The city of Rome may be the mother of all post-modern, contemporary-grafted-to-ancient, hybridized, urban landscapes. Here are a few snapshots courtesy of Google Street View, the Polaroid camera of the digital world...
Sunday, October 13, 2013
Sunday, September 8, 2013
During the 1970s and 1980s, a number of movie theaters sprouted up along the edges of small towns in the Midwest – towns that were too small for “suburbs”. These theaters were usually quite unremarkable utilitarian structures, in concrete block or pre-fabricated steel. Before the widespread appearance of cable television in the rural areas, and also before the appearance of affordable home video, the places served as bunker-like outposts for mainstream popular cinema. They were all together different than their ancestral movie houses found in urban areas since the early twentieth century. They were also untethered from the pavement-and-box landscape of the suburbs.
Big, air-conditioned barns, decorated like the waiting room of a car dealership, stocked with candy and fountain drinks, providing a rural community with a connection to the new summer blockbusters imported from Los Angeles.The urban movie theaters closed first. Then the outdoor Drive-in theaters. Finally these rural movie-bunkers succumbed to cable TV and home VHS.
|Photo: D. Herbert|
Monday, July 8, 2013
Sunday, June 16, 2013
For decades, artists, their studios, and the galleries that show their work have sought low-rent neighborhoods in the cities in which to work. As a result, the vibrant, active communities that often follow have served to revitalize dying sections of the urban landscape. In nearly all cases, however, the long-term benefit is enjoyed by real estate developers who convert neighborhoods “colonized” by art and artists into upscale residential and retail spaces. The end result is most often the displacement of the very people (and the ideas) that reshaped the districts, and the replacement of locally-owned businesses with corporate outlets. The story is an old chestnut now. The burned-out building becomes an art gallery, and then the art gallery becomes a Starbucks.
|Unwanted coffee (note the graffiti).|
Not surprisingly, developers in the suburbs have watched this process, and have attempted to transplant the phenomenon in a few places where economic rot has crept into post-World War II communities. One example is Crestwood Mall in suburban St. Louis. What had begun as a post-war strip mall had become a sprawling enclosed shopping center by the 1980s, only to become a suburban ghost town by the first years of the twenty-first century.
After occupancy fell below 50%, artists were invited into the big climate-controlled space, and suddenly, what was once The Foot Locker was a dance studio, what was once Waldenbooks was a community theater, and what was a jewelry store became the site of an installational sculpture. For a couple of years, the mall was transformed by the eclectic – something not generally seen in such environments. It couldn’t last, however. Within a few years, the leases of art-tenants were terminated, and the big place was emptied. Word has it the mall will return to its mid-twentieth century roots as an outdoor strip mall.
|It wasn't a great piece, but it was a start.|
|An unusual shopping mall directory: locally-owned shops and artist spaces down the aisle from The Gap.|
Thursday, May 16, 2013
Saturday, April 27, 2013
The earliest Fossil Aerosol Mining Project recordings, made during the mid-1980s, utilized literal “found sounds” such as fragments of open reel 1/4” tape and 35mm film recovered from burnt out warehouses and abandoned drive-in theaters. One of the first loops was made from a fragment of the film “Zombi 2”, cut out of a reel by a sloppy projectionist. Spliced into a length of leader and run through an old projector (with no bulb but a convenient audio output), the damaged audio track became artifact.
Over the years, a number of Fossil Aerosol recordings were produced using sonic fragments from the zombi film genre of the late Cold War era. Some of the first pieces were included in the “Cassette Recordings” release, compiled in 1995. The 2005 “if you enjoyed the dawn of the dead” was composed almost entirely of damaged and mutated artifacts from Romero’s original zombie trilogy. “The First 15 Minutes of the Second Sequel” (2007) was composed of processed fragments from the first 15 minutes of the second unauthorized Italian sequel to Dawn of the Dead. Fake resurrection, left for dead and resurrected again.
In 2009, some the older theme-based recordings were revisited. “Resurrection Remixes”, just released on iTunes, represents a revision of Fossil Aerosol’s zombi past. A mildewed journey that begins in a dead mall in 1978, passes through a dying Midwestern drive-in theater in 1983, and ultimately gets lost in translation in the midst of a fake Italian apocalypse.
You can hear a sample here:
Thursday, March 7, 2013
So again, the focus of this little forum is on us in the past tense, generally. The point of this is to gain a certain outsider’s perspective on any number of our own practices, symbols, or traditions. The most common lens through which to see this is the post-apocalyptic lens. However, there are other viewpoints, and they are not always backward glances.
In art and media, the post-industrial is one such perspective. This term (often used in music but also in painting, architecture, and sculpture) is still a somewhat poorly defined one. Essentially, it can be read to mean vocabularies that suggest traditions or practices that might follow our own industrial / consumer age. Something from a proposed future, but stripped of the conventions that we feel make us modern today. This is where the topic becomes quite relevant to this blog.
Themes in post-industrial art often include the renaming of past objects, the appropriation of symbols, the valuation of debris, the hybridization of vocabularies, and often a new primitivism that might follow the fall of industrial and consumer culture. Some of these premises are present in post-apocalyptic culture, but in post-industrialism there is not necessarily a presumed disastrous event or collapse. Just mutation, evolution, or fundamental paradigm shift. Also a more probable future.
“Burning Rods” by Anselm Kiefer
A building in London by Sarah Wigglesworth
Handmade album cover art by :Zoviet*France:
Atelier Complex by Anslem Kiefer
“Constructed Chaos” by James Ciosek
Repurposed High Line train tracks in New York
Daniel Bell’s 1973 economic discussion of post-industrial society.