John T Unger Artist's Portfolio

Art Is War so Hazel Dooney is Rallying Reinforcements for John T. Unger

2009-11-16T11:28:24-05:00

Hazel Dooney has built an international reputation as an intensely creative and productive artist in complete control of her destiny. She's a pioneer and an oft-studied example of how an individual artist can use online media (and hard work) to manage their careers more effectively than within the traditional gallery system.

Hazel has always been an ardent and vehemently vocal supporter of the rights of the independent artist. My decision to use art as a means of fighting the injustice facing me was inspired by Hazel's example of using art and social media to level the playing field between those who make art and those who attempt to control it. This is an opportunity to purchase a Hazel Dooney original at a price which is affordable and help in the fight for a good cause that is in the interest of ALL artists.

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Artist's Legal Defense Sale: Hazel Dooney NO! Prints

Visit the Collection

Hazel has graciously donated one of each color of her recent NO! Stencils – except the white. The donated prints are faux-fluorescent lime, Dooney pink, industrial safety orange, papal purple and pitch black. Each is a signed artist's proof, endorsed on the back with the words, "Artist's proof sold to defend the rights of John T. Unger" and signed by both Hazel Dooney and John T. Unger.

The prints are 40cm x 60cm (or 15.7” x 23.6”), hand-stencilled in high gloss enamel on 64cm x 86cm (or 25.2" x 33.9") 100% cotton, museum-quality, white Alpharag 4ply archival board.

To see the full edition of the YES? and NO! prints, visit Hazel's site, where you can buy individual prints or the full series from the artist.

There are five editions of 25 signed and numbered (on front) prints of each image, in five different colors: faux-fluorescent lime, Dooney pink, industrial safety orange, papal purple and pitch black.

The 'artist's proof' edition is limited to 10 prints of each image, signed and numbered, in virginal white gloss enamel on matt white board.

It's intended that different versions of the same – or opposite – messages can be hung together.

Since 2006, Hazel Dooney has emerged as one of the Asia-Pacific region's most controversial young female artists. According to the Australian Financial Review, she "walks the razor's edge between respect and celebrity in today's artworld" (September, 2006). Her work in various media has hung in solo and group shows Australia, the USA, the UK and Japan and is included in private, corporate and institutional collections in Australia, New Zealand, Japan, Hong Kong, Singapore, Thailand, the UK, and the USA.

You can learn more about (and from) Hazel Dooney on her web site, blog and Twitter. A great introduction to her work, career and ideas can be found in the recent intervies she did for Lateral Action and Hugh MacLeod's Gaping Void blog.

If you are an artist and would like to contribute art to the Legal Defense Fund Sale you can do so by uploading your art (or a link to an online listing) here.

Defend Art: The First 24 Hours

2009-10-28T12:32:25-04:00

Update: The lawsuit has been settled by mutual agreement. A press release concerning the details of the settlement agreement will be posted here soon. — Dec. 4, 2009

Wow.

I am amazed at what has happened since I published the page on my site about the lawsuit brought against me.

I knew my friends would care. I expected a few blog posts and hopefully some support to help me continue to defend my art, but the response has been far beyond anything I could have imagined. I am awed, humbled and inspired by the way this story has spread and the incredible number of people who care… and by how deeply they care.

I want to thank you not only for your financial support, but more importantly, your emotional and moral encouragement during this time. This has been a tough year and the last couple days are the first time I've felt encouraged in a long time. By assisting in funding our fight in this lawsuit, you are not only helping our case, but showing support of all artists struggling with similar battles.

The most important thing I have to tell you today is this:

In my first appeal for help I wrote: "If you have a blog, please write a post and link to this page. Feel free to quote as much of this post as you like or to write about it in your own words. It is important to stick to the facts and to avoid derogatory language."

It is very important for all of us to take the ethical high ground in this issue and not to bully, threaten or malign the other side. I know better than anyone that this is an emotional issue for artists but don't make us look bad as a group by being hateful. Lets tell the story sticking to the facts. Let's raise awareness of the issues without resorting to name calling or other defamatory statements. The facts should be sufficient. By keeping it clean, it makes us look like the creative professionals we are.

