The Utah Department of Public Safety has put itself to the fullest possible use by not only counting bighorn sheep roaming the region but also discovering an unusual fixture jutting out from the rocky landscape. Last week, state employees stumbled upon a nearly 12-foot-tall silver monolith while flying overhead. Mimicking the inexplicable structure in the opening scene of Stanley Kubrick’s 1968 film 2001: A Space Odyssey, the lustrous object appears to be made of metal and is located in an undisclosed area.
In a statement about the discovery, the department offered a reminder to the mysterious entity responsible for the monolith: “It is illegal to install structures or art without authorization on federally managed public lands, no matter what planet you’re from.”
As of Tuesday morning, it’s still unknown who created the structure, although internet sleuths who located the object on Google Earth suggest it may have been in existence for more than five years. The department is urging folks not to attempt to locate the monolith following a California woman’s disappearance for nearly two weeks at Zion National Park.
Through thickly layered thread, Cape Town-based artist Danielle Clough (previously) conveys joy, positivity, and moments of pure delight, themes she discusses in a new interview supported by Colossal Members. Clough positions herself in the worlds of both fiber-based craft and art by embroidering intimate portraits of pop culture icons and vivid floral works on found objects. Each piece is stitched in vibrant and bold hues that exaggerate existing tones or provide a playful interpretation of the subject.
I love the space I get to occupy as an embroiderer, which is between a crafter and an artist. Whether I’m seen by somebody else as a crafter or as an artist, it’s really none of my business. I love that space because it gives me room to create without necessarily having to evoke meaning.
In the interview, Clough spoke with managing editor Grace Ebert about her resilient optimism, the creative paths she pursued prior to embroidery, and the incredibly rich history of her chosen medium.
During recent years, Chicago-based photographer Reuben Wu has visited quiet regions in Bolivia, Nevada’s SolarReserve, and the rivers of molten sulfur flowing in Indonesian volcanoes to capture the natural grandeur of the earth’s outmost layer. In each location, Wu highlights the land’s beauty by juxtaposing the organic features with artificial light cast by drones flying overhead. The resulting images, of which Wu boasts a rich and diverse collection, employ illuminated geometric shapes to spotlight individual features.
Wu’s most recent series, titled Light Storm, brought him to the rocky landscapes of Utah and New Mexico—the photographer doesn’t disclose specifics due to the fragility of the environment. Here, the hovering instruments brighten the stripes and crevices embedded within the stone formations. Like his 2018 series that detailed the melting Pastoruri Glacier in Peru, Light Storm plays a similar role. “I felt like it was an attempt to document and preserve the memory of a landscape in peril,” he shares with Colossal.
Adamant about leaving no trace on the locales he visits, Wu’s process allows him to maintain a distance from his rugged subject matter while creating the conditions necessary for such precise shots. He explains:
Instead of the old photographers’ adage of waiting for the right moment, I’m literally creating it from my position behind the camera. It also allows me to have more creative ownership over a photograph of a landscape. Something I’ve been struggling with as a photographer/artist is the idea that a beautiful landscape is doing all the work for me, so this was an opportunity to finally have more artistic control.
Overall, Wu writes, “the project is about presenting familiar sights in a new and unfamiliar light, renewing your sense of seeing and the experience of discovery.” Prints of his topographical images are available in his shop, and you can find more of his work on Instagram, Twitter, and Behance.
In his mixed-media portraits, Chicago-based artist Chris Pappan draws on the tradition of ledger art, a practice that flourished among Native populations throughout the Great Plains from around 1850 to 1920. Rooted in narratives, the renderings depicted the ways of life of Indigenous people and the nuances otherwise left out of mainstream conversations. “The mid-19th Century was a tumultuous time for the Indigenous peoples of America; the doctrine of Manifest Destiny brought deep pain and suffering but it also introduced new modes of expression,” says Pappan, who is a citizen of the Kaw (Kanza) Nation and of Osage, Lakota and mixed European heritage.
Using graphite, colored pencils, ink, and water-based media, the artist illustrates black-and-white portraits on a variety of intentionally sourced materials, like municipal ledgers and mining certificates. One artwork (shown below) features five mirrored figures imprinted on Boy Scouts of America neckerchiefs that offer commentary on the destructive practices of the youth organization by recreating appropriated imagery. A similar piece, “Of White Bread and Miracles,” evokes the illustrations in the manual Here Is Your Hobby: Indian Dancing and Costumes, which the group often used to teach its members. “The book is an example of cognitive dissonance as it erases any vestiges of contemporary Native people and homogenizes all Native American cultures while making casual remarks such as ‘…get a local Indian to teach you singing and dancing if you can…,’” Pappan writes.
