Showing posts with label Artist. Show all posts
Showing posts with label Artist. Show all posts
Tuesday, March 22, 2022
Thursday, March 10, 2022
Thursday, February 24, 2022
FHP: ARTISTS STATEMENT/ working document/ 2NU4U2C* - Google Docs
Artist statement 2NU4U2C* - Google Docs
This is not a final draft.. it is and unedited working document
Wednesday, November 11, 2020
some pix - bevrichey@gmail.com - Gmail
some pix - bevrichey@gmail.com - Gmail
"The google doc album looks fantastic! I so enjoyed taking the trip through the planning, the constructing, the decorating and the event which your collection provides. It’s well done – congrats on digitizing, laying out, including/not including and making it internet-able. I’ve saved most of it to my hard drive. Studying the display at Artspace someone might piece it all together but, unless I missed a blurb, there is no overview, nothing tells really what made it unique, what happened at the ABBC, it’s mayor [unwittingly] sanctioned sly spoof on bureaucracy." Roberta Chambers 2020
Photo Credits: Roberta Chambers
Sunday, January 26, 2020
John Landino; Sculptor The Hartford Courant
THE HARTFORD COURANT
February 13, 1987
"In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer."
Photo Caption: John Landino of Cheshire is framed by two of his sculptures outside his studio along the Quinnipiac River in New Haven
Photo Credit: Michael Levingham (special to the Courant)
Is a rested, curved piece of scrap metal art? Is an old sail billowing in the breeze, with children struggling to hold onto it?
What about an 11 story building partially wrapped in nylon?
For sculptor and conceptual artist John Landino of Cheshire, art is all of these things and more. Using anything he can find, Landino works in abstract forms to produce objects and "art experiences" that he says deal with change, the future and the subconscious.
"I've always tried to take a material that was stable and create movement and change," says Landino, whose artistry takes him from his home in Cheshire to scrap metal yards, roadside tag sales, and landfill sites. Dealing primarily in "found objects," Landino creates abstract art forms.
To create his metal sculptures he never cuts, but rather welds together various pieces until they reach a form he is satisfied with. "I find objects and resurrect them into a new form, "he says with confidence.
The art he creates is not always something people immediately lie. but make no mistake, his work often attracts a lot of public interest-something that Landino says is all part of his art form.
A case in point. In September 1084, Landino and another artist - in the fashion of master site artist Christo -c completely wrapped a four-story Victorian building in New Haven in clear plastic. Last year, he wrapped several exterior floors of the Gateway Center Building in New Haven with 3,000 yards of nylon.
"What I do may be uncomfortable for people, "Landino says, But part of what I am trying to do is to make people react."
Landino's abstract sculpture titled "Homage to Creativity" caused a stir at a Cheshire park two years ago. Consisting of a curved piece of steel resting upon an 8 - foot I -beam on top of a metal post, the piece eventually was removed.
"Artwork doesn't have to be accepted by everybody," he says carelessly.
Still Phyllis Satin owner of the Wave art gallery in New Haven says a major attraction of Landino's sculptures is that try invite the observer to come closer, to touch or rub or climb on them.
"People seem to really respond to them," Satin said. Last fall, the gallery helped Landino organize a self - guided tour of his sculptures placed throughout New Haven.
Rarely paying for objects, Landino is always on the lookout for pre-art junk. "I try to make some sense of waste or scrap - there's beauty wherever you look. A dump is a place I feel real comfortable in."
In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer.
Although he has been working in metal only for the past five years, the 39 - year old Landino has quickly made an impression on the Connecticut art community.
"It was the meditative quality of his work that first attracted me, "said Deborah Frizel of the Connecticut Gallery in Marlborough. "I heard about his sculpture walk [in New Haven] and I went to see some of his pieces. I became very excited by his work and personality.
