Last Supper 2010 Art- George Pfau
Artist: George Pfau
Title: Body Layering, Markers of Classification
Size: 18″ x 24″
Medium: Ink, Paper
zombie is constructed and reconstructed into reflections of our human conditions that
can be terrifying, funny, uncanny, and transgressive. The zombie offers conflations of
exterior and interior, uniform and anatomy, skin and guts. The boundaries that surround
and separate each body (each “self”) are drawn into question as skin peels aside and
bodily structures ooze into their surrounding environments. Additionally, when flesh
is devoured and consumed bodies become merged: the self becomes part of the other.
Each of my drawing acts as a mirror, reflecting back bodily structures both imagined and
real. In the enclosed pdf are drawings that combine the components of contemporary
zombie films, 16th Century Italian medical drawings, and Italian Futurist Sculpture.
“Body Layering, Markers of Classification” for example, puts inner and outer bodily
surfaces on display and seeks to find the blurry area between identifiable, named, person
and the area of recognition that occurs as the result of a policeman’s hat, high-heeled
shoes, or bulging muscles. In zombie films, personal names are often erased while these
costume elements remain.
the Arts. He has just completed his thesis paper about the recognition, classification,
layering and mapping of the human body as seen through the pop-cultural notion of the
zombie. This summer he is making work at an art-residency in Wassaic, New York and
then in Salzburg, Austria, as winner of the Daisy Soros Fine Art Prize.
TLS 2010 Fundraiser Campaign on Kickstarter
Help us reach our fundraising goal of $3000 on Kickstarter!
Why Support the Last Supper Festival?
-Great Incentives at any price
-Our unique approach to multi-sensory curation builds a stronger community of creative ideas sharing
-Sensory stimuli are an integral part of an aesthetic life, it’s what makes us human!
-Help foster new ways of eating, seeing, listening, smelling, creating, consuming and storytelling
-We don’t create in a bubble. We’re a talented, motivated group of individuals with a creative conscience. We are committed to contextualizing our work within the shifting needs of our current environment, economy, socio-political and technological atmosphere.
What you support:
The Last Supper is a multimedia, project-based collaborative festival that addresses the act of consumption. Viewing the creative process as a cyclical, communally interactive conversation between media, it is a non-profit benefit event for the Food Bank of New York City. The Last Supper is an indoor-outdoor salon of ideas occurring in NYC during the crux of seasonal change at the end of September. As a feast for the senses and a symposium of genres, the gathering kindles the creative miasma infused by the city’s autumnal shift, harvesting the cornucopia of media in our own backyard and sparking an atmosphere for open dialog and collaboration. Short films and works from emerging directors and artists, edible installations from creative culinarians, performance, design projects, writing and music from several local bands and DJ’s will grace the dinner table. Each year, the show sparks dialog about consumption by curating projects based on a theme of global and local import. This year, more than 50 creators and volunteers will discuss ideas about “Self-Made” with an audience of peers to evaluate our state of consumption. The decay of Summer and the emergence of Winter will be celebrated at the Sixth annual Last Supper.
Interactive Values:
While pop culture and the internet cut civilization away from physical communication, and towards ethereal relationships; distinctions between media blur along with personal and communal identity. Making with a creative conscience, we hope to extol and critique these global paradigm shifts, while sharing our local narrative. The conceptual content of our work blends preconceptions, genres, social strata and partnerships within the community. Last Supper is an experiment and engagement in social interaction, energy consumption, and dialog. Piquing all the senses, the show produces a multi-dimensional experience that allows access to attendees from varying backgrounds to reinterpret the way they consume media, interact with one-another and share. Tactics that engage the audience in an environmental spectrum of intellectual discourse (the gallery), performative story telling (the screen), to corporeal conversation (the disco) are shared with comfort (the meal). Establishing a tradition of invention, Last Supper values the sharing of ideas at one table and the home as microcosm for urban life.
