Sebastian Errazuriz and his wall of sketches inside his Brooklyn studio.
Fifteen years ago, Sebastian Errazuriz was walking through his native Santiago, Chile, scoping sites for a public art project, when he came upon a rundown taxidermy museum that was going out of business. The owner had been clearing the space and piling the unwanted animals, mostly birds and reptiles, along the sidewalk for the dumpster. Among them was a large, white goose. The 21-year-old design student knelt down for a closer look. The bird smelled. Its neck was broken, its head flopped to one side, and its chest puffed, rigid and unmoving. Errazuriz thought it was “disgusting, awkward, and morbid.” Yet somehow, he says, it seemed funny? Weirdly elegant, even. Darkly cute?
Errazuriz had been struggling to find confidence in his ideas, and here he found a concept he loved. He plucked the goose from the pile and told the museum owner he’d be back with an idea and a blueprint.
This past September, Carnegie Museum of Art debuted Sebastian Errazuriz: Look Again, the first solo museum exhibition of the artist’s work. Since moving to New York City in 2006, art fairs including Art Basel and Design Miami have given his ideas an international platform. His work has been auctioned at Sotheby’s. He was named Chilean Designer of the Year. Now, through installation art, sculpture, conceptual furniture, and fashion, Look Again explores Errazuriz’s most pervasive theme to date: the unavoidable brevity of life. Among the earliest works in the show is Duck Lamp, made in 2004.
Wilkinsburg, PA. Photograph by Joey Behrens.
This is a love story about two women looking for the right match. For months, Pittsburgh artists Joey Behrens and Haylee Ebersole have been on the hunt for a commercial building they could transform into an artist residency and home. It is an ambitious plan fraught with bureaucratic and financial hurdles. Considering the guts and gumption of these two protagonists, this story is worth hearing from the beginning.
Artistic dreams that trump the nightmare of bureaucratic and financial obstacles are infectious and inspiring. There are many interesting and quirky success stories in Pittsburgh to emulate, starting with Jennifer Beals’s industrial-sized single gal apartment and rehearsal space in Flashdance (1983). Haylee Ebersole’s former studio was located in the Mine Factory, an art collective and exhibition space housed in a 4,000 square foot former mine safety equipment factory in the Homewood/North Point Breeze area. The Mine Factory opened last year after a successful Kickstarter crowdfunding campaign, a cultural phenomenon that in the last half decade has offered ebullient hope for making pie-in-the-sky projects a reality. Brick and mortar banks now seem imposing, old fashioned, and sluggish by comparison.
Film still from ‘Subatomic: The European Organization for Nuclear Research,’ the final installment of The Invisible Photograph documentary series.
The Invisible Photograph: World Premiere of Subatomic set for February 26, 2015
Join us for the fifth and final documentary world premiere for The Invisible Photograph, set at the European Organization for Nuclear Research on the border between France and Switzerland! The same series that has featured photographs buried underground, retrieved from old Amiga floppy discs, rescued from data created in outer space, and resuscitated from the trash heap, now journeys to its final destination to explore how photographic technologies are being used to visualize the subatomic world. Join us on February 26th for the world premiere screening of Subatomic and enjoy custom cocktails, lively discussions, and a chance to meet CERN scientists! Click here to read more and register.
While there are a number of images of Teenie Harris’s family events in the collection, there are just a few without people in them. One December in the late 1940s or early 1950s, he took a picture of their Christmas tree in a corner of his living room. The room is dim and cozy, the tree is lit, and the presents beneath opened and in slight disarray (pictured above).
Advisory board teachers use permanent collection photographs to discuss how students might practice visual literacy during a museum visit.
Carnegie Museum of Art has a lot of different audiences, and one of the biggest is groups of K-12 school students. So far in 2014, we’ve seen almost 11,000 of them for guided gallery visits. It’s important that we offer programs that complement what teachers and students are doing in schools. This happens somewhere between the art content (from contemporary to classical antiquity, architecture to photography) and the 21st-century skills that students practice during these visits (like observation, interpretation, making inferences, and backing up their reasoning with evidence).
As museum educators, we strive to provide something valuable and motivating to prompt teachers to sign up for a guided gallery tour or workshop. This is why we have an application-based teacher advisory board. We carefully select teachers who come from a variety of disciplines, school districts, and grade levels. This interdisciplinary approach has been important to our school programs for years.