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THE DIY HAIRCUT

THE DIY HAIRCUT

It's summer. Between work, play and the travel between the two, finding time for a trip to the barber can be tricky. Why not take things into your own hands (while saving a little cash on the side) and cut it yourself? Of course, we're not advocating replacing professional haircuts altogether. The idea is to keep a good cut looking fresh and keep your hair from weighing you down and heating you up when the weather's oppressive. Besides, there's something freeing about cutting your own hair. It only takes a few minutes and because the result is never a dramatic change, you always look clean and kempt. All you need is a steady hand, the right tools and some basic tips. 

GET
BUZZED

Begin by shaving the sides and back of your head with some electric clippers. Michael Gilman, founder of the Grooming Lounge, suggests doing this on dry hair so you can see the results in realtime. Use the guards to maintain length and start out with a longer guard setting. Then go down a guard (or two) to get a little closer at the bottom around your sideburns, ears and neckline to create a slight taper. Remove the guard and clean up the nape and any errant hairs on your neck.

DIVIDE
& CONQUER

Make like a barber and slightly wet your hair. Then make two parts, one at the outer edge of each eyebrow, combing the hair above the part into the center of your head. This will keep you from cutting the top too short. Then comb the hair at the sides forward towards your temples and trim any excess hairs sticking out from the natural hairline. Finish by snipping any rogue hairs around your sideburns or over your ears.

TACKLE
THE TOP

Comb the hair straight up and start cutting into it perpendicular to the comb. This will prevent any blunt, straight cuts and also give your hair a nice texture. It also alleviates a lot of the risk of chopping off too much in one snip. Like with the clippers, start off conservatively and take more off if needed. As a rule, you want to keep the front a touch longer than the hair in the back toward the crown of your head.

THE AT-HOME CUT KIT

Clippers
Gilman suggests Wahl Professional clippers. This comes with a set of guards and even some barber combs.
$25, by Wahl
Small Scissors
Big scissors can leave some big cuts. These are more manageable for small, subtle snips.
$12, by Tweezerman
Hand Mirror
Don't have a hand mirror? Use your phone's front-facing camera.
$9, by Goody
Comb
Even if you don't style your hair with a comb, it comes in handy when you're cutting.
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Get involved, Internet: Help fund a documentary about Scary Stories To Tell In The Dark



Get involved, Internet: Help fund a documentary about Scary Stories To Tell In The Dark









Everyone who grew up in the ‘80s and ‘90s falls into one of three categories: Those who think the Scary Stories To Tell In The Dark books are the most terrifying collection of words and pictures ever put to paper, those who have never suffered through Scary Stories To Tell In The Dark, and those who are filthy liars. John August, the writer behind Big Fishis currently working on some sort of big-screen adaptation of the books, but it’s still not clear what—if anything—it will really have to do with them. Luckily, a filmmaker named Cody Meirick—a fan of the books who somehow survived reading them—is putting together a movie that will tell the actual story of Scary Stories.
Well, sort of. It’s more like the story behind Scary Stories, as Meirick’s project will be a documentary about the books, gothic children’s folklore (as in folklore for children that is gothic, not folklore for the kids with their nails painted black), and the history of censoring literature for children. See, as we’ve mentioned several times, these books are so scary that you might literally die if you read them (it’s a very small possibility, but you never know), so parents used to try as hard as they could to stop kids from experiencing how awesome they are.
Meirick has set up an Indiegogo campaign to pay for the documentary, and he’s looking to raise $28,000 by the end of April. It has the standard array of crowdfunding incentives, like a free copy of the film, access to behind-the-scenes information, and “a hearty THANKS,” but you could probably convince Meirick to take the rewards a little further if give him the full $28,000. Maybe he’ll even sneak into your house and inject spider eggs into your cheek, and then you can actually live through one of the stories from the books! Well, not “live,” because you’ll instantly die of fright, but you get it. 

