Archive for the The Process of Art Category

Goya and Cholla and the Betwixting Art Connection

Posted in Animal Stuff, art, Art & Competition, Artists, Exhibits, lessons in Art, Miracles, The meaning of life, The Process of Art with tags , , , , on October 18, 2008 by Admin

Equine artist to make international debut in Italy

By Sandra Chereb, Associated Press Writer
RENO — His artwork has been described as having the “fire of Pollock” and the “fixed gaze of Resnick.”

Now, a Reno artist will be making his international debut, having been invited to exhibit his work in a juried art competition in Italy.

He won’t be going abroad, however, to bask in the aura of great Italian masters. Instead, this artist will remain at home, contemplating his next masterpiece while gnawing on his paintbrushes — between mouthfuls of hay.
Cholla (pronounced CHOY-ah) is a mustang-quarter horse mix whose paintings have been featured in art exhibits from San Francisco to New York and now overseas.

His creation, The Big Red Buck, was selected for exhibit in the 3rd International Art Prize Arte Laguna, Oct. 18-Nov. 2, Mogliano Veneto, Italy.

Since Cholla rhymes with Goya I decided to make this an educational post. Preferably and pointedly after the plein air pony pics with palette and poserly poise. I am stuck on alliteration today.

Pensive Pony in plein air.

Pensive Pony in plein air. Cholla, the painterly pony of pleasing palettes. I think I'd not have chosen that frame for that painting however but that's just Moi. Cholla is thinking the same thing, as one can pleinly see, by his pondering pose.

Goya, at tea time. Don't be afraid - he's just playing.

Goya, at tea time. Don't be scrayed, he's just playing. I have been using 'scrayed' over 'scared' since 2000. Some typos are worth keeping. Don't go changing. But really, this is the real (ish) title - Saturn Devouring His Son, 1819. The title, like all those given to the Black Paintings, was assigned by others after Goya's death.

Cholla in his plein air studio posing for the photographer.

Cholla in his plein air studio posing for the photographer.

Amazing coincidental facts about Goya and how they relate to Cholla. It is truly inexplicable, the similarities betwixt the two artists. A true head scratcher…
Continue reading

Open Studios and such

Posted in Adventures and Interludes, art, Art & Competition, Artists, Exhibits, Life Performance Art, The meaning of life, The Process of Art with tags , , , on October 17, 2008 by Admin

Last weekend we had this amazing open studios here in DownHo – my purposely non-hip name for Lower Holyoke. I used to call it LoHo to differentiate it from HiHo because Holyoke runs downhill from the big houses on Rt 5 where the mill owners lived (BIG houses) through the suburbs (Big, and then medium houses), and down hill all the way till you can’t get much lower (80 fathoms below sea level, I tell you) to where the studio buildings are. But LoHo sounded hip and I am not hip so it did not feel like a good match. I then switched it to DownHo and UpHo so as to be clear that I am not assigning to myself, or assuming that I have, any hipness.

Me, as a semi-blur, in Pizza Alley

Me, as a semi-blur, in Pizza Alley. Photo by Rambling VanDog, who has a fabulous Blog. <---that's a poem.

Anyway, three buildings were open and showed Fine Art, (no retail thingies for shoppers here); mine (as if I own it) and the two across the canal – Paper City Studios and The Parsons Project. Paper City Studios had sculpture and installation (where I showed my Greenscreen Beamscope [named for the Beamscope screen I used in it] Floravision TV) and a very intense and impressive performance piece called, You Don’t Have to Fuck People Over to Survive by Seth Tobokman, Eric Blitz and Steve Wishnia. I have a 30s video of this I will insert here later…

…and The Parsons Project had a really great array of video pieces and painting AND… Saturday night a sculptor friend of The Parsons Project came from the Catskills area with a pickup truck loaded with bricks. He spent all day Saturday, with the help of friends, building a brick oven in the alley between the two buildings and then spent the evening making pizza and giving it away. He makes his own yeast and this batch was made from the mother yeast that he first made 4 years ago. He, Michael O’Malley, used his own tomatoes and basil and such. It was amazing – the real deal.

The Greenscreen Beamscope Floravision by Mo. Photo by Rambling VanDog.

The Greenscreen Beamscope Floravision by Mo. Photo by Rambling VanDog.

Rambling VanDog did a fabulous job of taking pictures and writing about Open Studios so here is that link. And then he posted about Day Two and here is that link. I borrowed one pic from RVD because mine are bad, and because I am in it.