"Usually people aren't attracted to abstract sculpture, but it has something to do with his forms. proportions and relationships. "she said. "They invite you to touch and sit on them." Combining his career as an artist with a separate career as a recreational therapist, Landino sees part of his life's work as helping people relieve stress. One of Landino's major goals is to create sculptures that invite the observer to touch, to imagine and to fantasize.
"My sense is that in our society we don't have a lot of outlets to relieve stress, anger or tension, "said Landino, who works in a studio by the Quinnipiac River in New Haven: "Public art takes people out of their ordinary environment"
He points to Christo and Alexander Calder as major influences in his evolving career, " I always thought I was going to be a traditional sculptor but once I got a torch in my hand," he says excitedly," ...it was the fire and the element of stell that did it."
He divides his art and his therapy practice equally, but lately, as his art projects have grown, so has his time commitment to art. Recently he purchased a small crane to assist him in fashioning larger, "more pubic" sculpture outdoors.
Landino has set his sights on more large projects. He says he would like to work more in nylon and in kinetic wind forms. He'd also like to completely wrap the soldiers and Sailors Memorial Arch, which is now under renovation, in Harford's Bushnell Park.
"Imagine, " Landino says excitedly. "I know if I wrapped it I'd get at least 3 million people to see that arch who didn't even notice it in the past."
FOR IMAGES AND INTERACTIONS:
MEET & ENGAGE WITH JOHN LANDINO & OTHERS IN THE ARCHIVE
Link to John Landino in the Archive:
Link to John Landino New Haven Environmental Art Works in the Archive
February 13, 1987
Sculptor scours scrapheap
Abstract shapes meant to provoke
by RICK GREEN Courant Staff Writer
"In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer."
Photo Caption: John Landino of Cheshire is framed by two of his sculptures outside his studio along the Quinnipiac River in New Haven
Photo Credit: Michael Levingham (special to the Courant)
Is a rested, curved piece of scrap metal art? Is an old sail billowing in the breeze, with children struggling to hold onto it?
What about an 11 story building partially wrapped in nylon?
For sculptor and conceptual artist John Landino of Cheshire, art is all of these things and more. Using anything he can find, Landino works in abstract forms to produce objects and "art experiences" that he says deal with change, the future and the subconscious.
"I've always tried to take a material that was stable and create movement and change," says Landino, whose artistry takes him from his home in Cheshire to scrap metal yards, roadside tag sales, and landfill sites. Dealing primarily in "found objects," Landino creates abstract art forms.
To create his metal sculptures he never cuts, but rather welds together various pieces until they reach a form he is satisfied with. "I find objects and resurrect them into a new form, "he says with confidence.
The art he creates is not always something people immediately lie. but make no mistake, his work often attracts a lot of public interest-something that Landino says is all part of his art form.
A case in point. In September 1084, Landino and another artist - in the fashion of master site artist Christo -c completely wrapped a four-story Victorian building in New Haven in clear plastic. Last year, he wrapped several exterior floors of the Gateway Center Building in New Haven with 3,000 yards of nylon.
"What I do may be uncomfortable for people, "Landino says, But part of what I am trying to do is to make people react."
Landino's abstract sculpture titled "Homage to Creativity" caused a stir at a Cheshire park two years ago. Consisting of a curved piece of steel resting upon an 8 - foot I -beam on top of a metal post, the piece eventually was removed.
"Artwork doesn't have to be accepted by everybody," he says carelessly.
Still Phyllis Satin owner of the Wave art gallery in New Haven says a major attraction of Landino's sculptures is that try invite the observer to come closer, to touch or rub or climb on them.
"People seem to really respond to them," Satin said. Last fall, the gallery helped Landino organize a self - guided tour of his sculptures placed throughout New Haven.
Rarely paying for objects, Landino is always on the lookout for pre-art junk. "I try to make some sense of waste or scrap - there's beauty wherever you look. A dump is a place I feel real comfortable in."