Please be responsible with your actions. A few people left comments on Facebook or contacted the other side directly and this does not help our case. Remember that the goal is to try the merits of the case in court… I've written about this case so that we can raise the money to get there.

I hope to use what I've learned to educate other artists about their rights, and how they can best protect their own creations from falling prey to a similar situation. Please pass my message on, not only in support of my case, but in support of all artists.

I have registered the domain defendart.org and when this is over, I hope to set up a foundation to help other artists in need of legal assistance. Any money I raise that is not eaten up by court costs will be used for this purpose. Currently the only legal aid groups for artists that I have found operate only within the boundaries of each state. I can't find a national organization. In my state, Michigan, the legal program for artists was closed due to lack of funding. It's obvious from the stories I've heard on Twitter, in email, on forums and elsewhere that we need something like this and I believe that artists could work together to make it happen.

Because that's what artists do, actually: when they see something that should exist but doesn't, they build it.

Now that I see how many of us there are and how incredibly we can pull together I have a larger vision for #defendart. I think there's a way to raise funds that can protect artists when other options fail them.

Here's what we accomplished together in the first 24 hours after I posted my story:

The page on my site had 49476 page views
The bit.ly URL to the site had over 17000 clicks
It's hard to tell exactly, but I estimate that there were about 100,000 tweets about this story
Over 30 people posted about the story to their blogs
The Fire Imps project on Kickstarter went from 12 backers to 99!
More than 50 people donated on my site here. (and I haven't counted how many since yesterday yet).
I've had hundreds of emails and calls of support.
Artists have offered to donate their work to a fundraising sale. I think we'll do this.
Etsy seller Whimsy Beading has offered to donate 15% of sales this week to the defense fund.
Ryan Barton of Rhynomarketing.com created a great graphic to use to promote awareness.

If you are an artist who wants to donate a portion of etsy sales to the fund, or art for a fundraising sale email or message me on twitter and I'll promote your efforts in return. I think we could have an amazing online art sale with some of the best art the internet has to offer. It could be a great way to show solidarity while putting great work in front of a new audience. I'm still working on the details of the best way to make it happen and will post an update as soon as I figure it out.

We need to keep the momentum that we've built going if this is to succeed. Let's take a stand for all artists and show the world that we can defend our art. But Please, please, please remember that we have to do it in a way that is acceptable and beyond reproach. Keep spreading the story but do so with a civil and responsible manner.

Thanks again to everyone who has participated so far. I am just so excited to see how much people care about ethics in the arts. Let's continue to focus on the positive aspects of what we can do to show how much we care.

The Fine Art of Recycling

2009-10-21T15:43:48-04:00

If my job as an artist is to fill the world with "more things," I feel it is equally important that I reclaim materials from the waste stream to make space for my work.

I believe that creative re-use has the potential to spark new ways of looking at the world… if one thing can be turned into another, what else can we change? Successful recycled art and design encourages creativity in others— it’s alchemical, magical, subversive, and transformative by nature. My sculptural work is a way of demonstrating in concrete physical terms that the world and the items in it are not as obvious, limited or easily identified as they appear at first glance. It allows me to engage my audience to be more creative in their own daily lives and to think more creatively about the world around them.

As an artist, my job is to communicate ideas clearly, reach people emotionally, inspire or incite change and to fill in the blanks in the world… finding new ways of seeing things, or creating the things that don’t exist but so obviously should have once they do. There's an Arthur Koestler quote I like that describes this, "The more original a discovery, the more obvious it seems afterwards." My most successful art is based on years of training myself to see things that no one else does. I’ve learned a habit of reversing, inverting, subverting, or combining random statements to see if there’s a great truth hiding there that no one has noticed yet. I intentionally try to misread any clichés I run across. How can I hear it wrong but better? How can I creatively misinterpret things? How can I see the things that aren’t there?

