Melissa Olson for Minnesota Public Radio
World’s Largest Jackalope Sculpture, world record in Douglas, Wyoming
Douglas, Wyoming, United States–Douglas, Wyoming calls itself the Jackalope Capital of the World, and its residents seem very proud of it; the city built its 15-foot jackalope sculpture in Jackalope Square; the sculpture sets the world record for being the World’s Largest Jackalope Sculpture, according to the WORLD RECORD ACADEMY.
Meet the artists
The painter and publisher explores the intersection of personal, political, and symbolic narratives
Our moment: ’23 Eiteljorg Fellowship highlights Native American Art
The Eiteljorg Museum’s Fellowship program allows artists to create contemporary works while preserving the traditions of Native American art.
Kawaii Agency is the collective making ‘cute, cringe’ art
It’s Friday evening and I’m en route to the private view for Kawaii Agency’s latest exhibition. Sat next to me on the bus is a person with a bag that reads, Live Laugh Lobotomy – an instantly recognisable staple of the sort of post-internet fashion that blew up last year. We exit the bus and make our way to east London’s Filet Space, where the words ‘FLOP ERA’ are sprayed in red paint across the window. Inside a performance has started: a girl with a selfie stick live streaming on TikTok against the artificial glow of a ring light.
For those keeping up with Kawaii Agency, the London-based project – headed by Bart Seng Wen Long and Juliusz Grabianski – is behind a slew of Extremely Online shows across the city that spotlight emerging artists with a digital twist. “Kawaii Agency started as a way of giving a platform to artists whose work we love, and which feel like kindred resonances with our own modes of seeing the world,” they tell me. “It came together in our post-graduation depression era, after seeing an open call for The Wrong Biennale – we curated an online exhibition about cuteness (a shared interest between Bart and Juliusz) and put on a launch party in Avalon Cafe in south east London.”
Since then, the project has taken several different forms, from their inaugural twinkdeath party to net-werking picnics and an ongoing shitposting residency. Bringing it all together is a hyper-online approach – “kinda cute, but also kinda cursed; sorta contemporary but also sorta cringe” – the kind of “yassified Gen Z aesthetics” that pull inspiration from internet culture and meme-speak. Back in 2021, the duo created a browser plug-in extension that programmed pop-up windows at specific times of the day, spamming users with cute content across the week. Another exhibition takes cues from cursed images on the timeline, which is pretty self-explanatory. “We often talk about our curating style as shitposting, and always try to make our events as meme-like as possible, where the core concept and visual communication are easily recognisable, and have a wide bandwidth that is able to encompass a diverse range of thematic concerns,” they expand.
From a children’s motorcycle crash adorned with Hello Kitty stickers to reconstructed horse saddles and a religious ornament that puffs out clouds of vape smoke, Flop Era is a great example of the project’s ongoing ethos, which brings the URL into the IRL. Here, manmade horrors are offset with hyper-cute-isms that draw from an internet-worth of visual references: “Flop Era came from an urge to re-define what success and failure are in the current,” they explain. “The show interrogates different types of flops – from the death of a royalty to dangerous one-night-stands to the car crash of youth aspirations in Asia.” I would say check it out, but the exhibition only lasted two days – which is fair given the rapid pace of online content.
Curatorial speed-runs aside, this cute-cursed dichotomy is a key characteristic of the group’s aesthetic – it invokes the same disorientating feeling as scrolling the feed, while simultaneously being bombarded with an onslaught of algorithmic content designed to deep fry your brain. “Each artist in the show manages to bring their own world into the gallery, and at the same time, offers us a critical (and cursed) perspective of it,” they say of the latest exhibition. For anyone who spends enough time online, this sort of hyper-curated approach is nothing new – but, as with all good things on the internet: Blink and you’ll miss it.
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Award-winning printmaker closes damaged museum
The Hambis Printmaking Museum in the former Turkish Cypriot village of Plataniskia will be closing its doors and suspending any future events, except those already planned, due to extensive water damage, its founder said in a scathing written statement on Thursday. “The door to the archive room, with its soaked…
Cultivating Creativity
Ohio Wesleyan Alumna Sarah Hahn Returns as University’s 2023-2024 Artist-in-Residence
When spring blooms at Ohio Wesleyan University next year, Sarah Hahn plans to scatter three 10-foot-tall dandelion seeds throughout the campus landscape.
