Obsessive Consumption represents a selection of three years of Bingaman-Burt's delightful ink drawings of sundry items. Accompanied by witty and insightful annotations, these drawings mock her own relationship with her purchases and put a personal face on the mass-produced items of our shared experience. Readers can catch a glimpse into the life of the artist from the collection, which includes wedding bands, a dog, a moving truck, handmade items from friends, Mississippi beer, Portland pizza, and lots of pens and drawing paper to support her drawing habit. A celebration of the beauty of the everyday, Obsessive Consumption presents a microcosm of consumer culture that will appeal to everyone from a thirteen-year-old mall-dweller to a middle-aged anticonsumerism advocate.
From the weekly shopping list to the Ten Commandments, our lives are shaped by lists.
Whether dashed off as a quick reminder, or carefully constructed as an inventory, this humble form of documentation provides insight into its maker's personal habits and decision-making processes. This is especially true for artists, whose day-to-day acts of living and art-making overlap and inform each other. Artists' lists shed uncover a host of unbeknownst motivations, attitudes, and opinions about their work and the work of others. Lists presents almost seventy artifacts, including "to do" lists, membership lists, lists of paintings sold, lists of books to read, lists of appointments made and met, lists of supplies to get, lists of places to see, and lists of people who are "in."
Full of light and atmosphere, the houses are the physical embodiment of the great Charles Moore's influential tenet that architecture is about enhancing a sense of place.
For Arthur Andersson and Chris Wise, the fundamental elements that give buildings meaning are found in nature. Imbuing day-to-day activities with poetry and awe, their designs address both pragmatic needs and the psychological yearning for refuge and contemplation, centering and escape, joy and comfort. Their work is best experienced through the senses. Tactility, expressed through an eloquence of craft, the use of textured materials, and the logical design of structural systems, gives their buildings a rightness within the landscape. In their hands, daylight becomes a building material. Small wall apertures, three-sided dormers, clerestories, and other details grab, bend, and thread sunlight from one end of their houses to the other.
What does history look like? How do you draw time?
From the most ancient imageFiles to the contemporary, the line has served as the central figure in the representation of time. The linear metaphor is ubiquitous in everyday visual representations of time�in almanacs, calendars, charts, and graphs of all sorts. Even our everyday speech is filled with talk of time having a "before" and an "after" or being "long" and "short." The timeline is such a familiar part of our mental furniture that it is sometimes hard to remember that we invented it in the first place. And yet, in its modern form, the timeline is not even 250 years old. The story of what came before has never been fully told, until now.
