Category Archives: art

Cleary, Mac & Herzmark Group Show, “The Joy of Shame”, at the White Rabbit Edinburgh

ODD CLEAN and EVEN Drawing by Andy Mac 2013 Art_Herzmark_Cleary_Mac_The_Joy_of_Shame_White_rabbit_2013 Artwork by Jason Herzmark is currently on show at the White Rabbit Gallery and Fashion in Edinburgh.

The exhibition is titled “The Joy of Shame” curated by gallerist Heather Craig.

Andy Mac, Theo Cleary, and Jason Herzmark present the “Joy of Shame”.

Open 12-6 every day except 12-5 on Mondays and Sundays.

Export Google SketchUp to Blender 2.6 on Ubuntu 12.04

Well it is possible but I think you need to make the models right in sketchup

So far I have imported a giant spray can and the nozzle is not where it should be and the brain is missing. As the .dae files contain Collada XML they can be examined in GEdit. Marl crufty XML – give me JSON everytime.

But the procedure works as follows :

Export Sketchup to Google World which outputs a .kmz file.

Rename this to .zip and unzip.

It will reveal various files and folders, the .dae can be imported with FILE >> import >> .dae ( collada ) in Blender

 

Google Sketchup running on Ubuntu 12.04 [Solved]

It turns out to be easy to get Google SketchUp the awesomely easy and intuitive 3d Modeller to work well and run under WINE in Ubuntu 12.04 Precise Pangolin – just use PlayOnLinux

Run Ubuntu Software Centre and search for playonlinux

Then Install It and then run it.

The Click Install in PlayOnLinux and search For SketchUp – install it and run it.

Open 3D files and Sketch On Up.

SketchUp 3D Ubuntu 12.04 PlayOnLinux WINE jmhz Keith and Jason

 

The File is A Collage by Keith Farquhar Brain and Spray Can 3 . skp which we hope to collaborate on.

Next Up How to Import / Export between Sketchup and Blender

Paul Carter and Jason Herzmark – Installation Art – Edinburgh College of Art – 1994

I had a notion that an old Philips Valve Radio was a portrait of the creative individual – trying to tune in to the Creative Background Signal of the Collective Cultural Unconscious.
My thinking was that the medieval tradition that art was received from the Prime Creator, God was a needed humility to Vasari’s Rennaissance notion of individual creativity which unbound had led to ego-hubris of the artist.
Not to say it was untrue, just that too much weight was placed on free-will and inspiration came from some other place.
In practice the difficulty was getting the ‘reception’ right, tuning-in and becoming a less imperfect vessel to work with the form of the Beautiful.

Installation, mixed media, blackboard, chalk, found valve radio, empty medicine bottles, plaster classical muse and green cloth.

A Greek muse, a radio tuning into God’s station, balanced on a pile of empty medicine bottles and then two blackboards – upon which would be written some text about the balancing the Dionysian and Apollonian forces of chaos and order, treading the liminal edge between ego and id, the state at the edge of sleep, where lies the fount of inner wisdom and when one could hear most clearly the muse. A knife edge that line, one the one hand prophetic creativity on the other societal disapproval and the removal of liberty from the unbouded mind and confinement to a Bedlam.

Well I was going to write something along those lines, but lunch-time.
While I was away eating lunch Paul Carter, newly minted Professor of Sculpture at Edinburgh College of Art, passed by. Paul was familiar with my work and knew I would scrawl something long and referential on the blackboards – as evidenced by the many erased previous Beuysian mytho-poesies partially visible as erased chalky patina.

Paul Carter had a quick wit and on passing my unfinished exhibit was inspired by the empty black boards and chalked: ‘

Pure aesthetics
unadulterated
by the intellect

on them.

This was so utterly correct and right, so neat and so much what I wanted to say without all the words and Classical allusions and Jungian Archetypes and Neitschian dualities.
So perfect a criticism and summation and fully prescent site specific concrete poem.
That I could not alter it.
So our spontaneous and inspired collaboration was shown there for the next fortnight of the summer of 1994.

From that I learned a lot.

Paul Carter was so very wise, so very tuned in – he could conceal great depth in brevity and humour with a light touch and a lighter heart.

A true zen master.