As OWU’s 2023-2024 artist-in-residence, Hahn will add a pair of 4-foot-tall fingertips holding the empty head of a dandelion flower and then complete her public art installation, tentatively titled “Where the Wind Carries You,” by adding a rippling metal wall with a sustainability message and a native plant pollinator garden.
Planting Positivity
“There are a lot of different meanings behind the piece,” said Hahn, a 2008 Ohio Wesleyan graduate. “I like the imagery of the dandelion as it has many beneficial properties and yet is considered a weed. It is not native to Ohio but has been part of, and beneficial to, our ecosystem, unlike many other non-native species.
“The seeds propel themselves far and wide, and are prolific, helping other plants and the soil where they grow,” said Hahn, who majored in Fine Arts at OWU. “I like this as a representation for the graduating students – to disperse after their time at Ohio Wesleyan and benefit the communities in which they live.
“The fingertips holding the head of the dandelion represent the human interaction and involvement with shaping the environment around us,” Hahn continued. “The wall is an extension of my series ‘Ripples Into the Universe.’ This series represents all the small actions, events, and ideas that take place, that coalesce, to create a larger whole that propels society and the universe.”
Recycled Media
Hahn, who is teaching sculpture classes during her Ohio Wesleyan residency, is creating the fluffy-looking dandelion seeds using bronze and stainless steel, and the fingertips by creating a metal frame and using insulating foam, epoxy clay, and bronze paint to complete them. She is using as many recycled and sustainable materials as possible, including reclaimed clay, recycled wax, and insulating foam recovered by “dumpster diving” at a construction site.
In addition to the text, perhaps part of a poem, incorporated into the rippling wall, Hahn will inscribe messages on the three scattered seeds as well.
“One seed pod will have the ideas of sustainability from Girl Scouts (including Delaware Troup 5080) carved into it, another the ideas from my college students, and the third from some OWU faculty,” Hahn said.
A Growing Reminder
In addition, she hopes the native garden helps propagate the green message while simultaneously educating the community about the beauty and importance of pollinator plants.
“One of the benefits of dandelions is that they are an early source of pollen, but there are many plants that provide pollen and other benefits throughout the growing season,” Hahn said. “These plants also require less water and care once they are established as they have evolved to grow in Ohio weather.”
‘Dare to be Great’
As an OWU student, Hahn concentrated her Bachelor of Fine Arts studies in ceramics and figure drawing. She also served on the department’s student-faculty board and helped run the Werner Gallery and the Annual Spring Juried Exhibit.
She still is motivated by her first ceramics professor, Phyllis Kloda, who “had a saying ‘dare to be great’ that I still hear in my mind sometimes,” Hahn said. “Marty Kalb pushed me a lot, too. I only had Kristina Bogdanov my last year, but she has been an encouraging force throughout my career. There were so many wonderful and influential faculty members even outside of my area of study, which I was really fortunate to have.”
An Alumna’s Advice
For current students, the alumna-turned-instructor offers this advice: “Don’t be afraid to travel and do residencies. That is something I wish I had done but was worried about the financial aspect.”
And for Fine Arts students, Hahn adds: “Find artists who want help on projects, and work with or under as many artists as you can. You will learn more about their working practice by working on one of their projects with them. Keep making. It is easy to stop. Life will pull you in different directions and whether you are applying for exhibits or commissions, you will need work to show. I have heard often that a one-to-10 success rate of what you apply for is really good. Hearing no doesn’t get easier, at least for me, but it keeps me moving on to the next opportunity.”
Bloom and Benefit
Hahn, who earned her Master of Fine Arts from the University of Kentucky in 2012, hopes to finish and install her Ohio Wesleyan sculpture in time for the May commencement ceremony. She expects to collaborate with OWU and Delaware Hayes High School students, local Girl Scouts, sustainability groups, and others to plant the garden as well as create plant markers and seed bombs to inspire others – especially OWU’s Class of 2024 – to bloom and benefit their communities.
In addition to serving as Ohio Wesleyan’s second artist-in-residence, Hahn teaches at the Cultural Art Center in downtown Columbus.
Her Ohio Wesleyan residency is being funded by The Ebb and Teena Haycock Public Art Endowment. Ebb Haycock created OWU’s first foundry and was a member of the Fine Arts faculty until his retirement in 1985. Haycock Hall, where Hahn is creating her sculpture, was named for him. The public art endowment was created in 2020 by Haycock’s daughter, Lorry Luikart ’73, in memory of both her father and mother.
