone, there is something else happening. There is a combination of analyzing and intersecting our digital lives with the spaces we live in and around. From works in public that look like gigantic digital glitches to his paintings and interactive sculptures that almost align more with Op Art than they do with traditional street and graffiti art, Pantone is a bit of an enigma in the contemporary art world. Fresh off this newest solo show, BIG TIME DATA, on view at RGR in Mexico City, Radio Juxtapoz co-host, Doug Gillen, made his way to Spain to catch with Pantone to break down the state of work and the ideas behind "big data." What Pantone shares with Radio Juxtapoz is the idea that more and more galleries and curators should invest more in artist's with concepts than an over emphasis on refined figuration. An artist with an experimental passion and now an internationally recognized star, we are excited to share this conversation with Felipe Pantone. The Radio Juxtapoz podcast is hosted by Fifth Wall TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 037 was recorded live in Valencia, Spain, February 13, 2020.

Recorded live in Op Art - Lisbon with Siopis Apr.2012MAGILLIAN,Soul Surfer, Surfing Coach, Yoga Aficionado, Healthy Food Cook Apprentice, long time DJ now retired. Aspiring and amateur producer with original music and remixes released on institutions such as Bush Records, Baroque Records, King Street Sounds, Kult Records, Hush Recordz, Monique Musique, Musica Gourmet, Nite Grooves, or Go Deeva Records.Multifaceted artist floating around the emotional spectrum from Deep House to Techno that also loves music to tune out the chaos and focus on meditation or daily yoga practice.

"Vertigo": Kunstmuseum Stuttgart, bis 19. April 2020. "Lachen": Utopische Alltagspraktiken im Taxispalais Kunsthalle Tirol, bis 15. März. "You-Know-Who": Begegnungen mit Berühmtheiten im Kunstpalais Erlangen, bis 09. Februar.

Muralist, painter, designer and all-over creative Daniel Barojas talks with Barbara St. Clair about the art of graffiti, the inspiration he draws from indigenous communities and his own Mexican heritage, experiments with Op Art-style patterns and illusions. . . and the stories behind two murals in St. Pete that are helping keep the city safe. You can explore the work of Daniel Barojas at https://r5imaging.com/ and on Instagram. This article explores his experiments with Chromadepth 3-D glasses - https://creativepinellas.org/analyzing-chroma-depth-and-geology-with-daniel-barojas/.

It’s the start of the year and Simon and Jo are back with Little Women, Op Art and Star Wars! Jump in for a chat and a plan for your next weekend ahead in London. You can contact us on email at hello@culturefly.co.uk or via Twitter @screeninsight and @jogudgeon30 Subscribe to the Culturefly on the Wall podcast via iTunes 00:00 – […]

Episode 2: Bridget Riley at The Hayward Gallery discussed by Vikki Kosmalska and Caz Murray on until the 26th of January. This episode we take on Op Art heavy weight Bridget Riley, best known for her meticulous geometric paintings where things are not what they seem. This exhibition somewhat divided opinion in team Artcast - are her paintings simply optical illusions that hurt your eyes or is there a deeper meaning in her work? Listen to us debate our different reactions and don't worry, unlike the current political climate we are in, we keep it civil! For Art News, we cover the recent announcement about the extensive refurbishment of The National Portrait Gallery and the potential impact of it's upcoming 3 year closure.   Thank you so much for listening, if you like what you hear, please rate, review and subscribe!The Artcast love getting a bit of correspondence, so if you have any feedback or want to ask a question for the “Ask the Artcast' feature, get in touch as helloartcast@gmail.com. DM of follow us on Instagram: @theartcastThank you, as always, to the incredible Nat Witts for our jingle, and to the brilliant Jonny Lennard for our editing. 

l'Op Art de Vasarely raconté par Philippe Dana dans son dernier livre

Picture a cake: It’s circular, maybe rectangular, covered in a layer of single-color frosting. With the help of so-called “cake artists," however, this classic dessert is increasingly breaking the mold. On this episode, we explore the delectable, jaw-dropping world of specialty cakes. From a life-size bust of Willie Nelson to a geometric mousse confection that resembles nothing so much as a work of Op Art, these creations are increasingly sculptural. Plus, we’ll revisit the Supreme Court case that hinges on the question: Can a cake be a work of art?