Creative Practice:
Lambastic is a creative datum line and resource organization of/for a community of multi-disciplinary artists. A multi-sensory approach to curating allows for a more nuanced approach to storytelling, sensory aesthetics, and explorations in creative memory. A cross section of talent from varying professional backgrounds, and emerging ideas (with an emphasis on criticism and productive dialog), our collective promotes open access to studio practice from different genres. To contextualize ones work and ideas within the local and global community is a contribution to its growth, and an engagement of social currents. A salon series of public critiques throughout the year, connector events between organizations, projects, and artists, dinner lecture series, educational programming and an annual exposition: community building is a vital function of our creative practice. The realization of collaborative endeavors with volunteerism and professional support builds momentum and strengthens responsibility for projects and their environments.
2010 Curatorial Theme:
The Last Supper Salon 2010 will explore the creative individual as a self-made person and provocateur of social change. In contrast to the male robber baron of our industrial age, the contemporary version of the ‘self-made man’ is an artist of any gender, discipline, representation; someone who is cross-cultural and cross-national, and someone tapped in to the individual as part of the border-less, collective wisdom created by open source ideas sharing. Humanity is transforming it’s identity to fit the current needs of a new economy (ie-’green’ or ‘technology’ professions) and socio-political environment (waning natural resources, environmental disasters). While artists have historically had the freedom to shed their outward appearance according to personal inquiry, the public now has a unique opportunity to molt old identities for new visions. Using an experimental, multi-sensory, collaborative approach, we hope to critique the way we produce the goods and services that define our generation (as representations of ourselves), the way we consume media, products and our environment, and the way open dialog, DIY and technology promotes self-made identity prototypes.
Last Supper Tropical Masquerade
Friday, July 30th 8pm-2am
The Commons Brooklyn (388 Atlantic Avenue)
$5 w/ costume
-Tropical treats served up hot all night
-Masquerade madness with music by the BLANKS DJs
-Libations from Brooklyn Brewery
-Multi-media art show and short films
Flesh out your flamboyant, tropical desires at the Last Supper Salon’s Tropical Sensory Masquerade. Lambastic partners with BLANKS NYC & The Commons Brooklyn to present a Tropical Sensory Masquerade featuring exotic new media art, lush film projections, colorful cuisine, sultry libations from Brooklyn Brewery, and moist sounds for your rollicking rump. Powwow with artists, DJs, curators and producers for the Last Supper 2010- bring your ideas for projects, and your power animal energy to get down with your creative creature cohorts. Help support our multi-sensory vision by attending this buck-wild fundraiser for the big show in September- if you can’t make it, please consider donating to the cause via Kickstarter.
http://www.Lambastic.com/
http://www.blanksnyc.com/
http://www.thecommonsbrooklyn.org/
Last Supper 2010 Education Outreach
This year the Last Supper extends its programming to include educational partnerships with Red Hook Farms. Here’s a taste of the programs. Please check back for updates and details on how you or your family and friends can get involved with our community outreach education programs.
Handmade Paper Workshops by Pop-Up Art Studio
Hands-on workshop designed to introduce audiences of all ages to the art and craft of papermaking. In a 2-hour session, participants create several sheets of handmade paper from prepared pulp utilizing dipping and pouring techniques. Experimentation with dyes, embedding, and watermarking is encouraged!
Agricultural Connections: A Journal Project
Partnering with Red Hook Farms, Douglas Turner (the Festival’s Writing Curator) will lead young people on an exploration of agriculture, from germination to harvest, through a summer-long journaling project. It is hoped that by connecting people with sources of food, they will better nourish themselves.
Propose a class! Volunteer, Take one of these classes! Email: Producer@Lambastic.com
Last Supper 2010 Call to Creators
Last Supper Call to Artists 6/28/2010 – 7/23/2010
Calling all artists, filmmakers, food artists, bands, DJs, chefs, performers, designers, new media artists, writers – Submit your work!
“Self-Made” Curatorial Statement by Coralina Meyer
The Last Supper Salon 2010 will explore the creative individual as a self-made person and provocateur of social change. In contrast to the male robber baron of our industrial age, the contemporary version of the ‘self-made man’ is an artist of any gender, discipline; someone who is cross-cultural and cross-national, and someone tapped in to the individual as part of the border-less, collective wisdom created by open source ideas sharing. Humanity is transforming it’s identity to fit the current needs of a new economy, and socio-political environment. Using an experimental, multi-sensory, collaborative approach, we hope to critique the way we produce the goods and services that define our generation, the way we consume media, products and our environment, and the way open dialog, DIY and technology promotes self-made identity prototypes.