In the past four or five years Landino has made 350 pieces out of scrap, he estimates. They range from a 2.000 - pound model of a tall ship he created for the city of New Haven to a mammoth ball and chain he fashioned out of an old marker buoy and a chain from a bulldozer.
Although he has been working in metal only for the past five years, the 39 - year old Landino has quickly made an impression on the Connecticut art community.
"It was the meditative quality of his work that first attracted me, "said Deborah Frizel of the Connecticut Gallery in Marlborough. "I heard about his sculpture walk [in New Haven] and I went to see some of his pieces. I became very excited by his work and personality.
"Usually people aren't attracted to abstract sculpture, but it has something to do with his forms. proportions and relationships. "she said. "They invite you to touch and sit on them." Combining his career as an artist with a separate career as a recreational therapist, Landino sees part of his life's work as helping people relieve stress. One of Landino's major goals is to create sculptures that invite the observer to touch, to imagine and to fantasize.
"My sense is that in our society we don't have a lot of outlets to relieve stress, anger or tension, "said Landino, who works in a studio by the Quinnipiac River in New Haven: "Public art takes people out of their ordinary environment"
He points to Christo and Alexander Calder as major influences in his evolving career, " I always thought I was going to be a traditional sculptor but once I got a torch in my hand," he says excitedly," ...it was the fire and the element of stell that did it."
He divides his art and his therapy practice equally, but lately, as his art projects have grown, so has his time commitment to art. Recently he purchased a small crane to assist him in fashioning larger, "more pubic" sculpture outdoors.
Landino has set his sights on more large projects. He says he would like to work more in nylon and in kinetic wind forms. He'd also like to completely wrap the soldiers and Sailors Memorial Arch, which is now under renovation, in Harford's Bushnell Park.
"Imagine, " Landino says excitedly. "I know if I wrapped it I'd get at least 3 million people to see that arch who didn't even notice it in the past."
FOR IMAGES AND INTERACTIONS:
MEET & ENGAGE WITH JOHN LANDINO & OTHERS IN THE ARCHIVE
Link to John Landino in the Archive:
Link to John Landino New Haven Environmental Art Works in the Archive
Wednesday, January 22, 2020
1982 ARTS COUNCIL ARTS AWARDS; The New York Times, Sunday, May 2, 1982 Connecticut Journal
1982 ARTS COUNCIL ARTS AWARDS
THE NEW YORK TIMES, SUNDAY, MAY 2, 1982CONNECTICUT JOURNAL
Mary Hunter Wolf, Murry Sidlin, right and Paul Rutkovsky, recipients of the 1982 awards from the Arts Council of Greater New Haven.
Annual awards of The Arts Council of Greater New Haven, the these three such awards in state, will be bestowed from 4 P.M. to 6:30 P.M. Saturday in the Yale University Art Gallery. Former Mayor Richard C. Lee will preside for the third year as master of ceremonies and Mayor Biagio DiLieto will make the presentations to the four recipients.
"The production of art in this region is so spectacular," said a spokesman for the council, "that an event of this kind is warranted."
The program will begin with a violin solo by Paul Kantor, followed by a one-act play titled "The Switchman," written by J.J. Areola and adapted for the stage by D.W. Faulkner.
For "achievements, services and artistic accomplishments which serve as an inspiration and standard of excellence to the arts community of South Central Connecticut, " as the presentation will read, hand-calligraphed scrolls will be presented to the 21-year old Creative Arts Workshop of New Haven, and to Murry Sidlin, conductor of the New Haven Symphony Orchestra.
Those to be cited for "exceptional growth and for exploring new forms and ideas," are Paul Rutkovsky, 35 year old performance artist and founder of Papier Mache Video Institute, and Mary Hunter Wolf, theatrical director, producer, television editor, actress and former chairman of the State Commission on the Arts, whose career began in 1927.
