I've been making interactive artwork for the past couple of months (and about 18 years before that). Interactive artwork sounds a little highbrow, but in fact, it's just like a turnstyle, or a book, or a shoe: it's something you are meant to engage with in a physical or experiential way, rather than simply look at. My books are interactive art projects, in that you pick up, flip through, and experience the object to experience the work. Which is the idea. I never set out to make this kind of work, but I like it because it's a playful way to attempt to embody an idea. It's different than installation art because an installation isn't necessarily something for you to touch (but something that can be a whole room or environment). It's not like sculptures or paintings I make either, because those are also not for touching. I sometimes make interactive projects, like some of the work in the upcoming show Energy Transfer at the Ann Arbor Art Center, because I like things to be activated, energized, and as simple in concept as I can make them. One project in this show invites you to place an object, in this case stickers, on a surface, as you have certain specific and familiar experiences, like seeing something pass by out the window. Another project invites you to imbue a mundane activity, like putting away a dish, with a specific intention, like sending someone love. In a way, all objects around us are there to be picked up, interacted with, related to in a particular way, much like all the objects in the video game Mindcraft are tools, or implements, for your use. In another way, everything is a little like an icon on a screen, also there for you to engage, like a light-switch in a dream. I've been playing with 'things' in this way for about eighteen years, and slowly the methods get simpler. The only way I can really know if something is working is to try it out, and then refine it over time. By trying it out, I mean sharing it. Because unlike objects, you are more than an object, dynamic and mysterious, and by sharing my work with you, my work comes alive and yields insight. So you are the magic ingredient in my work, showing me where there's life in something, (even if you are not loving the work it might be so), and where I will keep digging. I studied art and philosophy (religious studies but same thing really) at Brown, and in a way the conceptual and interactive projects are a form of embodied philosophy. An experiential way to share, versus making you read a paper. But here you are reading so - hah! The exhibition has four artists and all of the work is interaction or installation. There will be shimmying plants and spinning tip ties, helmets and a pile of things unearthed from the basement. It will be the first of many interesting shows at the center this year, and it is up until Feb 27. Come by and try some sacred dish shuffling, lift weights with bags of sugar, and see what it's like. Further details on the show: Energy Transfer Up through Feb 27. Talk at 11 am Sunday Feb 19. 117 Main Street, Ann Arbor MI 48104 (734) 994-8004 Some related projects on my website: Visual Traces of Groups at Work Attendant Empty Full You Are Legend
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Here is a photo of me holding one of my smaller landscapes in a landscape. I know this is a social media trope, but it seemed fitting because landscape is a kind of artwork that I've been making since I began. Before I continue PLEASE NOTE! If you are in Ann Arbor on June 11 and 12, please join me to see some of these works in the flesh at the West Side Art Hop. I will be showing at Cathryn Amidei's with four other artists and would love to see you there! Landscape started for me my first year out of undergrad at Brown, just after moving out from my mother's house where I'd been living. I didn't know how to start making art outside of the context of classes and senior projects and the things you do as assignments when you're a student. Without that structure I felt a little at sea. By a series of coincidences, I found myself living within a few months living in a big open loft space that is now luxury office space in downtown Boston, but then was a rough, non-live zoned space with huge windows, plenty of heat, and a bright turquoise floor, off of a shared kitchen and five loft mates with similar spaces. It was $400 a month, sigh. Landscape started then when one of my loft mates suggested that I just focus in on one thing and see where it might lead. I then made landscapes for years and years and sold all of the paintings that I made. It was an incredibly rich time. At one point I had a job that I quit so that I could just make my art for a year. I showed and sold most of that work. Over time, my landscapes became more conceptual and abstract, morphing into projects like Correspondence Project and like Draw Through It. The landscapes became the activity of writing turning into landscape turning into writing. At a certain moment the landscapes had the vertical red line of a lined paper margin, and blue lines across it. Landscape has continued throughout all of the other kinds of projects that I've done, and every year I always have a period where I return to landscape. In 2019 I had a show in which for the first time I showed both landscape and total abstraction together. It was a delightful pairing. It worked beautifully together and was really freeing to put things all in one place. Often I find that artists do this thing where they have certain rules of what is and isn't allowed for yourself and your artwork. I think I had the rule that 'you can't do more than one thing, and that if you did, it was problematic.' I want to honor the abstract landscape in my work because I have many of them in my own home, in other people's homes and I value them tremendously. The natural landscape is a place I feel deeply at home and return to every day to birdwatch and forage for mushrooms, and to get bathed in green or brown or white and get perspective. I wanted to make sure that you knew for those of you who have been collecting my landscapes over the years that I still actively make them. I make them with a new appreciation for the big open spaces of the midwest and the new bodies of water, the giant, ocean-scale lakes that I've encountered living here. I continue too to visit northern coastal Maine every chance I get and to be influenced by the landscape that I'm immersed in when there. I wanted to share some newer work that I have made, and to let you know that it's available for sale and for exhibition, and some of it you can find here! If you are in Ann Arbor on June 11 and 12, please join me to see some of these works in the flesh at the West Side Art Hop. I will be showing at Cathryn Amidei's with four other artists and would love to see you there!