Plop Art

Plop art



New York City Police Departmentheadquarters at 1 Police Plaza, with plop art sculpture
Plop art (or Plonk art) is a pejorative slang term for public art (usually large, abstract, modernist or contemporary sculpture) made for government or corporate plazas, spaces in front of office buildings, skyscraper atriums, parks, and other public venues. The term connotes that the work is unattractive or inappropriate to its surroundings - that is, it has been thoughtlessly "plopped" where it lies. Plop art is a play on the term pop art. According to artnet.com, plop art was coined by architect James Wines in 1969. The derisive term was eagerly taken up both by progressives (like Wines) and by conservatives. Progressives were critical of the failure of much public art to take an environmentally-oriented approach to the relationship between public art and architecture. Conservatives liked the term because it suggested something ugly, formless, and meaningless, produced without any real skill or care. The very word "plop" suggested something falling wetly and heavily in the manner of excrement — extruded, as it were, from the fundament of the art world, and often at public expense.
"Right now architecture and sculpture are calling to each other, and calling for response that's intelligent, not for more ghastly lumps of sculpture . . . which have no sense of scale and are just plonked down in public places." Anthony Caro (1924-), English sculptor. From an interview with Tim Marlowe for Tate: The Art Magazine, 1994.
More recently, defenders of public art funding have tried to reclaim the term. The book Plop: Recent Projects of the Public Art Fund, celebrates the success of the Public Art Fund in financing many publicly placed works of art over the last few decades, many of which are now beloved, though they may at first have been derided as "ploppings". Several currents or movements in contemporary art, such as environmental sculpturesite-specific art, and land art, counterpose themselves philosophically to "plop art," as well as to traditional public monumental sculpture.

See also[edit]

Site-specific Art

Site-specific art

Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Patricia JohansonDennis Oppenheim, and Athena Tacha, who had started executing public commissions for large urban sites (see Peter Frank, “Site Sculpture”, Art News, Oct. 1975). Site specific environmental art was first described as a movement by architectural critic Catherine Howett (“New Directions in Environmental Art,” Landscape Architecture, Jan. 1977) and art critic Lucy Lippard (“Art Outdoors, In and Out of the Public Domain,” Studio International, March–April 1977).

Dan FlavinSite-specific installation, 1996, Menil Collection

Nef pour quatorze reines by Rose-Marie Goulet, a memorial to the École Polytechnique Massacre, featuring sculptural elements integrated into a specially landscaped site

History

Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world. Modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and co modification. Since 1960 the artists were trying to find a way out of this situation, and thus drew attention to the site and the context around this site . The work of art was created in the site and could only exist and in such circumstances - it can not be moved or changed. Site is a current location, which comprises a unique combination of physical elements: depth, length, weight, height, shape, walls, temperature.[1] Works of art began to emerge from the walls of the museum and galleries (Daniel Buren, Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries (Michael Asher, untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke, Condensation Cube, 1963-65, Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing the museum as an institution that sets the rules for artists and viewers.[1]

Examples

Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements (Site-specific art can be linked with Environmental art). Outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is sometimes used for any work that is (more or less) permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art.
Artists producing site-specific works include Michele Oka DonerSir Jacob EpsteinHenry MooreDavid SmithIsaac WitkinAnthony CaroDiego RiveraJosé Clemente OrozcoDavid Alfaro SiqueirosRichard HaasAlexander CalderIsamu NoguchiLouise NevelsonLeonard BaskinGeorge SegalTom OtternessRoy LichtensteinOlafur EliassonPINK de ThierrySol LeWittDennis OppenheimMax NeuhausRobert SmithsonAndy GoldsworthyChristo and Jeanne-ClaudeDan FlavinArchie RandRichard SerraOlga KisselevaMichael HeizerPatricia JohansonJames TurrellPaul Kuniholm PauperAna MendietaAthena TachaAlice AdamsNancy HoltRowan GillespieScott BurtonRobert IrwinMarian ZazeelaGuillaume BijlBetty BeaumontAlbert VranaSally Jacques, and younger artists like Eberhard BossletMark DivoLeonard van Munster, Luna Nera,[2] SimparchSarah SzeStefano CagolNatHalie Braun Barends, and Seth Wulsin. In Geneva, Switzerland, the two Contemporary Art Funds of the City and the Canton (FMAC and FCAC) are looking forward to integrate art into the architecture and in the public space since 1980 . The Neons Parrallax was conceived specifically for the Plaine de Plainpalais whose perimeter, located at the heart of the City, the challenge of the artists invited was to transpose the advertising stakes of the commercial signs of the harbour in artistic messages.[3]
Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town, South Africa. The site-specific nature of the works allows artists to interrogate the contemporary and historic reality of the Central Business District and create work that allows the city's users to engage and interact with public spaces in new and memorable ways.

