Ricardo Miranda Zúñiga

Structural Patterns

Reflections on Art, Technology and Society

RAMMELLZEE: Racing for Thunder

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Rammellzee

“RAMMELLZEE: Racing for Thunder” at Red Bulls Arts New York opens with sketches for the artist’s graffiti pieces. The drawings immediately bring to mind images of subway cars from the late 70s covered with graffiti. And some visitors may as well recall their own sketch books from the 70s and 80s filled with tags and letter designs for possible pieces to be realized on the street. These early works are the strongest 2D work by Rammellzee that are included in the two-floor exhibition.

Rammellzee

As one continues through a dark tunnel lined with early 2D works and iPad slideshows accompanied by audio recordings by celebrities, one will enter a screening room. Projected across bleachers are an assortment of video sequences capturing the artist rapping, lecturing, performing. One video capturing Rammellzee rapping from his Beat Bop classic at a club includes drawings, text and animation by Jean-Michel Basquiat superimposed over the performer. You can see the video here Rammellzee, Toxic C1 and Basquiat Live at the Rhythm Lounge 1983. There is also a sequence from Charlie Ahearn’s 1982 “Wild Style” featuring Rammallzee performing on stage. Perhaps amongst the most entertaining sequences are Rammallzee performing as a Garbage God in outlandish costume to Northern European gallery goers who complain to watch his back as he makes his way through the small crowded gallery. Also entertaining (for short bits) are his lectures to perhaps student audiences to his exhibitions, also costumed as a Garbage God and at one point shooting fire from his mouth (which was awesome to watch and hear the gasps from the live witnesses).

Proceeding beyond the screening room, one enters a large gallery with primarily 2D pieces. These works are spray painted works, epoxy frescos, assemblage wall pieces combining found objects, spray paint splashes and loads of resin. Some works feature space ships flying through spay paint environments. For the most part these works seem uninspired and more like 80s bad art.

Rammellzee

By far the best work are the Garbage Gods and Letter Racers in the downstairs. Unfortunately, Red Bulls Arts decided to attempt to re-create the sensibility one may imagine from Rammellzee’s Tribeca loft – Battle Station by using black light. However, this isn’t the famed Battle Station – playground of the artist; this is a fancy art gallery and the black light is unnecessary. The black light makes it difficult to fully appreciate the Garbage Gods costumes that Rammellzee would perform in or the small figures that he created. As someone hoping to fully appreciate this inspired, meticulous work, skip the black light and allow us to carefully study these works. I would have preferred to see these works in this lighting:

Rammellzee Letter Racers

Rammellzee Garbage Gods

In considering this exhibition, I came upon this excellent NY Times 2012 article on Rammellzee that is worth a read, if interested in his work and life. However, if you have a free couple of hours, “RAMMELLZEE: Racing for Thunder” exhibition is a great way to intimately learn about the artist directly through his voice from hours of archival material. Amongst the 2D paintings on the top floor, there is a small listening booth with extended interviews with the artist discussing his life and philosophy. There are also videos with Rammellzee working in the studio, discussing his ridiculously toxic practice as you watch him pouring gallons of resin and spray painting indoors without a mask. Red Bull Arts has done an amazing job of creating a rich portrait of the artist.

Written by ricardo

August 1st, 2018 at 12:00 pm

Northeast Exhibitions Editor for caa.reviews

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Over the past year, I have been working as the Northeast Exhibitions Editor for caa.reviews and thus far it’s been a great experience! Fortunately, my job is relatively easy or perhaps better stated fun. I search out exhibitions that deserve to be reviewed throughout the Northeast (but not including NYC). As I find, important exhibitions, I then need to identify potential reviewers. I had heard that commissioning non-paid reviews from people was difficult, but thus far, I’ve been able to quickly find writers or have people even volunteer reviews for exhibitions that they felt passionate about.