Deadline: Friday, July 23, 2010
Format: Online Submissions
Film: Film@Lambastic.com
Art: Art@Lambastic.com
Music: Music@Lambastic.com
Food Art: Food@Lambastic.com
Performance: Performance@Lambastic.com
Writing: Writing@Lambastic.com
New Media: Media@Lambastic.com
Other Genres, Questions, Volunteer Opportunities: Lambastic@gmail.com
Last Supper 2010 – New Media Art – Sophie Kahn
Artist: Sophie Kahn
Title: Head of a Young Woman, I
Size: Life-size
Date: 2004
Medium: Bronze (from rapid prototype in wax and 3d laser scan)
Artist Statement:
I first encountered 3D laser scanners at RMIT University, Melbourne, where a team of
architects were using it to reverse-engineer an unfinished building from the architect’s original
maquettes. I began using the scanner after-hours to create a series of self-portraits. The
precisely engineered device was never intended to image the body, and when faced with breath
and movement, it breaks down and generates fragmentary results. Like many artists, since
graduating I have found it hard to access such expensive and hard-to-find technologies, so I
began exploring means to creating a more sustainable practice. I have made video with a DIY
scanner made from a $40 laser level and a webcam, digital paper sculpture from free Japanese
origami software and crystal sculptures using laser engraving technology more commonly used
for corporate awards and golf trophies. I continue to use imaging technology “against the grain,”
so to speak, making a subtle and poetic critique of its claims to objectivity and veracity. While
truly DIY high-resolution rapid prototyping is a long ways off, the Internet has made it possible
for me to collaborate with file-engineering and rapid-prototyping service bureaus internationally
and to create pieces like the one in this exhibition.
With regard to my actual work, it addresses the erotics of death in the still image. It owes
its Victorian-futurist aesthetic to the interaction of new and old media–ie: the digital and the
analogue. My sculptural and imaging practice is a hybrid one, combining new advances in 3D
scanning and stereolithography with the comparatively ancient technology of bronze casting.
My practice has evolved (from my original training in photography) into a three-dimensional,
post-photographic exploration of the application of architectural imaging tools to the body and
landscape.
The precise 3D scanning technology at the laboratory at which I worked was never designed
to represent the body, which is always in flux. When confronted with a moving body, it receives
conflicting spatial coordinates, generating fragmentary results – a 3D ‘motion blur.’ But the
scanning process generates other referents too. The closed eyes and deathly frozen attitude
of the scanned bodies also resemble death masks and other forms of memorial portraiture.
The forms of this face twist and turn in space; the woman’s eyes are closed, as though asleep.
It is this concern with memorial representations – an imperfect archive of the traces left by the
body or by objects as they move through time and space – that is the thread combining the
historical and contemporary technologies combined in the making of this work.
Bio:
Sophie Kahn was born in London in 1980, and grew up in Melbourne, Australia. Sophie trained as a
photographer and studied in the UK, completing a BA (Hons) in Fine Art and History of Art at Goldsmiths
College, University of London, in 2001. Sophie returned to Melbourne after graduation, studying Spatial
Information Architecture at RMIT, where she expanded her practice to include animation, 3d imaging and
digital sculpture.
Sophie has presented individual and group exhibitions at artist-run, public and commercial spaces in
Melbourne, Australia (Gertrude Contemporary Art Spaces, West Space, 24Seven, Linden, Monash
Gallery of Art, Spacement Gallery), Sydney (Performance Space, Stills Gallery, and the Art Gallery
of New South Wales), Seoul (Loop Alternative Art Space), Tokyo (Tokyo Opera City Art Gallery,
DesignFesta, Tokyo Big Sight), Osaka (Arts Aporia), Singapore (Graphite at NTEU) Paris (Musee des
Sciences de L’Homme), Washington DC (The Kennedy Center, the Smithsonian Institution), London
(Britart.com space) and New York City (Space 414 and the Armory Show). Screenings and festivals
include the Japan Media Arts Festival, EMPAC Dance Movies, DANSCAMDANCE, and the International
Video Dance Festival of Burgundy.