Gallery

Land Art

Land art



Spiral Jetty by Robert Smithson from atop Rozel Point, in mid-April 2005
Land artearthworks (coined by Robert Smithson), or Earth art is an art movement in which landscape and the work of art are inextricably linked. It is also an art form that is created in nature, using natural materials such as soilrock (bed rock, boulders, stones), organic media (logs, branches, leaves), and water with introduced materials such as concretemetalasphalt, or mineral pigments. Sculptures are not placed in the landscape, rather, the landscape is the means of their creation. Often earth moving equipment is involved. The works frequently exist in the open, located well away from civilization, left to change and erode under natural conditions. Many of the first works, created in the deserts of Nevada, New Mexico, Utah or Arizona were ephemeral in nature and now only exist as video recordings or photographic documents. They also pioneered a category of art called site-specific sculpture, designed for a particular outdoor location.

History[edit]


Museum paper board left on the bank of the river for 4 days. By Jacek Tylicki, S.W. of LundSweden, 473 X 354 mm. 1973

Bunjil geoglyph at the You YangsLara, Australia, by Andrew Rogers. The creature has a wing span of 100 metres and a 1500 tonnes of rock was used to construct it.

Satellite view of Roden Crater, the site of an earthwork in progress by James Turrell, outside Flagstaff, Arizona.
Land art is to be understood as an artistic protest against the perceived artificiality, plastic aesthetics and ruthless commercialization of art at the end of the 1960s in America.[citation needed] Exponents of land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial art market. Land art was inspired by minimal art and Conceptual art but also by modern movements such as De Stijlcubismminimalism and the work of Constantin Brâncuși and Joseph Beuys. Many of the artists associated with land art had been involved with minimal art and conceptual artIsamu Noguchi's 1941 design for Contoured Playground in New York is sometimes interpreted as an important early piece of land art even though the artist himself never called his work "land art" but simply "sculpture". His influence on contemporary land art, landscape architecture and environmental sculptureis evident in many works today.
Alan Sonfist is a pioneer of an alternative approach to working with nature and culture that he began in 1965 by bringing historical nature and sustainable art back into New York City. His most inspirational work is Time Landscape an indigenous forest he planted in New York City. He also created several other Time Landscapes around the world such as Circles of Time in Florence Italy documenting the historical usage of the land, and recently at the deCordova Sculpture Park and Museum outside Boston. According to critic Barbara Rose, writing in Artforum in 1969, she had become disillusioned with the commodification and insularity of gallery bound art. In 1967, the art critic Grace Glueck writing in the New York Timesdeclared the first earthwork was done by Douglas Leichter and Richard Saba at the Skowhegan School of Painting and Sculpture. The sudden appearance of land art in 1968 can be located as a response by a generation of artists mostly in their late twenties to the heightened political activism of the year and the emerging environmental and women's liberation movements.
The movement began in October 1968 with the group exhibition "Earth Works"[1] at the Dwan Gallery in New York. In February 1969, Willoughby Sharp curated the "Earth Art" exhibition at the Andrew Dickson White Museum of Art at Cornell University, Ithaca, New York. The artists included were Walter De MariaJan DibbetsHans HaackeMichael HeizerNeil JenneyRichard LongDavid MedallaRobert MorrisDennis OppenheimRobert Smithson, and Gunther Uecker. The exhibition was directed by Thomas W. Leavitt. Gordon Matta-Clark, who lived in Ithaca at the time, was invited by Sharp to help the artists in "Earth Art" with the on-site execution of their works for the exhibition.
Perhaps the best known artist who worked in this genre was the American Robert Smithson whose 1968 essay "The Sedimentation of the Mind: Earth Projects" provided a critical framework for the movement as a reaction to the disengagement of Modernism from social issues as represented by the critic Clement Greenberg. His best known piece, and probably the most famous piece of all land art, is the Spiral Jetty (1970), for which Smithson arranged rock, earth and algae so as to form a long (1500 ft) spiral-shape jetty protruding into Great Salt Lake in northern UtahU.S.. How much of the work, if any, is visible is dependent on the fluctuating water levels. Since its creation, the work has been completely covered, and then uncovered again, by water. Smithson's Gravel Mirror with Cracks and Dust (1968) is an example of land art existing in a galleryspace rather than in the natural environment. It consists of a pile of gravel by the side of a partially mirrored gallery wall. In its simplicity of form and concentration on the materials themselves, this and other pieces of land art have an affinity with minimalism. There is also a relationship to Arte Povera in the use of materials traditionally considered "unartistic" or "worthless". The Italian Germano Celant, founder of Arte Povera, was one of the first curator to promote Land Art.[2]