Once the writer and I agree on a deadline, we bounce the review back to one another to arrive at the final product. It has been a great learning experience to envision exhibitions that I have not visited myself through the writing of the reviewer. And as editor to work with the reviewer to create a clear sense of the exhibition and its power for readers who may as well not have the opportunity to see the exhibition first hand.

Thus far, I have had the pleasure to work with the following writers:

Valeria Federici on “Art in the Age of the Internet, 1989 to Today” at the ICA Boston.

Christopher Kasprzak who reviewed “Calder: Hypermobility,” at the Whitney Museum of American Art.

Ellen Handy who wrote an excellent review on “Clarence H. White and His World: The Art and Craft of Photography, 1895–1925” at Princeton University Art Museum.

John Muse on “Yoonmi Nam: Still” at Philadelphia’s Print Center.

There is more coming soon!

Trump Chases Out Kids

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Following travel, Iggy had a week off from summer camps, so we got to enjoy the week together. I proposed that we make an animation. He was game. I gave him a drawing pad, showed him Richard Williams’s The Animator’s Survival Kit and he started drawing. After a few minutes, I look over at the drawing pad and say “That looks like Trump! Are you drawing Trump?” Iggy: “Yes, a naked Trump. Lets make an animation of naked Trump chasing immigrants…”

Over the following few days, Iggy drew each of the characters: Trump, a female immigrant, a male immigrant and lastly decided to add ICE police. Iggy was firm on having the ICE police shuffle along. He drew each of the steps of the run cycles for each of the characters and I did the coloring. With the art work done, I took over setting up the timeline with tweens and finding various backgrounds to reflect the United States. Iggy made the call on the background sequencing.

I had two audio clips of Trump flip flopping on treatment of undocumented kids to give the animation a soundtrack. Lastly, I found a sound clip of Homer taking a fall which seemed like a fitting culmination.

Written by ricardo

July 22nd, 2018 at 9:20 am

Zach Blas Contra-Internet at Art in General

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Contra-Internet: Jubilee 2033 trailer from Zach Blas on Vimeo.

I had been looking forward to seeing Zach Blas’s Contra-Internet exhibition at Art in General, unfortunately it was not as engaging as I had hoped. The exhibition presents one single channel video installation that features the nearly 30 minute film “Jubilee 2033” and three other single-channel video works on monitors. The three video works on monitors present ideas and research regarding the internet – the hegemonic network of today and for the foreseeable future – through computer screen recordings by Blas. (I really hope that artists stop using screen-recordings of themselves clicking through files as a medium; it’s seldom interesting.)

Although I was disappointed by the exhibition, the gravity dance performance by Cassils as Nootropix, “a contra-sexual, contra internet prophet” is captivating an entirely worth the trip. The premise of the film is funny as it opens with Ayn Rand discussing the future of her ideas with two of her followers – Alan Greenspan and a fictional character Joan Mitchell. A young Greenspan proposes that the group take an acid trip. I was turned off by the highly accented performance of Rand and her cult, so I was glad to see them drop liquid acid.

As the trip begins, an internet connected artificial intelligence in the form of a manga character appears and takes them in to the future. The future is of course dystopian as the present reality burns and it’s certainly fun seeing the Google headquarters burning along with other tech companies in the not so distant future of 2033.

Nootropix triumphant performance

Along their travels, we encounter tech workers being taken hostage by “The Art Professor” wearing gray, paint-splattered coveralls and wielding a machine gun. Later in a classroom, the Art Professor introduces Nootropix (Cassils) who in their monologue states that they will perform the creation of gravity. The performance artist is powerful and their dance upon a purple matrix while dawning a large, erect, glowing CGI penis that is constantly spewing black liquid is awesome. The dance is mesmerizing and triumphant.

Nootropix triumphant performance

In Nootropix, Blas presents one of his contra-internet exotic creatures “to discover or create a world of network difference.” I could have entirely skipped the storyline, and merely be fantastically transported by Cassils’s character and performance as I think that it would have left me asking more questions and appreciating the mystery. We know that a network of difference is not plausible, so why not create the fantastic and shed the tedious philosophizing.

