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    The Arthropologist

    The Idea Fund gives sophisticated garage art and boy bands with pens a chance

    Nancy Wozny
    Jun 4, 2010 | 1:02 pm
    • From left to right: Sketch Klubb members Eric Pearce, Michael Stovall, CodyLedvina, Nick Meriwether, Sebastian Forray, Russell Etchen, Michael Harwell andLane Hagood
    • New structure for "blueprint2" in progress of being assembled
      Photo by Mick Johnson
    • Pre-existing architectural structure in progress of being disassembled for useas temporary "exhibition" space
      Photo by Mick Johnson
    • A spread from one of Sketch Klubb's zines, with work by Rene Cruz on the leftand a collaborative piece on the right
      Photo by Michael Harwell
    • A still-life from Sketch Klub's New York show featuring a Bart mask, a SaddamHussein pinata and a Bart and Lisa pinata set
      Photo by Russell Etchen
    • Nina Elder and Basket Bob
    • From The IDEAL Fund, detail of "blueprint2," a collaboration between(v)=variable and (jn)=jim nolan
      Photo by Mick Johnson
    • PLAND land
    • Basket Bob's house, current PLAND accommodations

    A reconfigured garage, an barren piece of land, a tag sale are all the terrain of art when it comes to The Idea Fund.

    Art runs on ideas. Without them we get flower paintings and dances with scarves. Thank goodness for The Andy Warhol Foundation for the Visual Arts who partner with DiverseWorks, Aurora Picture Show, and Project Row Houses to offer direct support to artists through The Idea Fund.

    And we are not talking about same old, been there, done that, ideas. The Idea Fund looks for projects that employ unconventional, interventional, participatory and guerrilla practices. My ears perked up at "guerrilla."

    Ten Texas artists/collectives made The Idea Fund roster, including Potter-Belmar Labs, Sketch Klubb, Bill Davenport, Mick Johnson, DumpTruck, Brett Koshkin, Victor Payan/Sandra "Pocha" Pena, PLAND, Monica Henderson and Wura-Natasha Ogunji.

    I was able to visit with three of the grantees. When I first heard about each project I had to ask, "You want to do what? But once I wrapped my head around their left of the studio box way of thinking about art, I started to get it. Meet some of the idea ones.

    Garage Guy

    Mick Johnson is a painter with sculptural leanings. His project (v) = variable calls for existing architectural structures to be re-configured as temporary exhibition spaces. On Saturday, he presents his first manifestation of the idea using his own garage in his own driveway (1019 Alexander Street in the Heights), which has been transformed into both an exhibition space and art object with the help of Jim Nolan.

    Johnson is affiliated with Minus Space in Brooklyn, NY and has shown his work at PS1 Contemporary Art Center, DiverseWorks and Lawndale Art Center. Nolan shows at Deep Space in New York.

    "I've always had a personal attachment to architectural spaces, especially the places where I have lived," Johnson says. "Even when I make paintings, the space where they are shown has significance."

    Nolan proved a perfect match for his first go around of the concept. "I'm attracted to the way Jim works; he is very formal in his approach, yet he's constantly recycling his work into new pieces," he says. "Some of his works have only existed for a few days."

    The murky line between two and three-dimensional work has always lured Johnson. Nolan and Johnson plan a sound installation inside the structure, but expect a seamless boundary between the art inside and the structure containing it. Seems way cooler than a garage. I can't help wondering what he could do with my entire house.

    Beware thy coyotes

    PLAND stands for Practicing Liberating Art though Necessary Dislocation. It's the brainchild of Nancy Zastudil, Erin Elder and Nina Elder. When the trio became owners of a small parcel of land near the Sangre de Cristo Gorge in New Mexico, their off-the-grid brain gears started to churn.

    "It was a real shift for me," says Zastudil, who quit her job as assistant director of the Cynthia Wood Mitchell Center for the Arts to focus on PLAND. "I found a sense of place and security there. No matter what, I could always go back to the land."

    The fact that the land is devoid of any of the usual amenities like water and electricity doesn't stop these arts pioneers from thinking of the possibilities. The women are now out on the mesa.

    "Being on the land is amazing.The clouds are intense, the stars are bright, time slows down, and everything becomes essential," says Erin Elder. "Every drop of water is important. Every action is premeditated. Plants grow, wind blows, weather changes. Aside from breathing and blinking, it's impossible to take anything for granted."

    It's a particularly exciting time for PLAND because they have just selected their first artist-in-residence. Every day is work and process driven. "Yesterday we picked our resident, designed our house, managed our budget, researched fiscal sponsors, applied to a residency in Australia and another in Berlin, and created a summer calendar of visitors and events," reports Elder.

    The PLAND collective tackle land-based art, a terrain dominated by men, with a feisty spirit. "We find our inspiration in a legacy of pioneers, entrepreneurs, homesteaders, artists and other counterculturalists who through radical and mundane activities reclaim and reframe the American Dream,|" writes Zastudil in the project statement.

    Other than the fact that they fear their cat was eaten by a coyote, all is proceeding as planned for PLAND.

    Everyone needs a few friends

    When the The Sketch Klubb took the stage to talk about their idea they seemed like a mangy boy band with pens. They plan to publish a new book and commemorate it with a Nerd Garage Sale.

    "Think of a Fellini-esque garage sale. We will sell nerdy stuff, unload our extra toys, games, CDs, and computer equipment," Michael Harwell, a Sketch Klubb member, says. "There will also be tables set up for drawing, so you can join us. Oh and our art will be for sale too." Although the event is an actual garage sale, it's also an installation.

    Members include Harwell, Seth Alverson, Rene Cruz, Russell Etchen, Sebastian Forray, Lane Hagood, Cody Ledvina, Nick Meriwether, Eric Pearce, Patrick Phipps, J. Michael Stovall and David Wang.

    The group started when a girlfriend and a wife or two suggested that a bunch of male visual artists trying getting a few friends. Every other Saturday they gather to sketch, visit and hang out.

    "It's a club house of sorts with a no-girls policy," Harwell says. "It's not that girls can't draw or hang out with us, We wanted a place where we can be the dorky uninhibited guys that we are. We don't want to have to worry about anybody's sensibilities when we talk about boobs or butts."

    The all-boys club has been a busy bunch, producing a zine a month. The group includes individuals from Hagood, the 2010 Hunting Prize winner, to guys who just like to draw. Harwell mostly likes putting the zine together.

    "For some the career path of an artist is important, for others not so much," he says. "I just like to draw, to see what happens when I put a pen to a piece of paper."

    Sometimes they work with themes. Right now, it's album covers. Harwell describes their time together as a lively couple of hours.

    "There is a lot of joking and juvenile humor," he says. "Drawing transports you outside of yourself, and sometimes that happens at Sketch Klubb."

    Klubb show/garage sale will take place on July 31 at The Joannex, 1401 Branard, from 7 a.m. until people quit showing up.

    The future of art may be in the hands of artists like these, who seek to find both bold and practical ways to bring art to our attention. Let's hear if for artful ideas.

    unspecified
    news/entertainment

    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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