“Welcoming the New Dawn” (2018), mixed media on Evanston municipal ledger, 18 x 36 inches
Despite invoking historical references, the artist imbues his figurative renderings with visions for the future. The lowbrow movement—particularly the melding of technical ability with taboo subject matter—influenced much of his earlier work. More recent projects have honed in on issues of systemic racism and appropriation of sacred objects, which Pappan hopes inspires viewers to question their own complicity. “I’ve always felt it important to understand boundaries (or rules) so that one can break them and then be able to redefine culture in our own terms. (Native American) Culture is living, and we have the responsibility of its continuity,” the artist says. He expands on the idea:
Through the medium of indelible ink, I am asserting our identity and our continued existence in the face of attempted erasure and negating the centuries of racist misrepresentations… In the re-appropriation of an object that may have been considered sacred to some, I hope to impose a sense of what Native people feel when we’re confronted with sacred objects or the bones of our ancestors displayed as macabre entertainment for capitalism.
Pappan is represented by Blue Rain Gallery in Santa Fe. If you’re in the Chicago area, his ledger art is on display in the windows of 1100 Florence in Evanston through December 4, and “Scout’s Honor” is part of the group show, The Long Dream, which is on view at MCA Chicago through January 17, 2021. Otherwise, stay up to date with his subversive projects on Instagram and his site.
“Scout’s Honor” (2020), ballpoint pen on vintage Boy Scout neckerchiefs, approximately 100 x 20 inches
Left: “Quantum” (2020), mixed media on embossed Evanston municipal ledger, 36 x 18 inches. Center: “Land Acknowledgement Memorial” (2019), digital image, public art installation in Austin, Houston, Chicago, Toronto, and New York City, 33 x 22 inches. Right: “Of White Bread and Miracles (Shield)” (2020), mixed media on Evanston municipal ledger, 36 x 18 inches
“See Haw Thwarts and Alien Invasion from the West” (2019), mixed media on Evanston municipal ledger, 18 x 23 inches
“Displaced Peoples” (2014), acrylic and mixed media on wood panel, 40 x 30 inches
“Atom Heart Mother (Earth)” (2016), mixed media on ledger, 16 x 10 inches
“La Sauvage” (2016), mixed media on mining certificate, 9 x 7 inches
Perhaps no video game has evidenced the necessity of escapism in modern life more than Animal Crossing at the beginning of the pandemic. Players worldwide dove into the fictional universe to avoid the anxiety of daily life, a coping mechanism that a new animation by Austin-based creator Eric Power beautifully encapsulates. Set to a new song by Mixtape for the Milky Way, the short history is an ode to the charming simulation and a slew of its predecessors and contemporaries. The nostalgic video chronicles the evolution of video games—from Pacman and Asteroid to Cuphead, Limbo, and GRIS’s surreal watercolor landscapes—through a series of vintage television sets and classic simulations recreated entirely from paper.
A friend of ours sent us the other day this podcast to listen, and ever since we were not the same. Like art, there are events in life that modify our brain in unexpected ways, some reversible, others irreversible. This is one of those times when we freeze speechless in the armchair with no direction, no reply. Listen to this podcast and type a short comment below if we should be concerned in 2020 and beyond or not. We think this is another true step into the unknown. Let’s hear it.
Titan vs. Titan: AI & the race for global supremacy
by Podcast hosted by Mike Osborne and Andrea Mustain | https://www.pri.org/programs/world/featured-titan-vs-titan-ai-race-global-supremacy
Postcard design for CEFF 2019-2020, winter season – clean, balanced, calm, and joyful. The winter globe theme stays in perspective & balance with the Christmas tree globe, and its string again in balance with the type reading down to the bottom right corner ECSC logo. The productions are meant to be on a 5″x7″, 100# coated cardstock. Merry Christmas, Happy Holidays, and Joyful New Year!
Full page colour advertisement designed for the Calgary European Film Festival 2019 in BeatRoute magazine, October feature. The design stays consistent with the poster, postcard and the entire CEFF 2019 design theme. Project 2211 has been designing ads for CEFF in Beatroute magazine for years and today we are proud to present you the latest full page ad this October. Beatroute is our favourite cultural magazine alive in a print form, and we are happy to see our ad in it. You could find Beatroute here: https://beatroute.ca/category/film/ , and CEFF here https://calgaryeuropeanfilmfestival.ca