A handful of nice product development and sourcing photos I discovered:
Sculpture: Deadly Sins (Snowglobes): Greed, Pure Merchandise USA, by Nora Ligorano and Marshall Reese, Eyebeam Open Studios Fall 2009 / 20091023.10D.55558.P1.L1.SQ / SML
Image by See-ming Lee 李思明 SML
See also video interview with the artist (Flickr HD video).
A new collectible, slated to set the mark as an icon for the 22nd Century – collect all Seven Deadly Sins. Due out by December in an exclusive restricted edition set.
Pure Items USA | Ligorano/Reese Collaboration in Art
Towards a Surreal Politik…
In 1992, we began Pure Items of America as a series of multiple editions focusing on the influence of marketing and advertising on politics. Over the previous 17 years, the series has expanded and now consists of 14 pieces running the gamut from snow globes to underwear (our underwear was the first to pack a political message), to happy meals.
Every object is signed and numbered in numerous sized editions. When we introduce Pure Items, we send some of them as gifts to government officials. Presidents Obama, Bush, and Clinton, members of the Supreme Court and different Senators and Congressional representatives have all received a pure item at one time or one more.
Pure Merchandise also function as discreet elements in installations. The installations The Bible Belt, Pillars of the Clean Order, and Steel Nipples incorporated them in sculptural settings with video and other media. In 2001, we expanded on this thought with the inauguration of an on the internet retail site as element of the project.
Every piece is grounded within a framework that satirizes political values and, usually, lampoons morality. Some pure goods, like Line Up and Contract with America underwear, became media sensations, reported in the press, on tv and radio. The commentary surrounding the artwork is a mixture of absurdity and culture jamming, amplifying how a lot the media interprets and misinterprets contemporary art and blurs the connections among art, activism and commerce.
NORA LIGORANO and MARSHALL REESE have collaborated with each other as Ligorano/Reese given that the early 80’s. They use collaboration to blend diverse talents into a singular voice and vision. In the method of generating their function, their individual contributions cross and criss-cross amongst every single other from brainstorming to realizing and producing the art on location or in the studio.
They use unusual components and industrial processes to make their limited edition multiples, videos, sculptures and installations, moving easily from dish towels, underwear, and snow globes, to electronic art and personal computer controlled interactive installations.
They take and manipulate images, audio and text from old media: print, television, radio and combine that with the new: internet and mobile telecommunications. Their pursuit is an ongoing investigation into the impact of technology on culture and the associations and meanings that the media brings to photos, language and speech in politics.
They have an interest with utilizing open types to involve community interaction, like their drawing contests, Crater Bay Location for the 01 Festival in San Jose and Crater New York at Location1. Installations that combine sculpture with public participation in drawing, inside the context of a contest that is also streamed on the world wide web and in Second Life. Their ice sculptures, “Main Street Meltdown” and “The State of Things” share that identical sense of open possibility, fusing organic processes of erosion and decay as versatile durations and markers to decide the encounter of the function.
Many of their sculptures and installations reinterpret and reexamine older types of technologies – using objects that signify truth, authority and manifest cultural historicity. Ligorano/Reese use mirrors, clocks, metronomes and medieval codex bindings and combine them with video screens. They have invented micro-projection systems to display films on the head of a pin or the counterweight of a metronome.
Because 2004, they’ve investigated portraiture as a construct of social representation. Line Up (2004-5), their series of portraits of Bush administration officials in mug shot, acknowledges that the mug shot is the preeminent form of portraiture now that a lot more folks are incarcerated in the U.S. than any other country in the planet. In December, 2007, the exhibition of these images at the New York Public Library triggered a firestorm of controversy with heavy rotation on FoxNews, DrudgeReport’s homepage and numerous, several other publications.
In 2001, they launched www.pureproductsusa.com, the on the internet retail site for their infamous political art series the Pure Items of America. Considering that 1992, Ligorano/Reese have produced 11 multiples in signed editions of three to 100. They are very best promoting editions at Printed Matter, artbook@ps1 and the New Museum retailer and have prompted, at least on 1 occasion, the RNC to threaten them with copyright infringement.
For more details see “The Joy of Collaborating: recipes for time-based art.”
Eyebeam Open Studios: Fall 2009
Eyebeam is pleased to host Open Studios for its 2009 Senior Fellows, Resident Artists, and Student Residents at Eyebeam’s state-of-the-art design and style, research, and fabrication studio showcasing video performance, wearable technologies, code and humor, celebration technologies, and sustainablity style.
Eyebeam is the top not-for-profit art and technology center in the United States.
Founded in 1996 and incorporated in 1997, Eyebeam was conceived as a non-profit art and technologies center dedicated to exposing broad and diverse audiences to new technologies and media arts, even though simultaneously establishing and demonstrating new media as a significant genre of cultural production.
Given that then, Eyebeam has supported a lot more than 130 fellowships and residencies for artists and creative technologists we’ve run an active education program for youth, artists’ professional improvement and neighborhood outreach and have mounted an extensive series of public applications, over recent years about 4 exhibitions and 40 workshops, performances and events annually.
Right now, Eyebeam provides residencies and fellowships for artists and technologists working in a wide variety of media. At any provided time, there are up to 20 resident artists and fellows onsite at Eyebeam’s 15,000-square foot Chelsea offices and Labs, building new projects and creating function for open dissemination by means of online, mostly open-supply, publication as properly as a robust calendar of public programming that includes totally free exhibitions, lectures and panels, participatory workshops, live performances and educational series.