I am taking a moment out of the deeper posts here, on subjects ranging from Death to No BS approaches to meditation, to a survey and narrative history of objects in my studio, to share with you that there are a few copies remaining of the calendar Especially Now - a year in 12 artworks by Hannah Burr (that's me!) AND that it is A GENEROUS SALE ON REMAINING COPIES while there are a few left! The remaining copies 4 or 5? Are $22 off, with adjusted postage to reflect the normal cost, post holiday.*
So for 2022, keep your $22, and get one of these limited edition calendars for only $33 as a gift for your new year self: color, form and inspiration changing every month plus an ever-ready answer to the question 'what day is it again?' while you're quarantining from a covid scare or just emerging into the strange light of another new year. Also, congratulate yourself for biding your time, keeping a careful eye on your budget, or plain forgetting to order your copies until now! It is your lucky day. To snag your copies, go to hannahburr.bigcartel.com and put the discount code NEWYEARNOW in at check out. While you're there at the shop, you may notice a couple of other exciting developments which I will be announcing shortly as well! *the USPS raised their holiday rates quite a bit this year and so for the holiday, rates needing bumping in the shop as well. They are now back to "normal". Enjoy and happy new year. Especially now. PS. I give 10% of my gross profits to charities through Effective Altruism, excellent organizations like WakeUp! and one tree is planted for every individual product I sell through a $1 contribution to EdenReforestation (Thank you Leila Simon Hayes for this excellent idea!) Holidays are nigh.
Generally the holidays are a clusterfuck of pressure and shrill ho hoing, or the kind of peace and freedom that comes from having abandoned all or of some of that. We still do presents in my extended family, though every year there's less of an understanding of why, except for shear momentum of tradition. I like to make stuff and so that's my solace. One thing I can offer you is 15% off everything in my shop for the next week. Happy holidays! This is for those among you who do buy gifts, or do like the inspiration of getting yourself a gift. Use THANKSALL at checkout through Dec 1 for being such a great reader of this blog! My credo this year is going to be, do it if it sounds fun, but otherwise, don't. Let the chips fall where they may. If it isn't a hell yes to do, then don't or, if the pressure bearing down is so great that you have to say OK Fine, take a lot of bathroom breaks and short walks around the block, and swap ironic texts to your good friends that include the asteroid emoji and the poop emoji. I also really liked hearing that instead of judging that family member who is doing something really unsavory, to be impressed by how incredibly well they play the role of themselves doing that really unsavory thing right on cue. Like you're in a movie with them and it's remarkable how well they know they're lines. And if, as is sometimes inevitable on the seasonal table, there is a lot of grief, or depression or sad, see if you can take a little time to breath into that. Like a sad, half inflated rudolph lawn ornament, let it be there, but leave the specific story where it lies. Let it be a raw sensation moving through - in the bathroom, on the walk, or under some covers for a little while. Good news!! The calendars are still available through November 4th.
I was so proud to be organized about getting calendar reservations squared away early this year, but then I got feedback that it was slightly bleeding edge early for some people, and so: Reprieve! I have extended the deadline for reservations until November 4th. You can reserve your copies at hannahburr.bigcartel.com and the details are still as follows: Go to https://hannahburr.bigcartel.com/product/especially-now-limited-edition-2022-wall-calendar for the immediate product page, and to hannahburr.bigcartel.com for all your other HBS products. I will send these out in the first week of December (I said Dec 1 originally, but now it's going to be the end of the first week to accommodate this change). Please do contact me if you have questions or constraints, but want a calendar - I am happy to work with you. Two things!! |
ALIVEUPCOMING AND RECENT
FIELD GUIDE TO AMBIGUITY is here! Arrived Jan 31 NOW--ISH A solo exhibition Opening June 7—Sept 6 2024, Saugatuck Center for the Arts, Saugatuck MI. FREE SESSION WITH HANNAH!If you feel overwhelmed, confused or just plain excited by what's afoot in your life, and would like some excellent clarifying space and tools, try a session with Hannah! She's been a coach for 15 years. First 30 minutes is just to see what it's like...
AuthorHannah Burr is a contemporary artist and author. Originally from Boston, she lives in Ann Arbor MI. Archives
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