I was able to be helpful during pizza times when Michael ran out of basil and I ran across the canal to pick some of mine. So the last batch had very local, fresh-picked basil and that seemed logically appropriate. I like to be helpful. Not a hero, but helpful.

This experience was a far cry from the last time I participated in Open Studios in my old space at The Arts & Industry Building in Florence… Continue reading

Life is a Carnival

Posted in Communication, Philosophy?, Special People, The meaning of life, The Process of Art, Therapy, Thoughts with tags , , , , , on September 30, 2008 by Admin


More rust spots to go. I hope I don't dent the hood getting to those.

More rust spots to go. I hope I don't dent the hood getting to those.

I was working in the alley again yesterday. I have all this rust on my car; I have little spots here and there and threatening to grow. One of them is on my door so, fearing losing my door and having no budget for taking my car to an auto body shop or to buy a new door, I decided to do it myself. I felt qualified, in a half-assed way, since last summer I had use fiberglass and resin and bondo to create the vacuum cleaner project, in that same alley, and it was fun working in the alley with all the visitors, human and otherwise.

There was this loud BOOM! As I was dragging out a 100 ft extension cord and I ducked and then looked around to see if anyone saw that embarrassing bit. People opened their windows and leaned out and seeing me, asked what was that. I told them my new project is a mosaiced canon and I was trying it out. No, really I told them I didn’t know and then of course told them about my embarrassing duck which I’d just a moment ago hoped no one would notice. I am like that. It can be embarrassing to be me.

Not so bad for a first auto body project.

Not so bad for a first auto body project.

So I was using my disk sander and grinding off the rust when 3 huge HG&E trucks came by. Guess what!? It was my same pals from that whole saving the birds by cutting the Bird-killing wire thing. It was nice to see their smiley faces. One said hey! You guys were in the paper yesterday and gave me a copy of the Republican with an article about Holyoke artists quoting the city’s “goal to create and establish a network for artists” and also saying, “I think they’re going to play a very important part in revitalizing downtown”. Gosh. That’s sweet.

We do have quite the existing network and we all mostly know each other and have meetings and such (like the one with the Mayor last week) and it’s nice that the city wants to know us as well. It’s funny how a group of people with limited resources and peculiar skills can be credited with a revitalization. The article was right next to an article titled. “Two men rob audio shop”; that wasn’t us though. So HG&E likes us (and they like the wildlife), and the Mayor likes us and now the City likes us. That’s a lot of like.

Anyway – I was wearing my respirator and gloves and my favorite ratty old red hoodie sweatshirt for this momentous first-time auto body project. That sweatshirt is like a security blanket. And it was fresh from the wash because I had inadvertently make it smell by using elderberry hand cream the other day, which made it smell not like elderberry but like something else, like a person from my past who caused me insecurity. My security blanket had thus become an insecurity blanket, but after the wash it was all security-ish again.

My friend Jim,

Apropos of nothing really: My friend Jim, visiting from Brooklyn, ponders the "dness" in The Kindness Coolerator.

I had gotten all the rust off and more guys came by from my building and asked when I was going to spray the primer. I said in a bit. NONONO!, they said. You have to do it now; the metal starts oxidizing immediately and so you cannot wait. Shit!, I replied, I have therapy at 2! So I rushed and got the primer done in time. Phew. Then halfway through therapy, and the recounting of the latest crisis, my therapist said, “that’s a fire drill, I have to leave the building.” And she hung up with a promise to call back.

Sometimes I feel like a cartoon.

But my auto body work came out pretty good for a novice. In this life.

Main Entry:
Pronunciation: \pi-ˈkyül-yər\
Function: adjective
Etymology: Middle English peculier, from Latin peculiaris of private property, special, from peculium private property, from pecu cattle; akin to Latin pecus cattle – more at fee
Date: 15th century

1: characteristic of only one person, group, or thing : distinctive

2: different from the usual or normal: a: special , particular b: odd , curious c: eccentric , queer
synonyms see characteristic, strange
– pe·cu·liar·ly adverb

Available today! MOSAIC: finding your own voice

Posted in Artists, lessons in Art, Life Performance Art, Literary, Narcissisim, The Process of Art with tags , , , , , , on September 5, 2008 by Admin
Mosaic: Finding Your Own Voice is full of inspiration and information for both advanced artists as well as beginners who are serious about pursuing mosaic. Not just limited to mosaics, the book delves into design and composition to help you find you own style, regardless of art form.

