It has felt like a rather slow week for art news. Here are some of the stories you might have missed this week via our twitter page. On this weeks roundup you will find Japan’s bad ass million dollar, robot flying Spiderman, the history of the pubic wig, and one young man’s thoughts on the Walker art Center. Hope everyone has a great weekend. Maybe we’ll see you at the Hyde Park Art Center on Saturday.
- reBlog has a great chart/video of the most common letters and stylistics variations in graffiti.
- Just when it looked like the Children’s Museum could move to Grant Park the economy catches up with them.
- The 70′s intro for the Japanese Spiderman is awesome. Why didn’t the American one have a flying robot?
- The World’s Best Ever has a surprisingly interesting history of the pubic wig.
- I’ve never road a bike down a mountain, which might explain why I have never thought about the history of Mountain biking. Klunkerz: A Film About Mountain Bike History
- Proximity’s sister publication Pr now has it’s own site. Be sure to check out some of their online content.
- “…art is only for the artist but then if it’s only for the artist why is it on exhibit at the Walker?” Probably the best review of an art museum ever written. (via eyeteeth)
- RT @wired Blind photographers use gadgets as visual prosthetics, and continue making art. This is what it’s all about.
Chicago artist Dan Peterman’s Running Table begins installation in Millennium Park’s Chase Promenade today, and will be ready by Thursday, July 2nd, just in time for the Park’s Independence Day picnic and musical festivities. The Table will be available for public use for the rest of the Park’s 2009 summer season.
The one hundred foot long picnic table was first installed in 1997 in Grant Park.
Made from “the equivalent of two million recycled milk bottles,” Peterman’s table emphasizes the communal aspects of park experiences and public space in general.
Laurie Palmer described Peterman’s Table in a 1997 issue of Frieze:
“On close inspection, the surface of the table is rough to the touch, chaotic and unfamiliar – the swirls and strings of re-melted plastic asserting themselves. Stepping back, you can see subtle undulations in the extruded panelling: unlike wood, once-again plastic remains supple – as thick as you make it, it will still want to sag. Like other works by Peterman made of recycled plastic and suggesting infinite progression, the table is of modular construction so that, by implication, it could keep going for as long as there is space to accommodate it. Supply of materials is not a problem, since what the table is in part designed to be used for – consumption – provides the raw material for its continual extension. Here, the modular form is interlocking, so that the table can’t be broken up into separate tables of reasonable size—if you took it apart, you’d have slivers of tables, like puzzle pieces, a design feature that ensures the integrity of the idea. (The bench components, however, built into the overall design, are discrete, to allow for swinging the legs around, and some semblance perhaps of smaller groupings within the collective whole).”