Marcel Duchamp, the father of conceptual art, and responsible for that famously provocative urinal signed 'R Mutt, 1917', is the great life choice of fellow artist Cornelia Parker. She explains to Matthew Parris why he's influenced not only her work but that of so many other artists since his death in 1968. As an art student in the 1970s she recalls the attraction of Duchamp's 'readymades', such as a bicycle wheel or suspended wine bottle rack - manufactured items that the artist selected and modified, antidotes to what he dismissed as conventional 'retinal art'. They are joined by Dawn Ades, Professor of the History of Art at the Royal Academy, who's curated the current RA exhibition on Duchamp and Dali. Dawn recalls an occasion when, whilst she didn't actually meet Duchamp, she once saw him completely absorbed in a game of chess in a café in the Spanish seaside town of Cadaqués, whilst visiting Salvador Dali. They also discuss Duchamp's intriguing female alter ego, Rrose Selavy (Eros, c'est la vie or "physical love is the life") Man Ray's photographs of whom featured in some Surrealist exhibitions. We hear how Duchamp let the world know that he'd given up being in artist in favour of devoting himself to chess whilst still in his 30s. He played the game at a high level, representing France at international tournaments, whilst covertly continuing his art work. Cornelia Parker explains that his works spoke not just to the Pop Art and Op Art movements of the 1960s, but more broadly to American artists like Bruce Nauman and the composer John Cage, and whose influence can be seen today in the work of, for example, fellow English artist, Rachel Whiteread. Producer: Mark Smalley.

“Some Assembly Required,” an Exhibition of Ted Larsen's Latest Salvaged and Repurposed Metal Constructions at David Richard Gallery, Santa Fe. Larsen’s artwork is reductive, material and instantly intriguing. The openness and range of dimensions for this newest work—from a small floor piece 12 x 7 x 12 inches to a wall-mounted and floor supported piece of 80 x 30 x 73 inches—creates a tension between the constructions and the exhibition space as well as between the various artworks. Using wooden and metal supports clad in repurposed metal and other non-traditional and industrial materials, often with exposed rivets and support structures, Larsen reveals both his process and patina of the salvaged steel. Through his wall constructions he explores the tension between painting and sculpture, referencing and conflating Minimalism, hard-edge painting and Op Art. There is also an element of discovery as the multi-dimensional pieces engage the viewer and beg investigation of the sides and behind the protruding elements, evoking a Zen-inspired sensibility that celebrates chance and a continuum of the materials from one form and purpose to another.

We start our Business on Route 66 series in Flagstaff Arizona. Rick and Judy were drawn to the Flagstaff Artists Gallery just a half a block from the historic Route 66. Join Rick and Brandon for the fun as they talk about the history and joys of running a Co-op in the historical part of this amazing small town. www.ramblingbusiness.com

Altered States looks at contemporary artists who explore psychedelia (mostly painting and some constructions with a mix of figuration, geometric and Op imagery) against a back drop of 1960s Op Art, figurative and Color Field paintings, as well as original rock posters from concerts at the Fillmore West, Avalon Ballroom and other San Francisco venues to set the stage and create the mood. Psychedelia, influenced by surrealism, visual perception and Op Art along with others such as Art Nouveau, Indian textiles and Pop Art defined the 1960s and Counter Culture movement and was ever present in rock culture on album covers, poster art and light shows as the back drop for concerts. The exhibition, Altered States, will feature contemporary Santa Fe artists Andrew Cimelli, Jennifer Joseph, Caity Kennedy, Daniel McCoy Jr., Heather McGill and Martin Rixe, as well as Vadim Stepanov, a Russian painter living in Tel Aviv.  The historic backdrop for this presentation will include paintings by Richard Anuszkiewicz, Francis Celentano, Tom Green, Ed Mieczkowski, Rakuko Naito, Paul Reed, Oli Sihvonen, Julian Stanczak, Tadasky and Leo Valledor.