The inspiration section of the book features chapters on the works of internationally renowned fine art mosaicists Mo RingeyElaine M. Goodwin, Sonia King, Dugald MacInnes, and Brit Hammer-Dijcks. 200 pages.

Available via

Years ago I met Brit Hammer when she interviewed me for an article in her online magazine, Earth, Wind and Tiles. we’ve kept in touch over the years and I have come to know Brit and discover what an amazing person she is. For, Brit is kind and honest, selfless, extremely bright, talented, generous, wise – you get the picture. Brit has been really encouraging me to write my own book, which will be in response to the letters I get from around the world asking various questions about my process – the most frequent being, “what adhesive do you use? – and so I have started and am 4 pages into it and it will be available soon.

Finding your own voice, by Brit Hammer

MOSAIC: Finding your own voice, by Brit Hammer

Today, however, Brit’s book is finally available to order. The book features the work of 5 international mosaic artists whose work she is most in admiration of and I am honored to be one of them. My pages can be seen here.

I will be joining Brit at the SAMA conference in March in San Diego and keeping her company as she signs copies of her books and I can’t wait for the chance to spend a few days together.

Sometimes people just show up at your “doorstep” in life and the most amazing of doorbells will ring. Answering that doorbell has been an overwhemliming experience for me.

I hopy you will all enjoy this book as much as I am enjoying my copy. Oh my – what amazing company I am in betwixt these pages. My bedfellows are a wondrous sort.

Hopefully this will not increase my pest population for, in an effort to not be straightjacketed, I have decided that the fruitflies and mice and skunks and Brown Recluse spiders stop by to watch me work, rather than stalk and try to get me.

Fruit flies seem to love wet grout, by the way, with the acrylic additive being the cherry on top that they clamor for. All that… for my book. Love ya, bye.

Too “Dirty, Smelly & Noisy” for artists? OH REALLY!?

Posted in Activism?, Calls for Artists, Communication, Confusion, The Process of Art on March 21, 2008 by Admin

Dirty Smelly Noisy

I received an announcement this morning via my News from the Artists Foundation newsletter – a newsletter list well worth signing up for (sign up here) – and which appeals to the me that seems so soapboxy lately. And so I quote and, of course, segue-ishly comment and randomly illustrate:

The story . . .

On January 28, 2008, the Lowell, MA Zoning Board of Appeals denied a special permit to the Western Avenue Lofts project which would have provided 48 perpetually affordable artist-owned live/work spaces in the G-Mill of the Western Avenue Studios Complex.

Zoning Board members argued that the Western Avenue area is too dirty, smelly and noisy to be conducive to creativity. They also declared that artists would not be happy living and working in an industrial area, and that no one would want to be located right next to the Pawtucket Canal.

My friend Jesus disagrees.

Mo Ringey - My friend Jesus

And so does his posse, which magically appears in a dinnertime-like fashion when you look at the picture from the side. So there’s a solid basis for argument.

It’s really sweet that the zoning board is concerned about the comfort of artists but I wonder about the reason behind the reason because it is hard to fathom that said reasoning could be so concernedly altruistic. It’s like they are looking out for us, just like how that politically correct group was concerned about the little feelings of the Little Penguins.

Dirty, smelly, noisy spaces have been inhabited by artists for as long as I can remember and since the world did not begin at my birth, this phenomenon possibly predates me. My studio is in a dirty, smelly, noisy canal-side building and mostly it works just fine. Maybe I’d like it more if it were sparkling, bacteria-free, aromatic and silent and on a riviera rather than a canal. But, if you squint after dusk, my canal looks like Venice. And were my studio all squeaky clean, healthy and lovely, I’d not be able to afford it.

Historically, artists buildings tend to ultimately appeal to romantic notions of living the “bohemian” artist lifestyle and then get snazzified and disinfected and a different tax bracket buys in, forcing artists to move to the next undesirable area. In Boston I once toured several downtown “Renovated Artists’ Lofts” with my boss and they started at $650,00 plus $2500/month condo fees with parking spots available for an extra $15,000, and they were antiseptically spectacular and retained none of their former actual artist loft charm. To me they smelled like displaced artists. I moved to Holyoke because my dirty, smelly, noisy studio in Florence alongside the scenic Mill River fell prey to boutiquey, location-driven pricing.

