At the moment I’m entranced with drawing on my iPhone, mostly playing with the Brushes and Paintbook apps. My full set of iPhone drawings is here.

With Brushes I’m presently evolving some strange creatures in a strange environment. Above you can see the Hedgehogerus surprised,  the Hedgehogerus nest and fairy, the two-toed Chubbachubb, and the double-pouched Schweep.

With Paintbook I’ve been making some very simple two-tone faces of (mostly) imaginary people. Here are a few favourites:

It seems as if there is an exciting new field opening up as people experiment with what can be achieved on such a small screen using just your finger. David Hockney has already had an exhibition of his iPhone drawings, and The New Yorker recently drew attention to the phenomenon by featuring an iPhone drawing by Portuguese artist Jorge Columbo as it’s cover illustration. But you get a better feel for the range, quality and some sense of developing community among artists using iPhone apps, at Flickr, for instance in the Brushes gallery.

My daughter Anna’s new photographic work, Plastic Surgery, is on at the Canberra Contemporary Arts Space in Manuka until Sunday. The images are photographs of the human body form manipulated in different ways in graffiti art and fashion design in the urban environment. They are printed large on aluminium foil which gives them an industrial brash feel.

Anna also has a new website, Anna Madeleine, where you can catch up with some of her stop motion videos and other photography. The cool images drawn and printed on maps from her previous exhibition, Unchartered, are there too.

Some of the things you can do on the iPhone just seem like magic to me. This image is drawn on the iPhone screen with my finger, using the Brushes app. It’s taking me a while to get some finesse, but the Brushes Gallery pool at Flickr is ample proof that it is possible.

(btw, Ocarina has been the most jaw-droppingly magic app for me so far.)

A 1956 family in model aeroplane kit form, Guy Bottroff’s cool sculpture The Model Family, at the Helpmann Academy Graduate Exhibition in Adelaide this last March. A few more photos here.

The Tale of How is a beautiful and intreguing animation, a labour of love by three friends calling themselves the Blackheart Gang, who hail from Cape Town, South Africa. It’s the second part of a larger story they envisage, A Dodo Trilogy. Their ‘making of’ video introduces the makers and explains how they went about it.

(via She Dreams in Digital)

Update: Siouxfire has a cool Concise Overview of “The Household”, a series of interviews, production
images, and information on the two follow-ups completing the Dodo
trilogy as well as the following trilogy (the Bear Histories) at Siouxwire. Thanks, Siouxfire!

The irony is no doubt especially sweet for the Labor Chief Minister, Jon Stanhope, following the brew-ha-ha when he was forced to fire one of his aides for doing some anti-Howard stencil work behind the Ainslie shops a couple of years ago:

(Photo credit: wellingtonany)

Mentioning the Spike Jonze film adaptation of Where the Wild Things Are a few days ago reminded me that I had a bunch of WWTA/Sendak links that I collected when I was trying to scrounge information about the film. (As it happens they are keeping things very well under wraps, which is understandable.)

Take a Swim on the Wild Side: article about the filming taking place in Nov 2006 on the Mornington Peninsula, Victoria. There are two pictures of one of the monsters on the beach,and wading out in the water, but don’t get too excited – they are so tiny you can’t really make anything out! It describes the puppets (made by Henson) as follows:

The seven creatures stand up to 275 centimetres tall. Although made of foam, they are heavy and hot for the actors and stunt doubles operating them. Word is they wear them with the head on for no more than 30 minutes at a time, with 10 and 15-minute breaks in front of an air-conditioner… Heavy boots inside the suit and massive clawed hands make it difficult to move.

Loungelistener’s photoset of the performance of Where the Wild Things Are at Detroit Opera House, performed by the Grand Rapids Ballet. Some very cool picture of huge puppets on stage and behind the scenes.

Hand puppets and soft toys, and here
Action figures 1,2,3,4,5,6
Graffiti/stencil in Melbourne
Stencil art
Jack-o-lantern
Leg tattoo
Max tattoo
Mural in LA
Mural at the Philadelphia Flower Show, 2006
Costumes at DragonCon
Float in Mardi Gras, New Orleans, 2006
Pavement chalk art
6 part home videos of WWTA Interactive Metreon theme park – glimpses of one of the big puppets.
The Rosenbach Museum has Sendak Gallery (holding original drawings), shop, and is hosting a Spring Festival this coming week
Mommy a video about Sendak’s new pop-up book.
WWTA animation, I think the 1988 one.

There now, I can delete my Wild Things bookmark folder!

I came across a lovely stop motion animation yesterday, the Softlightes Heart Made of Sound. It’s directed and made by an Australian animator, Kris Moyes, who has done some other cool videos, including (Wolfmother’s White Unicorn (defaced), and the The Presets’ Are You the One?.

This caused me to revisit Peter Gabriel’s Sledgehammer, which I just loved at the time. It was made in 1986, but it still stands up pretty well; not too surprising considering Aardman’s successes since then.

It’s one of those classics you assume everyone knows, but I’ve been realizing the older you get the less likely that is to be true! The other day I posted Jan Lewis’s Execution Row (postcards of the hanging), a current and clever borrowing of Dylan’s Desolation Row, at my local discussion forum, and the only response was someone young saying they hadn’t heard the song before but I liked it…

‘The swap-o-rama-rama and the computer-related stuff were equally exciting at the Maker Faire. It was precisely that they were treated equally as cool exemplars of the DIY ethic that made this juxtaposition
so interesting. It wasn’t about gender, it was about the maker impulse, and all its forms.’

— Tim O’Reilly

‘It wasn’t about gender, it was about the maker impulse, and all its forms.’

I’m a maker for the performing and theatre arts, and I appreciate this reasoning. But using the swap-o-rama-rama as an example of making Maker Faire more gender-inclusive, and describing Craft magazine as having a more ‘female spin’ seems to me to turn that statement around, because there is an underlying assumption there about what females are interested in. In a banner at the Renegade Craft Fair, Craft Magazine has the by-line ‘Hang it, Stitch it, Wear it, Light it’: the assumption is still that women are primarily interested in decoration, sewing and fashion. While that may be stereotypically true, working on that
assumption is preserving and encouraging the status quo, (and making money from it), rather than challenging it and acknowledging that there are women out there whose skills and interests within the making and
craft world go well beyond those traditional interests expressed in a modern way. I also think there is a danger of diminishing craft by defining it in this way, just when it seemed to have broken lose from being a lesser creature by being included in the broader term, make.

As an aside, I’m also watchful about the new craft movement being somewhat bound up with retro and the 50’s, and I wonder if it means some of the social attitudes about gender from that time are also being revisited. I get worried when I see apron-making contests. Many craft bloggers are women with small children, and it must be great to have the community and connection of blogging if you are a stay-at-home mother. But I wonder if it also means that craft is still largely in the realm of something a woman makes for, or as a reflection of, her
domestic world, for love or pin-money, while the kids are small. There is nothing wrong with that seen for what it is, essentially a hobby and social activity, but it might mean the new craft movement is not so new
after all.

— Hil

Yesterday Shelley wrote that O’Reilly’s company could do much to ensure that Craft attracts a good audience of men and women, and to encompass and encourage a broader less-gender-specific view of craft. My feeling is that the creation of Craft, in addition to Make, is essentially a marketing decision to diversify and increase their business domain by capitalizing on that ‘female spin’, and its therefore more likely to rely on preserving the status quo, as I said above. If it makes good business sense to divide Make and Craft in this way, I doubt Craft will go down the road that Shelley optimistically suggests.