Sophie has lectured and tutored in Photomedia, taught photography and new media at Eyebeam, the
International Centre of Photography and in a number of community settings, including to young woman
transitioning out of incarceration. She has also been employed by the Royal Children’s Hospital in
Melbourne, where she conducted research into 3d medical imaging. Her work has been shortlisted for a
number of prizes and awards, supported by the Australia Council for the Arts, the Australian Network for
Art and Technology, and the City of Melbourne, and is held in private collections in Australia, Britain and
the United States.
Sophie currently lives and works in Brooklyn, and teaches in the Digital Arts Department at Pratt Institute.
Last Supper 2010- Call for Writing
Last Supper 2010 Curatorial Theme: “Self-Made” by Coralina Meyer
The Last Supper Salon 2010 will explore the creative individual as a self-made person and provocateur of social change. In contrast to the male robber baron of our industrial age, the contemporary version of the ‘self-made man’ is an artist of any gender, discipline; someone who is cross-cultural and cross-national, and someone tapped in to the individual as part of the border-less, collective wisdom created by open source ideas sharing. Humanity is transforming it’s identity to fit the current needs of a new economy, and socio-political environment. Using an experimental, multi-sensory, collaborative approach, we hope to critique the way we produce the goods and services that define our generation, the way we consume media, products and our environment, and the way open dialog, DIY and technology promotes self-made identity prototypes.
Writing Curator’s Statement by Douglas Turner & Tryn Collins
We are living at the edge of postmodernity, the end of an era–the seed of preconceived notions and ideas. And we are writing a new chapter, a new era; the beginning of an as of yet defined anthology. Nevertheless, with our attachment to ideas, every attempt to define our notion of Now feels like unstable shifting ground. The shape of our cultural surroundings is so hard to grasp. Is it a matter of perspective? Are we indeed leaving or arriving? Are we closing out an era or forging a new one? Has it always felt this way? By seeing the shape of the self as fluid and moving: an impossible shape, the definition of the writer-self is experiencing a transformational process. Nothing exists that the self cannot access. In a time of expansive growth, the all encompassing technology and connectedness makes the collective self consequently indefinable. Does this make for an even more feverish strive for private/individual self? In the Creative Process, self-made connotes a volitional choice to become something, and that sense of determination involves sacrifice–to shed something in order to make room for the harvest; to leave an old perception or idea behind. We give ourselves to a cleared space for creativity, a moment in the writing process when the words and structure of story seemingly come from nowhere. Our perspective would then shift from the position of the Individual to a larger one of the Whole. Should then our idea of self (private/individual) bend sacrificially to the collective? The creative process then would have a beginning, no end, only an ever-expanding desire to create. There is infinite potential that the individual has access to, and every great writer has tapped into that source. Understanding culture as object and subject of influence, the intersecting of community and art are momentous to burgeoning culture. When we cling to preconceived ideas and styles we mimic; satirically creating art–instead of letting go, honoring what came before, and carrying on the tradition of creating something new. The writers of modernity and postmodernity have thoroughly explored the role of the individual in all sorts of ways and with good reason. Can we, and if so, how will we determine the end of an era and the beginning of something new? What are we contributing to the Creative Process, a process that is consequently indefinable? We seek to curate a group of writers who are exemplars of selflessly expressing the autonomy of the creative process, as a means of becoming self-made.
Information for Online Submissions:
Digital version of written work, Writer’s Name, Title of piece, Genre (poetry, short story? etc), Length, Availability to attend opening, Short Bio, Interpretation (how work relates to theme of show), jpg Headshot (2″x3” jpg 300 dpi), Link to writer’s website, Permissions to publish piece.
email Douglas Turner & Tryn Collins: Writing@Lambastic.com
The Last Supper Film Festival is an indoor-outdoor film, food, music and art festival occuring in Brooklyn during the crux of seasonal change in September. Referencing the celebratory nature of the feast, and the symposium of genres, the festival kindles the creative miasma sparked by NY's peppery fall and inventive community.The last exposure to outdoor interaction before the shearing winter...