And I really like being next to the canal. I don’t think my canal has a real name but since my studio is in Downho, as opposed to Upho – the more suburban, genteel and better paved part of town, I will call it Downho Riviera de Artistes de Los Dos. On maps the canals are numbered and mine is #2 and Holyoke has a large spanish-speaking population so my canal is so-named to honor all aspects of it.

Disclaimer: I made up all of the above names, trademarks pending, and also proudly made up the most brilliant and fabulous slogan for Holyoke which is under imaginary consideration by the Mayor:

Hoyoke is *Trying*

Originally it was:

Holyoke is **Trying**

but then I realized that possibly only I know that double asterisks means spasterisks and indicates that while you are saying the word in spasterisks you are simultaneously making that annoying quotation marks gesture with your fingers in a frenetic manner.

Etymology: Middle English frenetik insane, from Anglo-French, from Latin phreneticus, modification of Greek phrenitikos, from phrenitis inflammation of the brain, from phren-, phrēn diaphragm, mind
Date: 14th century

Anyway – Since moving here from Boston I have really missed being near the ocean and so my canal affords me an alternate waterfront experience. I have a sign on my back door, the one which leads to the door to the garden-side canal: Mo Ringey Studio Image

(The electric log in that picture is electric. I have wanted an electric log ever since I first went to see The Electric Logs at the Lizard Lounge in Cambridge years ago. They had an electric log on stage and wore baby blue tuxedos. They were my favorites.)

I love that that sign is really true. I got it at a flea market. I love flea markets. I love coffee and pears, commas, causes and neuroses. Twice a year when they drain the canal one can see all the stolen bicycles and shopping carts as the men in waders walk the muck and fill the trucks with said debris. It’s a sign of hope and change as it happens in Spring and Fall.

Anyway, and we’ll always have anyways, the call to artists in the newsletter continues:

This exhibit is open to any artist who wishes to make a statement about the inspiration to be found in industrial areas, about where artists are happy living and working or about the difficulties that we face in finding affordable, suitable places to live and work. For those who live in New England, we invite you to come, find and use as inspiration, anything within 1/8 mile of the Western Avenue Studios Complex. But it isn’t necessary to come to Lowell – we invite you to find inspiration in your particular industrial area.

During the month of June 2008 the artists at Western Avenue Studios are inviting artists to comment on the Zoning Board members arguments . . . for a full prospectus go to

So I think I’ll submit a piece contentedly made of dirty, smelly, noisy things. It sounds like a worthy cause & exhibit. And if you don’t want to participate at least click on the link because they have a stats counter on the site and stats not only indicate interest and possibly support but we like when stats go up. It’s kinda like being heard.

Does money (inadvertantly) validate art?

Posted in Activism?, Art & Competition, Art Critique, Communication, Confusion, Misadventures in Art, Narcissisim, Popular Culture, Rejection is not my favorite thing, The Process of Art on March 15, 2008 by Admin

How many times can Horton hear a Who? Is consistency a valid measurement of art, even if selectively applied? What, at the end of the day, is actually being judged?

I have a point. And it’s not about me. It’s about artists. And art.

Big, possibly pointless and ridiculous, idea at the end. Although, my last ridiculous idea did generate some crazy coverage and discussion…

Last night at the fabulous reception at The Northampton Center for the Arts featuring work from Dean Nimmer’s upcoming book, Art From Intuition, I had a conversation with a friend who went to The Fuller Craft Museum last Wednesday for an application review.

The (edited by me, in seafoam green) text for the event reads like this:

ASDGFH, Executive Director of The Qwertyuip Gallery, will walk through the jurying process for the ZXCVB Artist Awards. She will discuss how the jurying process has changed with the digital age and share a selection of award applicants, and critique their submissions .

This lecture is free.

50 cent at the barmitzvahSince once again I forgot my camera and therefore do not have pictures of the reception, I will insert random images from other things here to illustrate, incongruously perhaps, this post. Pictures make everything more interesting. Especially this picture from when 50 Cent compromised his street cred by performing at a 10 million dollar barmitzvah for a very lucky girl who got to dance next to him on stage and which was captured by a cell phone camera even though no cameras were allowed. He looks like he is trying to hide.