Andrew Wilson ’13 was OWU’s inaugural artist-in-residence and served during the 2020-2021 academic year. His outdoor sculpture, titled “Back Porch,” is a 14-foot high, 8-foot wide, and 8-foot deep metal artwork that honors generations of OWU Black lives and legacies.
Learn more about Ohio Wesleyan’s Fine Arts courses, faculty, and opportunities at owu.edu/FineArts.
A Review of the Fujifilm GFX100 II Mirrorless Medium Format Camera
The Fujifilm GFX100 II medium format mirrorless camera is the latest refinement in the company’s respected line of GF series cameras, and with capabilities like faster burst speeds and improved autofocus, it has become an even more tempting alternative to traditional full frame setups. Can it keep up with a demanding genre like wedding photography? This excellent video review takes a look at the sort of performance and image quality you can expect in usage.
Coming to you from John Branch IV Photography, this great video review takes a look at the Fujifilm GFX100 II mirrorless medium format camera for wedding photography work. The GFX 100 II adds a variety of new features and upgrades, including:
- Newly developed 102-megapixel high-speed medium format sensor
- X-Processor 5 image processing engine with twice as fast readout speed
- AI subject-detection autofocus leveraging Deep Learning technology
- Faster continuous burst speed of 8 fps
- Apple ProRes 4:2:2, 10-bit video at 4K/60p and 8K/30p
- Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT support
- Ethernet, HDMI Type A, and USB-C ports
- CFExpressTM Type B and SD card slots
- Native integration for Frame.io Camera to Cloud
- 20 film simulation modes, including the new REALA ACE mode
- Extended ISO 80 capabilities
- Increased light use efficiency at the sensor’s edges for improved image quality and autofocus accuracy
- Five-axis in-body image stabilization with up to eight stops of compensation
- 9.44-million-dot EVF with 1.0x magnification
Check out the video above for the full rundown.
Over 25 Years of a Pioneering Collective’s History Comes Together in ‘Trailblazing Women Printmakers’
Aino Clarke, “Jazz Age.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner. All images © the artists, courtesy of Princeton Architectural Press, shared with permission
Working together from about 1941 to 1969 in Gloucester, Massachusetts, and almost entirely comprised of women block printers, the artists of the Folly Cove Designers comprised one of America’s longest-running artist collectives. The pioneering group produced hundreds of unique designs, and a new book by Elena M. Sarni from Princeton Architectural Press titled Trailblazing Women Printmakers: Virginia Lee Burton Demetrios and the The Folly Cove Designers details the group’s prolific history and extensive works.
Led by acclaimed children’s book author Virginia Lee Burton Demetrios, the collective functioned similarly to a medieval craft guild. Artists would convene regularly for classes on design and technique and also hone their skills individually, either at home or in the studio. Afterwards, jurors assessed their designs, and upon approval, the works proceeded to the printing stage.
Cut from linoleum and block-printed onto mainly fabric, each design tells a story. Members were constantly urged to draw inspiration from their surroundings, whether depicting a musical performance, the local college campus, or kitchen utensils and ingredients. Each artist shared personal narratives and familiar scenes. According to the Cape Ann Museum, which houses the largest collection of work by the Folly Cove Designers, Demetrios encouraged artists to “draw ‘what they knew’ and to sketch their subjects over and over again until they made them their own.” Each intricate print documented daily life, giving voice to women’s stories.
Find your copy of Trailblazing Women Printmakers on Bookshop.
Eino Natti, “Polyphemus.” Photo by Gary Lowell, courtesy of Sandy Bay Historical Society
Louise Kenyon, “Head of the Cove.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner
Virginia Lee Burton Demetrios, “Robin Hood.” Hood. Photo by Gary Lowell, courtesy of Sandy Bay Historical Society
Aino Clarke, “Atomic Age.” Courtesy of Cape Ann Museum
Louise Kenyon, “Smith College.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner
Virginia Lee Burton Demetrios, “Finnish Hop.” Photo by Gary Lowell, courtesy of Sandy Bay Historical Society
Lee Natti, “Old Sturbridge Country Store.” Photo by Gary Lowell, courtesy of Kathryn Soucy
Group portrait of the Folly Cove Designers, courtesy of Cape Ann Museum
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Over 25 Years of a Pioneering Collective’s History Comes Together in ‘Trailblazing Women Printmakers’ appeared first on Colossal.