Ed Sommer. Planetare Allianz | Gespräch 26.08.2014 Ein Interview anlässlich der Ausstellung "Ed Sommer. Planetare Allianz", das Peter Weibel bei einem Krankenhausbesuch bei Ed Sommer in Schwäbisch Gmünd führte. Das ZKM zeigt erstmals eine Übersicht zum mehrschichtigen Werk des Künstlers Ed Sommer, der sich selbst lieber »Bildsprachenmacher« nennt. Neben den bekannteren Werkgruppen seiner Malerei, Skulptur und Fotografie können nach langer Zeit wieder die frühen experimentellen Filme gezeigt werden, die eigens für diese Ausstellung restauriert und digitalisiert wurden. Die ausgewählten Werke geben einen Einblick in das vielschichtige und außergewöhnliche, künstlerische Werk Sommers. Ed Sommer wurde 1932 in Schwäbisch Gmünd geboren und lebte als Sohn eines Schwäbisch Gmünder Unternehmers zeitweilig auch in Südfrankreich. Zusammen mit seinem Künstlerfreund Marc Adrian gehörte Sommer zu wichtigen Vertretern der Op Art und Kinetik. Bis heute und auch nach seiner Rückkehr aus Frankreich hält der rege Austausch mit den Freunden aus jener Zeit an.

So much of Science Studies, of STS as a field or a point of engagement, is deeply concerned with objects. We create sociologies and networks of and with objects, we study them as actors or agents or actants, we worry about our relationships to them and their relationships to each other. We wonder if humans and their objects are really so different, or whether we are all octopuses shrinking behind our own ink. In Hyperobjects: Philosophy and Ecology after the End of the World (University of Minnesota Press, 2013), Timothy Morton offers a way of thinking with and about hyperobjects, particular kinds of things of which we see only pieces at any given moment. (Though by the end of the book, Morton invites us to consider that perhaps every object is a hyperobject.) Hyperobjects have a number of qualities in common, and the first half of Morton’s book introduces and explores them: they stick to other beings, and they potentially transform our taken-for-granted notions of time, space, locality, causality, and the possibility of ever being “away.” How this all happens is explained in a wonderfully personal and engaging narrative voice that ranges from Heidegger to The Lord of the Rings to the Tardis to Op Art, and the second half of the book introduces some of the consequences of and opportunities created by thinking with hyperobjects. It is about global warming and intimacy and object-oriented ontology and modern art and the possibilities of a phenomenology after we get rid of any notion of “the world” as something out-there and beyond-us. For those who are interested in STS and its environs, it offers a very different and very thoughtful language for articulating narratives beyond a simple “object agency” frame or a human/object binary. It’s also a great pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

So much of Science Studies, of STS as a field or a point of engagement, is deeply concerned with objects. We create sociologies and networks of and with objects, we study them as actors or agents or actants, we worry about our relationships to them and their relationships to each other. We wonder if humans and their objects are really so different, or whether we are all octopuses shrinking behind our own ink. In Hyperobjects: Philosophy and Ecology after the End of the World (University of Minnesota Press, 2013), Timothy Morton offers a way of thinking with and about hyperobjects, particular kinds of things of which we see only pieces at any given moment. (Though by the end of the book, Morton invites us to consider that perhaps every object is a hyperobject.) Hyperobjects have a number of qualities in common, and the first half of Morton’s book introduces and explores them: they stick to other beings, and they potentially transform our taken-for-granted notions of time, space, locality, causality, and the possibility of ever being “away.” How this all happens is explained in a wonderfully personal and engaging narrative voice that ranges from Heidegger to The Lord of the Rings to the Tardis to Op Art, and the second half of the book introduces some of the consequences of and opportunities created by thinking with hyperobjects. It is about global warming and intimacy and object-oriented ontology and modern art and the possibilities of a phenomenology after we get rid of any notion of “the world” as something out-there and beyond-us. For those who are interested in STS and its environs, it offers a very different and very thoughtful language for articulating narratives beyond a simple “object agency” frame or a human/object binary. It’s also a great pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