Anyway-this friend, who I will call Petunia, because I did not ask him for permission to use his name and report on his reporting of the event and because I just love the name Petunia, reported back to me on the application review because my application was among those reviewed. As a matter of fact, I was something like the last set of slides reviewed or perhaps the among the last – I did not manage to log, in my WhyWhyWhy brain, what my exact place was in the lineup. I like being last though so for the sake of this post I will call myself last.

Anyway-as they flashed my slides on the screen Petunia of course recognized my work. He said that the curator said two things: My photography is inconsistent and her main comment/criticism was, “How many times can you apply glass to an appliance?”

Amelia EarhardtAt the after party for the reception this statement made for a lively and somewhat hilarious discussion with fellow artists, people, and governors. The first response was, “How many times can you apply paint to paper?” Exactly.

To that was added, “How many times can you apply glaze to ceramics? How many times can you fire things in a kiln? How many pieces of furniture can you make? How many times can you make a silver teapot? How many times can you carve stone? How many times can you shape metals into jewelry or trees or sculpture? How many butter dishes/figurines/self-portraits/collages can you make? How many surrealist landscapes can you paint? How many still-lifes can you paint? How many videos can you make? How many installations can you install? How many drawings can you draw? How many times can you apply movement to a performance piece? How many times can you apply words to music?

I think you get the point. I am starting to get it myself.
I could call out every famous, infamous and other artist as a respected example of doing the same thing over and over. Let’s take Joseph Cornell; How may times can you glue together found objects? It’s often thought of as exploring a concept or theme. It’s often thought of as a cohesive body of work. It’s often thought of as working Cultural “council”within a genre. But this is all according to my first grade art teacher so there’s that. I will give myself 1000 points for creating my own genre even though by doing so I don’t fall neatly into grant categories and this affects my grantability. I will give myself no demerits for this post though. I am not being defensive and I am not defending myself so much as defending artists everywhere who do the same thing, repeatedly and over and overly. But I am addressing and somewhat debating the critique of my work. I don’t think that addressing a critique of my work makes me defensive. have you ever had a conversation with someone who invalidates every point you make by automatically taking the opposite stance and then, when you try to explain yourself, says, “You’re so defensive?” That’s one way to “win” a debate I suppose. I think it makes me a mere person who longs to thoughtfully respond to critique of my work which, I would hope, was a thoughtful and constructive addressing of my whole what I do-ness. It’s all so addresserly and thoughtful.

I will call this phenomenon a post-ly genre debatiquecal thought post. Ok–I will accept a handful of demerits for once again mangling a word from the english language and for my redundancy tendencies. Someday I will cash in all those particular demerits in some way and get myself some sushi and a new pair of shoes with fresh heels which I will immediately start grinding down in the bizarre and destructive way that I do. I turn shoes into little rocking chairs and I blame it on my spinal disorder since I don’t walk with my neuroses. Well, I guess I do, hand-in-hand, every day, but not literally. Currently I have no shoes with complete heels and that is a budgety thing which leads me to the next part of the critique, the photography of my work.

I am not saying that I deserved this grant and should have gotten it. I am saying that I should be rejected because of the quality of my work and not because of the photography of my work or, because I am exploring a consistent theme or genre.
VoltaireI had this whole email debate with a person at the Massachusetts Cultural Council last year (I lost); What is more important? What is being judged? The art? Or, the photography of the art? I have a lunch date next week with the Governor of Massachusetts to discuss this particular issue. He has promised to buy me sushi, but not shoes.

Ok–that lunch date is imaginary. But Deval and I have often imaginarically (500 demerits) debated whether or not state grant money should be need-based or solely merit-based and whether or not the art itself is of utmost importance or if the judgment of any art should be based on the photography of said art. He doesn’t know of any grant money available to fund photography of art deemed worthy of the most professional photography and he gets the intellectual concept that it becomes a fiscal cycle and chickens and eggs and omelets. Does the best art come from artists with trust funds? Does the best art come from otherwise funded artists? Does the best art come from poverty? Or, as I suspect, is money irrelevant to true art? Or, again, as Deval and I both suspect, does the best art come from the soul regardless of financial or other circumstance? BUT, the ability to afford frequent reshootings of your work so that it is all “consistent” and has the same lighting and vision is enabled by money.