7 Products From Autentico Showcase Pugliese Design Prowess
Autentico. Design made in Puglia marks the first significant introduction of Pugliese design and production to the American market with an immersive exhibition showcasing handcrafted furnishings, materials, and objects from 11 exemplary regional brands. Exhibitors include Affreschi & Affreschi, AMURA LAB, BIANCO CAVE by FATO STONE, Centrino Style, Dimarmo, Marra Pavimenti, MITOHOME, Officine Tamborrino, Pimar Italian Limestone Specialist, R.D.D. Italia, and Trame di Pietra, with artwork by rising Pugliese photographer Piero Percoco in correspondence with each booth.
Archiproducts – an online portal and community for inspiration or sourcing of all things architecture, product, and design – is one of many key players facilitating this endeavor. “The Puglia region has always been a place of natural excellence, which has grown thanks to its unique geographical position between Europe and the Mediterranean,” say Enzo Maiorano and Rossella Arena – Co-founder of Archiproducts and Art director of Autentico, and account manager of Archiproducts and event manager for Autentico, respectively. “Over time, new know-how, skills, and technologies have mixed with Puglia’s traditions, leading to advanced research and experimentation. This Apulian craftsmanship is enriched with new values, bringing materials such as stone, fabrics, metal, and ceramics to increasingly appreciated levels of quality and excellence worldwide.” The Manhattan show – on view to the public until November 17 – proves that the most forward thinking design solutions are those steeped in heritage, history, and tradition. Below are seven selections from Autentico that champion contemporary Pugliese design.
Dimarmo’s Onda sculptural chaise longue
It’s never “just marble” to an Italian, and for Dimarmo it’s the Onda sculptural chaise pool lounge. The luxurious furnishing is fashioned with a thin marble veneer offering lightness without compromising on aesthetic – subverting all expectations of the stone’s performance and sparking great joy as it floats by. The elegant shape complements a variety of placements in indoor and outdoor spaces alike.
Bianco Cave by Fato Stone Exhibit
Large vases with basic geometric shapes in Lecce stone.
With decades of expertise in extraction and manufacturing, Bianco Cave knows how to take advantage of the wide range of chromatic tones and material quality offered by Lecce limestone. The large vases delight with geometric shapes and tell the story of compositional simplicity and the connection with its physical place of origin.
MITOHOME Exhibit
MITOHOME’s Stone modular sofa
The Stone Modular Sofa in contrasting textiles illustrates one of the many customizations for this contemporary sofa. MITOHOME executes its designs with solid wood construction and seams stitched with the care of hand-tailoring. Each product combines traditional craft with production efficiency.
Marra Pavimenti Exhibit
Three Cementine tile patters.
Marra Pavimenti retells traditional visual narratives with contemporary language in their variety of cement paste multilayered tiles. The work of the Marra Brothers includes artisans that formulate an amalgam of water with elements such as white cement, fine marble chips, and color pigments to execute their flat patterns.
Pimar Italian Limestone Specialist Exhibit
A sculpturally shaped coffee table by Pimar
Pimar’s historical tradition and experience with Lecce limestone dates back roughly 150 years with longstanding commitments to sustainability and investments in renewable energy. The geometric coffee table designs oft borrow elements from architecture and introduce them at a human scale with a dialogue between materials like brass and stone.
Officine Tamborrino Exhibit
The Grace console by Sara Mondaini for Officine Tamborrino
Officine Tamborrino designs and manufactures metal furniture for residential, office, and community spaces alike. The modern Grace Console comes in a wide variety of finishes to accommodate aesthetic tastes as well as modifications like doors that cater to those clients who may require an additional level of utility.
R.D.D. Italia Exhibit
The Ariu pouf by R.D.D. Italia
Spherical, whimsical, and highly technical, the Ariu Pouf is the result of craftsmanship and advanced technological solutions as the designers use a multidisciplinary approach to realize their furniture. This particular piece, which can be reconfigured at the user’s behest, is as reminiscent of atomic structure as it is the decorative stone elements that adorn traditional Italian architecture.
Autentico is open to the public until November 17th from 11am – 7pm at 82 Gansevoort (Meatpacking District) in New York City.