A special Laureate Award will be presented to Laetita Pierson for "continuous exemplary service to the the arts in the region." Mrs. Pierson had a significant role in forming the Arts Council, the Audubon Arts Center in downtown New Haven, the Creative Arts Workshop and the program of public plantings by the New Haven Garden Club. She will have a show of her own drawings and paintings at the Creative Arts Workshop, May 14-19.
The awards ceremony will end with a reception in the Gallery Sculpture Hall. Tickets at $12 must be reserved in advance by calling 772-2788.
Sunday, January 12, 2020
ARTICLE 1981: The Paper-Mache Video Institute; Paul Rukovsky
by Bud Brenner (a senior at Stillman college; Yale University)
THE NEW JOURNAL VOL. 14 #2 10/24/81 Yale Univ. Publication
The harvest moon shines brightly above the massive hulk of industrial silhouettes in New Haven's warehouse district. Hamilton Street is silent, lit by persistently pink mercury street lights. Romance pervades every darkened corner of the Bethany Shift Works building. A man in a tuxedo and battered sneakers makes his way up five flights of creaky stairs; a woman's rhinestone tiara glistens in the factory's greasy parking lot. A small crowd gradually congregates upstairs in the studio headquarters of the Paper Mache Video Institute. Tonight a time-honored American tradition finds new meaning, new vitality, in the Institutes's long awaited, sixth annual Miss America Spectacular.
A battery of television sets lined up against one wall of a darkened room assail the viewer. Most are tuned to the Miss America Pageant, and the plastic glory of Atlantic City, New Jersey, is reproduced in Technicolor throughout the room. Many of the sets are wildly mis-tuned, with nearly fluorescent orange and green tones, sound blares loudly across the room in a distorted chorus.
A young boy plays with a video tennis game, oblivious to a Brooke Sheilds commercial echoed some twenty times in front of him. Grown men manipulate toy tanks with remote-controlled radios. From behind a large wooden cut-out tank, people help themselves to wine and cucumber dip.
PMVI is no by any means a typical art gallery. Indeed, there are those who would insist that the Institute has absolutely nothing to do with art.
"I'm dedicated to avoiding art, " muses Paul Rutkovsky, the patron saint of PMVI. Rutkovsky, who founded the Institute teaches at New Haven's Pair School of Art. He keeps a low profile, focusing attention on his work. "We live in a time where museums are cathedrals; they've served their purpose for holding icons of the past. This is why I have a passion for reaching out to a different audience, one that has nothing to do the A.R,T. world. What is vital to our culture is off the picture plane, out of the proscenium and into the department stores and onto the highways." A large sign at the entrance to the Institute (which actually is located on the top floor of an old shirt factory) reads "Dedicated to the Promotion of Transient Culture." The medium? Xerox, of course.
Rutkovsky choose to construct most of his sculptural installations out of transient materials; video tape and papier mache figure prominently. Both decay in a comparatively short time span. Huge houses, built of papier mache and reaching anywhere from floor level to nearly ten feet high, haunt one area of the studio of the Institute. Contained within each one is a flickering video display. As the view peers into the windows of each house, he or she enters into a smaller world. In one house, the video display consists of a child's head, the figure composed of papier mache relief, the video screen comprising a face, which changes from a smile to tears over time.
In a taller house, a man sits in front of a silent TV screen, and the viewer gazes past him through another window to an alleyway and into a video display of a street beyond it. Rutkovsky says the houses represent the forced containment of people in their individual boxes, houses, cars and institutions are rigid enclosures of isolation. The inclusion of video screens serves as a reminder of television's omnipresent impact on our lives. People learn to relate to an inanimate box instead of each other.