A recent example of this technique is a new project called "Venting Machines." The idea was inspired by a typo ("venting" should have been "vending"). I immediately realized that people have an obvious need to vent frustrations, are willing to pay for the privilege and that a vending machine that allowed them to "vent" would serve a very useful social and personal need while at the same time being a great art project. The project will use retired pay phones altered to play supportive messages through the earpiece when a customer puts in a coin and begins to speak their frustrations into the mouthpiece. Although this project will serve a useful social function, and utilizes existing materials for its corpus, I believe that the social critique, theater and interactive quality of the overall project readily land it within the bounds of fine art. As a globally installed public art project, I feel it has great potential.

I work in a lot of different styles using a wide variety of materials. Each new medium, motif or material sharpens both my critical thinking and my physical skills so that my work improves across the board with each new project. The fifteen years I spent pursuing a poetry career, for instance, has had a direct effect on how I deal with subject matter, meaning and nuance as a visual artist. The structure and theory I learned as a musician applies directly to my use of pattern, rhythm, lyricality and syncopation in metalwork. I create objects that will endure by drawing from primal metaphor and classical elements of design.

Functionality is a core value of artistic design for me and much of my work is intended to be useful as well as beautiful. People who buy art live with art… they interact with it on a daily basis. I draw inspiration from the way my art impacts people and the way that they interact with the finished piece, just as I think deeply about positive and negative space when creating pattern. Some of my earliest steel sculptures were figurative work in which I attempted to capture essential human gestures so precisely that the mind completes the movement—making a still image appear to be in motion. I experimented with these figures as free standing sculptures, as pattern elements within fences and finally as decorative elements within fine art chairs. I realized, after studying human form and movement so assiduously, that the design of a chair depends much more on attention to negative space than positive space. If you focus only on the form of the chair, your design may or may not be beautiful, but will almost certainly be unusable. If you design to hold the negative space (the person who will sit in the chair) there is still endless opportunity for novelty or beauty, but the function is ensured. The strict limitations of working with designing a good chair taught me volumes about 3D design, sculpture and use of space.

I enjoy the practical aspect of art and feel that engineering is as essential as ingenuity in the creation of solid works of art which will stand critical review. For me, the design process also includes craft: developing the physical skills and knowledge to create work which is durable, well conceived, and well executed. A brilliant idea poorly executed fails to live up to its potential. This concern for functionality comes from lessons learned the hard way in my artistic practice. My earliest mixed media work was often created with non-archival materials… found objects, collage, pigments that weren't light-fast. I re-assessed this practice when I chose to make art my full time career. I became concerned with creating art that had permanence and provided a better investment for my patrons and safeguarded my legacy as an artist. I make frequent calls to manufacturerers, lab techs and engineers who supply my materials, to discuss new ways of using their materials, different methods, long term viability, etc.

What ultimately draws people to my work is the sculptural quality, the ideas behind the work, the stories that I provide to support those ideas, the drama of the object, the metaphoric and symbolic content of the designs.

As Gabriel Guzman writes in The Daily Book of Art:

Who would have thought that a bowl of fire could be so beautiful? Artist John Unger’s art portfolio ranges from bottle-cap mosaics to furniture, but he is perhaps best known for his amazing fire bowls. Hand-cut out of recycled steel, these bowls combine sculpture and function to create unique works of art with industrial flair that provide warmth and an exciting centerpiece for events. When in use, the flame-like edges of these bowls cast mesmerizing shadows that dance across the ground, acting as part of the art.

Most firepits, whether commercial or homemade are unsightly when not in use… my firebowls function as gorgeous sculptural art at all times, whether holding a fire or not. The finish on the sculptures is a natural patina that relates directly back to flame in it's coloration… reds, oranges, yellows and blacks. In sunlight, the designs cast intriguing shadows both inside and outside the bowl. These shadows are an important part of the design process for the sculptures, even those with the simplest forms. When lit, the bowls cast flickering shadows as lively as the fire within. When not in use, the designs still show an ever shifting positive and negative space. They interact with the lighting of their environment in a way that involves constant change through seasons, weather and the time of day.