Nootropix triumphant performance

How To Get The Best Screen Printing Results From Your Art Submissions

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Custom t-shirts are more than just an excellent way to express yourself, they’re also incredible ways to get your artwork in the public space. Whichever you’re placing a custom order for, it’s important that your art or design comes out the way you want it to.

Images for T-Shirt Screen Printing

There’s nothing worse than seeing your work of art fail to translate to what you had in mind, which is where following this guide can help. Here’s how to get the best screen printing results from your art submission on sites like The TeeHive or Threadbird.

Using Vector

Vector based images and screen printing are a match made in t-shirt heaven. These files can be resized at any scale without losing an ounce of detail thanks to the mathematical equations surrounding their magnitude and direction. Even better, these images use both lines and curves.

When it comes to color assignment, vector is superbly clean. All you’ll need to create a vector image is a program like Corel Draw, Adobe Illustrator, or Inkscape.

Using Raster

Unlike vector images, raster uses pixels instead of lines. This makes using the correct DPI crucial from the get go, but it translates wonderfully to screen printing when done correctly. For reference, a web image looks stellar at 72 DPI while screen printing requires at least 300 to look decent.

While you might not be able to scale up with a raster image, you can create images at the same size they would be on the t-shirt. This gives you the ability to pay close attention to small details, which also helps in translation. Programs like Photoshop and Gimp utilize these types of images.

Images for T-Shirt Screen Printing

Screen Printing 101

The true secret to achieving a fine quality print is using highly defined artwork. That can be easier said than done, as many people find themselves with excellent art that simply isn’t ideal for screen printing.

Often times, individuals opt to do a test print first to make sure their design will translate like they want it to. While it’s always a good idea to test out a company’s quality first, test prints are often made using a different technique. Most of the time, companies will use a digital print or direct to garment printing.

The best way to make sure your art will look fantastic after the printing process is done is to contact the company you plan to work with. It isn’t uncommon for their artists to be able to recreate your image in a more screen print-friendly version. Always double-check to see if that comes with an extra cost, though.

Tips and Tricks

When uploading files to print, make sure they were created in the proper format beforehand. Simple saving something as a .pdf or .eps isn’t going to cut it when it comes to the quality you’re looking for.

Avoid using:

  • .jpg
  • .png
  • Photographs
  • Sketches
  • Or anything with a low resolution

If you are dealing with hard copies of your artwork, it’s best to email the company you’re considering working with. Most have designers on hand that can work with you to ensure your work of art translates properly to the screen printing process. If you happen to live close by, it never hurts to drop in for an in-person chat.

Getting the Color Right

If your design is pre-made and ready to go, then all you’ll need to do is pick the color garment you think it would look best on. Try out different option to see what you like the most, and don’t be afraid to use multiple colored clothing items.

When designing from scratch, you have more ground work to do but a lot more room to play with. Simulate both ink and garment color combination by creating mock-ups first so your can proof the results before placing an order.

Images for T-Shirt Screen Printing

Most printing services use Pantone colors, but it’s important to keep in mind that the colors you’ve used in your vector or raster piece might become slightly off during the printing process. This happens because computer monitors vary widely in color, brightness and contrast.

What you see on your monitor might not be the same the printer sees on their screen. If you own a Pantone Solid Coated Formula Guide, then making a note of which shade you intended to use will solve this problem. If not, the printer will choose the closest available Pantone based on what they see.

Nailing the Best Prints

Getting the best screen print results for your artwork takes some time and dedication, but the above advice will help your work translate the best it possibly can. You’ll have a slew of awesome t-shirts ready to go before you know it!

This articles has been written by Ashley Lipman

Written by ricardo

April 3rd, 2018 at 9:23 am

On “The Shape of Water”

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Eliza and Giles with Pie Guy at Dixie Doug Pie Shop

After watching The Shape of Water, one particular scene kept resonating. It was a minor scene, not even necessary for the plot, but a timely scene. The scene occurs in the Dixie Doug Pie shop (not the scene pictured above, but a later scene).