'Land Artists' have tended to be American, with other prominent artists in this field including, Carl AndreAlice AycockWalter De MariaHans HaackeMichael HeizerNancy HoltDennis OppenheimAndrew RogersCharles RossRobert SmithsonAlan Sonfist, and James Turrell. Turrell began work in 1972 on possibly the largest piece of land art thus far, reshaping the earth surrounding the extinct Roden Crater volcano in Arizona. Perhaps the most prominent non-American land artists are the British Chris DruryAndy Goldsworthy, Peter Hutchinson, Richard Long and the Australian Andrew Rogers.[3] In 1973 Jacek Tylicki begins to lay out blank canvases or paper sheets in the natural environment for the nature to create art.
Some projects by the artists Christo and Jeanne-Claude (who are famous for wrapping monuments, buildings and landscapes in fabric) have also been considered land art by some, though the artists themselves consider this incorrect.[4] Joseph Beuys' concept of 'social sculpture' influenced 'Land art' and his '7000 Eichen' project of 1982 to plant 7000 Oak trees has many similarities to 'Land art' processes. Rogers' “Rhythms of Life” project is the largest contemporary land-art undertaking in the world, forming a chain of stone sculptures, or geoglyphs, around the globe – 12 sites – in disparate exotic locations (from below sea level and up to altitudes of 4,300 m/14,107 ft). Up to three geoglyphs (ranging in size up to 40,000 sq m/430,560 sq ft) are located in each site.
Eduardo Sanguinetti, the latinoamerican philosopher and land-artist, presented in 1979 his "Sculptures in Earth". They were placed in natural spaces, they became functional as plants and animals made their homes in that particular ´topos´instalated en La Pampa desert. Later they acquired the noise of codes capable of classifying smells and colurs, and will complete the original idea of our artist, who was at that time absorbed by the countryside and its specular radiation...in his Land-Art Performance "Solum" (1987), in the zoomorphy of that horse that greatly seduce the audience of the Centro Cultural Recoleta (ex Centro Cultural Ciudad de Buenos Aires). "Amarillo Total" the name of the horse, not only stopped the ecologic blow but also paraded the models who had been completely painted by our artist, their naked painted bodies put another body to painting, with artesan colours prepared with earth and plants pigments.[5] In Sanguinetti's Essay "Alter Ego" (1986), he said: "Spontaneus Activity in Nature...In nature, there is a type of spontaneous activity. This concept does not exist in cultured man, and if it does remain in children, it is like a faint reminiscence of the primitive mind...Consequently I think that the survival of an awareness of the supernatural in nature, should, in all works of Land-Art, be the thing which ´animates Everything´".[6][7]
Land artists in America relied mostly on wealthy patrons and private foundations to fund their often costly projects. With the sudden economic down turn of the mid-1970s funds from these sources largely stopped. With the death of Robert Smithson in a plane crash in 1973 the movement lost one of its most important figureheads and faded out. Charles Ross continues to work on the Star Axis project, which he began in 1971. Michael Heizer continues his work on City, and James Turrell continues to work on the Roden Crater project. In most respects 'Land Art' has become part of mainstream public art and in many cases the term "Land Art" is misused to label any kind of art in nature even though conceptually not related to the avant-garde works by the pioneers of Land Art.

Contemporary land artists[edit]


Milton Becerra Meteorite Ibirapuera Park, XVIII Biennial of São Paulo, Brazil (1985).

Eberhard Bosslet, side effect X, Tias, Lanzarote, (2008)
YATOO – a Korean Nature Artists’ Association which was founded in 1981, started working with Nature equipped with nothing but empty hands and wide open minds and seeking direct inspirations from Nature. YATOO International Project (YATOO-i), is a newly organized project and is based on the idea that the Nature we live in is seamlessly connected regardless of the human-designated borderlines.[8]

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