So much of Science Studies, of STS as a field or a point of engagement, is deeply concerned with objects. We create sociologies and networks of and with objects, we study them as actors or agents or actants, we worry about our relationships to them and their relationships to each other. We wonder if humans and their objects are really so different, or whether we are all octopuses shrinking behind our own ink. In Hyperobjects: Philosophy and Ecology after the End of the World (University of Minnesota Press, 2013), Timothy Morton offers a way of thinking with and about hyperobjects, particular kinds of things of which we see only pieces at any given moment. (Though by the end of the book, Morton invites us to consider that perhaps every object is a hyperobject.) Hyperobjects have a number of qualities in common, and the first half of Morton’s book introduces and explores them: they stick to other beings, and they potentially transform our taken-for-granted notions of time, space, locality, causality, and the possibility of ever being “away.” How this all happens is explained in a wonderfully personal and engaging narrative voice that ranges from Heidegger to The Lord of the Rings to the Tardis to Op Art, and the second half of the book introduces some of the consequences of and opportunities created by thinking with hyperobjects. It is about global warming and intimacy and object-oriented ontology and modern art and the possibilities of a phenomenology after we get rid of any notion of “the world” as something out-there and beyond-us. For those who are interested in STS and its environs, it offers a very different and very thoughtful language for articulating narratives beyond a simple “object agency” frame or a human/object binary. It’s also a great pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

In which I make an effort to remind myself of the good things about winter, try to spin 8 TPI skeins twice, review woolen spinning and rolags for Level 2, finish the Op Art blanket and promptly reward myself with some knitting and spinning, chat with Donna Druchunas about her new project, Stories in Stitches, […] more...

Lichtkunst aus Kunstlicht | Audioguide 19.11. - 06.08.2006, ZKM | Museum für Neue Kunst. Wie kaum ein anderes Medium hat das elektrische Licht in den letzten einhundert Jahren unseren Lebensraum revolutioniert und demokratisiert. Die Elektrifizierung der Welt hat KünstlerInnen unterschiedlichster Richtungen wie Futurismus, Konstruktivismus, Kinetismus - Farbmusik und Bauhaus begeistert. Das immaterielle künstliche Licht schuf über Kunstrichtungen wie Materialmalerei, Film, Kinetik und Op Art ein eigenständiges Medium: die Lichtkunst.

Chicago Artists Month kicks off! Amanda and Richard go to the opening shindig at the Cultural Center and review the shows there-in, Richard confirms his lack of interest in photography, Amanda says "Op-Art" 92 times, everyone loves Ukrainian Modernism! Woo Hoo! In memory o....I mean in the absence of Duncan we pulled an archival book review, Joanna Topor and Book Guru Terry Griffith discuss Duncan's love of "Witchy Librarians" and the iconoclastic book WINKIE by Clifford Chase, an Orlando-esque tale of a stuffed bear accused of crimes he/she did not commit. Superstar Brian Andrews hums Randy Newman and goes and checks out art in Los Angeles(where oddly enough we have a solid listener base). Tom Scharpling from The Best Show on WFMU makes a guest appearance. What happened to Duncan? Who knows. Sara Lee, please send us money!!! You paid for that shindig Thursday, you can kick us some beer money, we help the community dammit. I forgot to mention super intern Meg Onli in the closing credits, I suck, I apologize.  REMEMBER THE BLOG IS NOT AT www.badatsports.com!!! Be sure to post any of your comments about Scott Speh over there.  

