viz.

Image Credit: "Smashed Glass" by Jessica Alpern

Guest blogger and Austin-based photographer Jessica Alpern discusses her recent work, Useless, in which she offers new visions of everyday objects.  As she explains, "This collection is a look at common object, made or found, that no longer serve their purpose due to damage, defect or the inevitability of time."  More from the artist after the jump.

Image Credit: Ellen DeGeneres, Kauai, Hawaii, 1997, photographed by Annie Leibovitz via NPR

At the end of October, the National Portrait Gallery in Washington, D.C. opened “Hide/Seek: Difference and Desire in American Portraiture.” The new exhibition features gay and lesbian artists and portraits of prominent figures in the gay community.

Image (and recipe): Chow

When I discovered the true nature of the image above, which appeared to be a delicious carrot cake, I felt an unexpected disgust. Full disclosure: I am a vegetarian with a sweet tooth, so the fact that what appeared to be cake was, in fact, ground turkey was pretty gross to me. However, I imagine that someone who had been dooped might initially feel the same way, before, perhaps, shifting into delight that an entire Thanksgiving dinner had been contained in one slice, and so masterfully. My reaction, however extreme, made me think about food as a medium, the arguments it makes, and the arguments we make about it.

Image Credit: Jon Montmayor photo of "Rejected Brother" by Tildon Humphrey

H/T to Jessica

Partly in the spirit of the upcoming holiday, and partly as a thematic continuation of recent viz. posts, I'd like to introduce you to an Austin-based artist whose work repurposes and reinvigorates "natural history."  Tildon Humphrey's creations look right back at us and ask us to re-think what we see.

Image Credit: "Freeze! Revisited" by Florian Jennet and Valentin Beinroth via todayandtomorrow.net

H/T to Ben Koch

Since the 1950s, the pop art movement has been challenging our ideas about mass-produced images and objects.  Particularly by manipulating context, pop artists identify and exploit cultural trends.  In a recent exhibition, two German artists explored the intersections of art, violence, and mistaken identities.

High Yellow by Ellsworth Kelly, courtesy of the Blanton Museum of Art

This year, the Visual Rhetoric Workgroup has collaborated with the Blanton Museum of Art at the University of Texas at Austin on the Steve in Action project. Steve in Action is a collaboration of individuals and institutions collectively exploring the value of social tagging to improve access to cultural heritage collections and engage audiences in new ways. (For more about the Steve in Action Project, see their web site.)

Image Credit: Joe Wirtheim

In the interest of full disclosure, I must confess that I have always had a soft spot for "victory gardens" and mid-century propaganda. It may be a result of the countless times I watched Bugs Bunny steal carrots from the Saturday-morning victory gardens of my childhood (how many of us were introduced to serious political concepts like shortage, rationing and military conscription through the Flatbush intonation of Mel Blanc?). It may have been the vintage singns and posters ("Loose Lips Might Sink Ships") hanging on the wallls of the local burger joint that was a favorite haunt of my grandfather. Whatever the reason, my eye is always drawn to the bold fonts, severe angles and jingoistic slogans of WWII era posters, particularly those aimed at action on the home front. This week, while trolling for vintage design and espirit d'corps, I came across "The Victory Garden of Tommorrow," Joe Wirtheim's modern day art/propaganda campaign that repurposes and reinvents the genre. More on Wirtheim's project, refurbished propaganda and mobilizing the population after the break.

Image Credit:  A Catalogue of 18th-Century British Mezzotint Satires in North American Collections

I thought I’d step back from the contemporary pop culture discussions today to look into two archives with a more historical emphasis:  the Lewis Walpole Library Digital Collection and A Catalogue of 18th-Century British Mezzotint Satires in North American Collections.  Both of these collections offer extensive resources for instructors in eighteenth-century literature, politics, art, and culture.

Image Credit: Aaron Chevalier and Nature

H/T to The University of Texas at Austin

Next month, I’ll be posting an interview with fellow Austinite Zack Booth Simpson, a video-game programmer, artist, and part-time research fellow at UT’s Center for Systems and Synthetic Biology. On the 50th anniversary of C.P. Snow’s famous “two cultures” lecture, in which Snow described a “gulf of mutual incomprehension” between literary and scientific cultures, Simpson’s eclectic body of work suggests the value (and urgency) of a new synthesis.

Image Credit: Radiology Art

H/T to The New York Times

In The Order of Things, Foucault argues that the formation of biology (as discipline, discourse) out of 18th-century natural history hinged on a new conceptualization of “life,” which insisted upon “the dividing-line between organic and inorganic…the antithesis of living and non-living.” However, two intriguing contemporary art projects suggest that our 21st-century visualizations of Life can no longer resist the vital hum of objects.