My photography was called out as inconsistent. It was said that jurors like to see consistent photography of art. That’s funny when you consider that the in the same review I was called out on the over-consistent nature of my work. So, the art should not be consistent but the photography of it should certainly be consistent. This confuses me. This confuses my inner child who still always asks, “But, WHY?” and still gets the reply, “Because that’s how it is”. I cringe whenever I hear about, “how it is”.

oldnew_large.jpgMy work weighs fuckloads. It is also really delicate. The work in the slides reviewed at this talk was made over a period of 5 years. It was photographed professionally by different photographers and in different settings and all of my photography is really excellent and was shot by really talented people (How many times can you be talented?). You know those contests where there is some large glass container of jellybeans or buttons or snips and snails and you are asked to guess how many are in it? Guess how much it would cost to rent a 14 foot truck and two brawny Chippendales (how many times can you put on tight pants and a bowtie?) and bring my work to a photography studio and leave it for a week to be photographed (How many times can you take pictures of things?) on the same paper and by the same vision of the same photographer in the same lighting and vision. Lastly, on the money topic, does not being able to make enough money to support myself in a fancy photographer-ly fashion and spending all the money I do make on conservation-grade, museum-quality adhesives and fancy glass stains from France mean that I am also somehow invalidated as a grant-able artist? I wonder if the desire for money and the ability to go get it resides on the side of the brain I use less? <–Ok, that bit was defensive.

Of course we have to figure in that I’d have to leave the Chippendales at the photography studio for the week so they could wrestle my 350 pound fridges onto the paper and off again for each shot and then they’d likely request a per diem for food and travel expenses (How many times can you eat lunch?) Then we have to add back in another truck rental and those expensive Chippendales again to move all of the work back to my studio. Closest guestimate wins a set of hand painted wineglasses by Yours Neurotically. (How many wineglasses can you paint?)

I am willing to bet it costs more than I spend on almost-expired food at Deals and Steals for one year. One last comment reported back by Petunia: my work does not seem to have evolved but, again, is consistently the same. Hmmm. I thought I was making great strides especially when I covered the cloth bag of the vacuum cleaner with glass by first fortifying it with fiberglass and resin and bondo and hours of careful sanding of the resulting, ever-shifting landscape/canvas. I think it is time to move on to my next career as an auto bodyist.

giant_cat.jpgAfter this post I guess I’ll not be applying for that same grant next round. But I’d rather rant than not, and I’d rather not keep spending money on stamps for applications. The money spent on a stamp would buy 2 almost-expired power bars at Deals and Steals and some days that constitutes lunch. And as I struggle to write this post with my wireless keyboard which is all wonky because it needs new batteries and which keyboard makes it bearable to use my 500$ laptop (and only computer) I find myself wondering where those next batteries are coming from.

I HAVE AN IDEA, (which means everyone should duck): Why don’t we arrange an event where grant rejects do the flip side of an application review? Why don’t we do a curatorial review and invite all the curators in the whole world to be the audience. This event will be free. <–No, scratch that. The curators will pay $1000 each to come and I will get caterers from non-struggling restaurants to donate fabulous food and wine and the proceeds will go to a special grant fund which will be awarded to artists of exceptional work exhibiting soul and search and wit and yet which does not fiscally afford special photography and who lack the financial means to buy professional and consistent photography? We will require tax returns and those who show no earnings because they are supported by spouses or trust funds will not be eligible. The recipients must have true and demonstrable need. I am interested in supporting the truly hand-to-mouth artists who still determinedly pursue their art because they can’t imagine not making art. And by art I mean art for art’s sake and not work altered solely to make it saleable. Amen.

I don’t know what it is like to be a curator on a grant jury. I do know what it feels like to be an artist and to struggle to afford photography. I can’t imagine having everything shot at once. I wonder if we lose sight of each other’s perspectives and the whole concept of art. I expected this rejection but I expected it on the grounds that the other applicants made better work, better suited for the aesthetic ideals and conceptual intent of the gallery and grant, not because the other applicants had better and more consistent photography.

Disclaimer: I applied for the aforementioned grant online and no stamp expenditures were incurred so any suggestion of missed lunches is false and in no way bolsters my argument.

Adult Beverage Art

Posted in Exhibits, lessons in Art, The Process of Art on February 26, 2008 by Admin
Found on
Drinkable art

This installation in Dresden Germany by artist Hannes Broecker is brilliant, each wall frame is filled with a different adult beverage. Stacked in the middle of the gallery are glasses, and the visitor walks up to the various artworks and fills their glass from a tap on the bottom. By the time the event is over, the frames are empty.Link

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