Einleitung: Die akute Mesenterialischämie (AMI) stellt ein Krankheitsbild mit seit Jahren gleich hoher Mortalitätsrate von über 60% dar, obwohl in den letzten Jahrzehnten große Fortschritte in der Diagnostik und der Therapie erreicht wurden. Die AMI tritt mit etwa 1:100.000 Einwohner sehr selten auf. Diese relative Seltenheit erklärt, warum es keine prospektiven Studien gibt, die das Outcome messen. Ziel dieser retrospektiven Arbeit war es die „Früh- und Spätergebnisse nach operativer Behandlung von Patienten mit einer mesenterialen Ischämie“ zu untersuchen. Material und Methoden: Die Daten von alle Patienten, die vom 1.1.1990 bis 31.12.2002 in der allgemein und viszeralchirurgischen Abteilung des Krankenhaus München-Neuperlach auf Grund einer akuten Mesenterialischämie operiert wurden, wurden betrachtet. Unter anderen wurde die Anamnese, Vor- und Begleiterkrankungen mit entsprechenden Risikofaktoren, klinischer Untersuchungsbefund, apparative Untersuchungsbefunde, OP-Indikation, OP-Art, Komplikationen, Ergebnisse ausgewertet. Um die Spätergebnisse zu erfassen wurde jedem Patienten, von dem kein genauer Todeszeitpunkt bekannt war, ein Fragebogen zugesandt. Ergebnisse: Insgesamt wurden 107 Patienten in diesem Zeitraum auf Grund einer AMI behandelt. Bei 11 Patienten lag eine Mesenterialvenenthrombose der AMI zugrunde. In den restlichen Fällen (96) konnte die AMI auf einen arteriellen Verschluß zurückgeführt werden. Die Hauptursache der AMI nimmt mit 52% der Patienten die AVK und ihre Unterformen (pAVK, KHK, etc.) ein. An 2. Stelle kommen dann mit fast 22% Herzrhythmusstörungen. Hier allen voran die tachy Arhythmia absoluta (tAA). Herzinsuffizienzen (12%) und Gerinnungsstörungen (7%) als Ursachen der AMI waren in der eigenen Untersuchung untergeordnet. 39 Patienten haben sich innerhalb der ersten 24h nach Schmerzbeginn in der Klinik vorgestellt. Die restlichen Patienten haben erst nach diesem Zeitpunkt das Krankenhaus aufgesucht, bzw. wurden erst danach eingewiesen. 49 der 113 Patienten wurden innerhalb der ersten 24 Stunden operiert. Alle anderen danach. Eine Angiographie / DSA ist in der eigenen Untersuchung 10x durchgeführt worden. Die Sonographie des Abdomens (53x) und die Röntgen-Leer-Aufnahme (44x) wurden hingegen häufiger verwendet, obwohl diese Untersuchungsmethoden nicht den „golden standart“ darstellen. Eine Computertomographie wurde 7x durchgeführt. Vergleicht man die Ergebnisse, zeigte sich in unserer Untersuchung ein 100% richtiges Ergebnis bei der Angiographie. Während das CT nur in einem ¼ der Fälle zur richtigen Diagnose führte. Unter den bestimmten Laborwerte waren am sensitivsten die Leukozysten, gefolgt vom CRP und dem Laktat-Wert. 21 Patienten wurden ohne weitere bildgebende Verfahren Probe-Laparotomiert. Bei 7 dieser Patienten ist es bei inkurabler Situation auf Grund einer AMI bei der PL geblieben. Bei 2 Patienten wurde eine MVT festgestellt und diese weiter konservativ behandelt. Bei einem Patient lag ein fortgeschrittenes Pakreas-CA mit dissiminierter Peritonealkarzinose vor. Bei einem anderen Patienten konnte kein Korrelat für die präoperativen Beschwerden intraoperativ gefunden werden. Die anderen Patienten wurden wegen einer AMI operiert. In unserer Untersuchung sahen wir ein Überwiegen