There is stark sense of irony in Paul Rutkovsky's work, Confronting the culture's obsession with death machines with a childlike innocence, he combines some rather ugly images with happy colors and buoyant gesture. A recent exhibit, entitled "Paintings for the Future," consisted of sixty or seventy small paintings lined up on white walls. Rutkovsky remarks that they are representatives of military war machines in very slick fashion, I just wanted to present them in a highly designed mode. It was actually a very cynical presentation. because, because they were so pretty-graduated colors, muted greys. My cynicism hides occasionally, but it was out this month. "Subject matter included airborne missiles gliding past the upturned tails of happily leaping whales, studies of tanks and a detailed mini-series called "Marty Watching TV,"which depicted a young man with vacant face in front of various colored television sets.
Television is a recurring theme in Paul Rutkovsky's work. As a video artist he has created a number of unusual tapes, including one which was presented at a Stillman Sheep's Clothing concert a few years back, a piece entitled "How to Draw" In the videotape, Rutkovsky appears and shows the viewer how to draw various objects (such as a sink, cat, etc.,) and objects and finally shows a filmed demonstration of each object in use. The last lesson demonstrates the drawing of a gun, and the video protagonist is assassinated at the end of the lesson. One reason why Rutkovsky's work is so accessible to those "untrained" in art, and appreciated by those who might normally reject it out-of-hand, is that no abstraction is carried beyond everyday life. If it can be translated into television terms, it can be understood by any modern person.
Needless to say, there are strong political overtones to Rutkovsky's art. However, there is no ideology involved in its presentation, no preaching. He says his creations simply reflect militaristic attitudes rampant in today's world. A show upcoming in Los Angeles, opening on November 14 at Contemporary Exhibitions, is called "Airplane Remnants" and consists of a Korean War bomber control panel, whose switches are operated by Rutkovsky. Portable tape players and hanging lights are placed at different points in the gallery,, scattered among wings, stewardesses cockpits, pilots, wheels, bullets, tail fins, and missiles. Rutkovsky operates the lighting and sound selections at whim: sounds include recordings of an atomic bomb explosion, bullets, and machine guns. The audience wanders about the gallery viewing the changes through plastic opera glasses and filling out order forms for their favorite airplane remnants. the message behind the art, in this case, is gleaned through direct participation.
Participation is what an evening at a Papier Mache Video Institute opening is all about. At any given moment, you, the viewer, might be drafted to zerox [sic] your face in slow motion or assist in the photography of a seltzer bottle being shot at a live electrical wire. Artists are are always willing to discuss their work, and the physical layout of the Institute is intriguing. at times a bit confusing, because the walls are moved periodically. the surrealistic surroundings of a totally industrialized neighborhood offer a vista refreshingly unlike Yale's ivory towers.
Although the Papier Mache Video Institute is held together largely by Paul Rutkovsky's imagination and a little rubber cement, it is the home of numerous exhibits and performances created by other artists whose interest range from the mildly avant-garde to the wildly incomprehensible. Sound sculptures, painting displays, video and film projection and performance pieces are all part of the Institutes's calendar. New York's Carmen Beuchat performed two evenings of modern dance on October 16 and 17. Her performances, according to Paul Rutkovsky, "include works that combine pure dance with mixed media modes that are both mysterious and exhilarating."
Another opening, entitled "Visual Events in Various Rooms" premiered on October 23. A number of artists have collaborated on this one, the Animal Room features a group exhibition containing "The Farm Installation" by Anna Bresnick and Fran Real, paintings by Joan Gardner called "Random Roads to Extinction." In addition Jack Harriett displays imitation backyard (complete with birds and birdbaths). Beverly Richey's graphite and paper works and Ben Westbrock's "Abstract Environmental Sculpture" fill a room each. Rutkovsky's ever-popular Artificial Store is also open, offering "cultural refreshments at discount prices."
One attraction tentatively being planned is the creation of the Hamilton Street Country Club, which will feature a 9-hole miniature golf course, papier mache landscapes, souvenir T-shirts and golf caps and assorted toys. Rutkovsky terms the work "a recreational art piece," viewers will be encouraged to play on the course.