Giles played by Richard Jenkins sits next to the proprietor of the shop at the counter, enjoying a slice of pie when a black couple walk in seeking to be served. The store owner tells them – “take out only” and the couple protest that the pie shop is empty – why can’t they sit and the owner responds that they must leave. Just before the couple walks in, Giles reacts to the store owner telling him that he is good at his role of chatting with customers by holding the owners hands. The store owner jumps off his stool and basically refers to Giles as a dirty old man. After telling the black couple to leave, the store owner (originally from Ottawa, Canada with a fake southern accent) tells Giles that he should do the same and leave. Giles takes his napkin to his tongue, trying to clean the pie out of his mouth (has Eliza had done earlier with the green pie), tosses the napkin on his plate and exits the pie shop.

Part of the beauty of The Shape of Water is in the nuances; the attention to details that later resonate with the viewer. If one considers many of these details, the film is an anti-capitalist gesture. Early into the film the pie guy explains that his store is part of a franchise and that franchising is the future. Many other elements in the movie represent the future or a changing society in which there is no place for intimacy and oddity. Instead the future is mass produced, sleak, fake and hostile. And tied to the future is commodification and materialism.

We see this alienating future throughout the film. Giles an illustrator, hand paints magazine advertisements. Eventually he finds himself without a job due to the adoption of photography in advertisement. The hand-made has been replaced by the mechanized image that is fast and precise.

Regarding Giles’s Rockwell-like depiction of an ecstatic nuclear family enjoying jello – there is the detail of the color green. Giles originally paints the jello red, but he is told that it must be green. The color green becomes a reoccurring element in the film. The slice of pie that Eliza finds disgusting and must remove from her tongue using a napkin is bright green. To Strickland, the antagonist, the sleek new Cadillac is green. Whether it is the jello, the pie or the car, green is used as the color of artificial products – products that represent the future. Simple associations to the color green are of course envy, greed and money – all elements of capitalism in its purest form that is to generate capital for the sake of greater capital, regardless of any human toll.

As with the green pie which is disgusting to Eliza, the beautiful green Cadillac is scarred by the hand-painted van filled with misfits. In the end, Strickland, the man of the future is defeated and the promise of the future falls short to the monster, the mute and the homosexual.

Written by ricardo

February 18th, 2018 at 11:56 am

The Problem With Trump

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Is that he doesn’t give a shit. He doesn’t care what you think. He doesn’t care what the law says. He doesn’t care about the history of the United States. Trump could give a flying shit about the constitution as well as the Haitians.

The problem with Trump is that he constructs his own reality at intervals. He could give a shit about reality, because he’s never had to live in reality. This is a golden spoon child, given $10 Million dollars to kick off an NYC real estate developer’s career without any clue of how the overwhelming vast majority of people live.

The problem with Trump is that WE ARE ALL SHIT HOLES.

The problem with Trump is that he has gotten the highest public service office in the United States of America without any experience or care for public service. He could give a flying fuck about public service, after all it’s work for shit holes to serve shit holes.

The problem with Trump is that he’s never had to work, he’s never had to earn a living, he’s never had to struggle.

The problem with Trump is that he has no political career to ruin as a shitty president, so he can give a flying fuck whether or not he shits on everything that this country has been built upon such as immigrants.

The problem with Trump is that he made his career as a real estate developer. He made his career as a TV producer and reality TV personality and an ego-maniac.

The problem with Trump is that he could give a flying shit about anyone other than himself and his own. He doesn’t understand public service or governance or the middle class or women or poverty or history or struggle or global citizenry or activism or ethics or morality.

And to all the white supremacist, America First, racist fucks who voted for Trump, if you are not a millionaire, you are a SHIT HOLE and he’s going to make you pay.