der arteriellen Embolie gegenüber der arteriellen Thrombose. Bezogen auf den Ort des Geschehens bzw. das Ausmaß, lagen in unserem Patientengut in 75 Fällen zentrale arterielle Verschlüsse vor. Die Verteilung zwischen Probelaparotomie (PL), reiner Gefäßeingriff, reine Darmresektion oder Kombinationseingriffe erklärt sich in der Verteilung durch das Ausmaß des Verschlusses. So kam bei zentralen Verschlüssen die PL mit 42% am häufigsten vor. An 2. häufigster Stelle erfolgte eine Darmresektion. Gefäßeingriffe bzw. Kombinationseingriffe wurden dahin gegen in unserer Untersuchung bei zentralen Verschlüssen in jeweils 9 % der Operationen durchgeführt. Bei den peripheren Verschlüssen erfolgte eine PL in 6% der Fälle. Die Gefäßchirurgische Eingriffe [allein und in Kombination (je 19%)] waren bei den peripheren Verschlüssen häufiger als bei den zentralen Verschlüssen. Bei den Patienten mit einer MVT erfolgte entweder eine Darmresektion oder nur eine PL. In unserem Patientengut erfolgte in 57% der Patienten eine Relaparotomie. In 24 Fällen kam es zu einem Re-Infarkt während der Hospitalphase. Die häufigste konservativ behandelte Komplikation war mit 29% die Sepsis, gefolgt vom MOV mit 16%. 51 Patienten sind während der ersten 30 Tage im Krankenhaus verstorben. Das entspricht einer Frühletalität von 46%. 34 Patienten haben die ersten 48 Stunden nicht überlebt. Als Todesursache wurde in unserer Untersuchung in 55% der Fälle eine totale Darmischämie angegeben. 20% starben am Multi-Organ-Versagen und 18% im septisch toxischem Schock. Unter der Spätletalität wurden alle Patienten subsumiert, welche nach dem 30. Behandlungstag verstarben. Insgesamt waren dies noch 35 weitere Patienten (Gesamtletalität 78%). 11 von diesen verstarben während desselben KH-Aufenthaltes. Das ergibt eine Hospitalletalität von ca. 55%. Von den meisten Patienten, welche nach KH-Entlassung verstarben konnte die Todesursache nicht eruiert werden. Von den verschickten Umfragebögen konnten 15 ausgewertet werden. Die mittlere „Nachsorgezeit“ betrug 4 Jahre und 10 Monate (von 1 Jahr bis zu 8 Jahren reichend). Von den 15 Patienten leiden 9 Patienten weiter an abdominellen Beschwerden. 5 Patienten leiden auch Jahre danach noch an Diarrhoen. 3 Patienten müssen Motilitätshemmende Medikamente einnehmen. 2 Patienten leiden an einer Obstipation. 4 Patienten sind auf eine Diät angewiesen. Ein Patient musste auf Grund vaskulärer Ereignisse mehrfach wieder stationär behandelt werden. Diskussion: Ein Hauptproblem bei der Behandlung der AMI liegt im „Verzögerungsintervall“ zwischen Eintritt des Ereignisses und Therapie. Das fehlen von standarisierten „Pathways“ zur Behandlung dieser Patienten, sowie eine geringe Präsenz dieses Krankheitsbildes in der klinischen Routine führt zu großen Verzögerungen bis zur Diagnosestellung und Therapie mit – für den Patienten – fatalen Folgen. In dieser Arbeit konnte gezeigt werden, dass eine erfolgreiche, weil zeitgerechte Therapie, zu guten Spätergebnisse führt. So traten nach einer mediane Nachbeobachtungszeit von über 4 Jahren in unserem Patientengut z. B. keine Kurzdarmsyndrome auf. Dem steht auf der anderen Seite eine hohe Letalitätsrate bei den Patienten gegenüber, welche erst nach 24 Stunden nach Klinikaufnahme operiert wurden.