"The Papier Mache Video Institute is located at 133 Hamilton Street, in New Haven. The studio phone number is 777-0906. Paul Rukovsky welcomes inquires about exhibits and is always open to presenting new works at the Institute. Whether you're dedicated to art, dedicated to avoiding art or simply into watching television PMVI is an adventure for the senses.
Wednesday, June 19, 2013
A Cake by Committee transient Art an amazing part of 350th
New Haven Register
June 1988
A Cake by Committee transient Art an amazing part of 350th
By Markland Taylor
To Beverly Richey, Leon Weinberg, and friends, New Haven's 350th birthday celebrations this weekend are quite literally, a piece of cake.
To be precise, 3500 of official, free, individually sliced cake, which will be served to 3500 reveling members of the public on the New Haven Green on Saturday and Sunday afternoons and evenings.
It's all part of Richey and Friends' A-Mazing Bureaucratic Cake. A slice of transient culture commissioned by New Haven's 350 Committee and sponsored by Leon's Bakery, the committee, the New Haven Register, and the Arts Council of Greater New Haven. And what is more culturally transient than and edible piece of cake?
Actually, New Haven's A-Mazing Bureaucratic Cake is a combination of the edible and non-edible. The edible portion, supplied by Weinberg's Leon's Bakery, will consist of a generous supply of sheet cakes.
The non-edible portion will be an "elaborate and humorous" central structure-an 14-foot high iced facade of city hall.
It will have cut out windows through which the edible slices of cake will be served and part of the fun will be a "bureaucratic maze" (hence the cake's amazing title), a crowd-control device through which would-be noshers will be directed.
Be not afraid. The whole bureaucratic approach, including filling out a registration form, supplying requested information, and ultimately receiving approval for a piece of cake, won't take more than a minute or two-even allowing for "amusing bureaucratic mishaps".
The Arts Council of Greater New Haven's director of marketing and membership, Richey is no newcomer to transient culture or cakes.
Cake first became an art form to Richey when she worked as an apprentice to Paul Rutkovsky, the founder-director of Papier Mache Video Institute, from 1978-1983.
Then, in 1983, Richey's submission to the Connecticut Chapter of the Women's Caucus for Art Spring Cleaning Show was a twenty-inch tall cake in the shape of a Comet scouring powder can. It both delighted and fed the public.
The following year, Richey contributed a military wedding cake to New Haven's first show of 1984 (based on George Orwell's novel). And her work has continued with such appetizing pieces as Famous Cookie, Eat Audubon Street, and the Profitable Hartcake.
Her A-Mazing Bureaucratic Birthday Cake is, however, her biggest project to date, and the first time she hasn't baked the cake herself. "When I started thinking about the project after the 350 committee commissioned it, I found myself faced with endless questions," Richie {sic} says. "What is a city? What do you give a city for its birthday? What will the weather be like? Who will attend? How many will attend? and so on.
"Since this would be by far the biggest number of people I have ever served cake to, the main issue became the actual serving. Obviously, one person couldn't possibly serve 3500 people. So it became clear that I needed an organization, a system, a bureaucracy to make it all happen."
So Richey brought together some of her artist friends with some "commissioner type people" to interact. She ended up with a Cake Bureau or 30 individuals, including a systems consultant, a bureaucratic fashions designer, maze developers, paperwork producers, and more than a dozen cake commissioners.
"The bureaucracy involved frightens, inspires and fascinates me," Richey admits. "But through it all I've discovered that systems, hierarchy, aren't necessarily bad, that in certain cases they are essential to get things done. It's been quite a stretch for me working with so many individuals and groups."
The transient art will be documented for posterity-by the cake bureau's 3 documentation artists Michael Rush, Timothy Feresten, and Joan Fitzsimmons. And so that everyone can see everything that's going on at all times, there will be a television monitor revealing the action behind the city hall facade.
Richey knows a lot of variables inevitably impinge on such a project. "But the one variable I don't expect is no customers," she laughed. "Whenever I do cake I can't get them away from the table."
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