Written by ricardo

January 13th, 2018 at 6:31 pm

Trump Administration Is The Hangman

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Watching this 1964 animation by Les Goldman and Paul Julian of the 1951 poem “The Hangman” by Maurice Ogden, I couldn’t help to think about the current sweep of undocumented immigrants by federal agents. Most recently 98 7-Elevens stores across the country were raided by ICE leading to 21 arrests. With 21 arrests, I have to wonder if such an effort is worth time and cost. It actually seems a bit silly, but now I’m getting off point. These are 21 individuals working, residing and paying taxes in the United States who now face deportation. I understand that the goal is to instill fear in businesses that hire undocumented immigrants, but at this time the economy is such that these workers are actually needed regardless of their citizen/resident status. More importantly undocumented immigrants are not criminal in the sense of presenting any danger. In a country built by immigrants, they are asset.

As citizens of the United States, it is our responsibility to stand up against human harassment and bullying, against the destruction of others’ lives by the authorities. Otherwise, this administration and government will turn against its own citizenry, actually, I already feel that it has through the passing of the new tax reform.

We can all act on a personal level as there are many resources to help immigrants. If you know an undocumented immigrant pass along this information – Know Your Rights In Case of Immigration/Police Raid. The source is The National Network for Immigrant and Refugee Rights.

Written by ricardo

January 11th, 2018 at 2:11 pm

Chelsea Galleries September 2017

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There are plenty of strong exhibitions in Chelsea this September into October. And the fancy blue chip galleries are presenting a racial and identity social consciousness as black artists receive recognition at at least a few major galleries. Here are a few that I enjoyed this past weekend.

Sanford Biggers: Selah, Sept 7th through October 21st at Marianne Boesky Gallery.

Kara Walker at Sikkema Jenkins & Co

Mark Thomas Gibson at Fredericks & Freiser through October 14, 2017

Calder & Oiticica at Whitney Museum

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If you enjoy work that breaks the norms of fine art; work that invites the viewer to participate, this is a great time to visit the Whitney Museum of American Art.

Through the remainder of the month, on the 8th floor, one may see Museum employees activate Alexander Calder sculptures. With slight touches and hand gestures, Calder’s work is set in motion as it was meant to be enjoyed. Several pieces on display are motorized, unfortunately they do not appear to be plugged in or at least when I was there I did not see them in motion. However, the ones that are activated by human touch are beautiful to see in motion. One may immediately capture the great care that Calder took in combining form and weight to create compositions that have expression through movement. The works are simple and delicate but when they are put in motion they appear to have their own life due to the joints and careful balancing of the pieces assembled to make the whole.

Work your way down the museum and I believe that it is on the sixth floor that one will encounter “An Incomplete History of Protest”. As problematic as the labels “Protest Art” or “Political Art” may be, many of the works in the exhibition were not made in the studio for the gallery, but were realized through collaboration and enjoyed public manifestation on the street in the midst of protest. I tend to consider such art as genuinely “political art” or “activist art”. The exhibition does a reasonable job of presenting an overview of such work over the last fifty years in the United States.

Further down the building, perhaps on the fifth floor is “Hélio Oiticica: To Organize Delirium” which to me is the most fun of all the exhibitions on view. It is unfortunate that the Brazilian artist Hélio Oiticica died at 42 as he was prolific and realized work that is at once provocative, social and contemplative. Several of the galleries, allow the viewer to walk through the work or even wear the pieces as Hélio Oiticica meant the work to be! This is great as it is not uncommon for work originally designed to be tactile has been removed from the visitor’s reach, not so with Oiticica’s exhibition. One gallery even features clothing designed by Oiticica hanging on a rack, for visitors to try on and model in front of a mirror. A walk through the installation “Tropicália, 1966–67” alone is worth the trip to the Whitney. As one winds through the installation, visit the two large parrots in a white cage and if you go around 3pm when they are fed by their handlers you will enjoy their sounds resonating throughout the exhibition.

Written by ricardo

September 4th, 2017 at 12:20 pm