There’s a poetry to the original design, my Great Bowl O' Fire, which extends to the larger body of work— using a torch to cut flame images into a flammable gas storage tank to create a firebowl is a perfect example of how I like materials and ideas to work together. The meaning of the finished object is encoded in it‘s raw materials. That kind of layered metaphor is what I enjoy most about working with recycled materials. The overlap between pattern and meaning can start with either the goal or the object: Sometimes I look at an item and imagine what else it could be, sometimes I have an idea for something I want to create and look for items that are similar to the desired shape or function and could be used as a staring point to make the piece. In all cases, I prefer the material to in some way echo the subject matter or ideas of the piece. There has to be a connection between idea and object that transcends pure engineering issues in order for me to feel a sculptural work is successful. On every Great Bowl O' Fire I cut, there is a stylized flame in the shape of a phoenix rising through the embers to symbolize the rebirth of scrap steel into something new and wonderful. The phoenix is always the first flame I cut into the bowl, the beginning of it's transformation.

The public response to my firebowl sculptures is on a much deeper level of meaning than purely decorative or functional work. From the Catholic Archdiocese of Chicago to the Iron Horse Biker Church of Axtell, Texas, my sculptural firebowls have been commissioned by a number of churches of different faiths, who apply their own meanings to the work in their Liturgies and services.

But a design need not be complex to hold deeper meaning. A recent review of my work by Amrita Chandra, a prominent Toronto gallery owner and champion of modern art read:

What I realized was that though his work is functional, what he makes are sculptures. The abstract pieces in particular would be at home in a contemporary art gallery, and his more decorative pieces in the sculpture garden of the DeCordova Museum.

It is hard to define what constitutes art and in many ways I think it’s irrelevant, like trying to define love. When I see John’s firebowls I see the statement he is making to the world – partly intentional, partly magic. The connection between his materials and the fires that burn within his sculptures feel primal. John’s artist statement declares that he designs for permanence and that presence comes through in the weight of his minimalist pieces in particular.

The simpler designs of my firebowls are a direct tribute to and study of modernism. My Isosceles Modern, Font O' Fire and Big Bowl O' Zen were inspired by such artists and designers as Charles and Ray Eames, Donald Judd, Jasper Johns. The Sunfire was inspired in part by the 1947 Ball Clock created for Herman Miller by George Nelson, Noguchi and Bucky Fuller. The simple geometric forms of these sculptures are in no way required for the function of the object, and in fact the sculptures are often purchased with no intention of actually using them on any regular basis (or at all) to hold fire. The Isosceles Modern is just as often used as a bowl, a decorative element, or as a surface to display other items.

In most of my art that uses recycled materials, my goal is to transform the original object so thoroughly that it appears to be made from scratch. I shy away from creating work where the source materials can be easily identified unless the history of the object specifically plays into the meaning which I intend to convey with the art (as with the pay phones for the Venting Machine project, since the phone is one of the most common ways we express our frustrations). In many instances, by taking a discarded object which was once useful and making it useful again in a totally different context, in a completely new way, I am able to show connections which are not obvious, draw parallels between seemingly unrelated ideas or create social commentary which hopefully illuminates cultural practices or better yet opens those to question.

I generally think of my art career as having started shortly before my first gallery show. But, while writing this essay and looking back at various examples of my art from recycled materials, I realized that this is a form of art I've practiced most of my life. At age eight I taught myself how to cast recycled lead melted over an open fire and learned to forge intricate toys working with steel, copper, brass and semi-precious stones. At this stage, even my tools were found objects: Using a coffee can as crucible to melt the lead, and a discarded flywheel as an anvil to shape steel and other metals. When I was 19, I started a business with my girlfriend making hats made from reclaimed fabric. The cloth was overage found in the dumpster of a futon factory, fresh off the bolt. The sewing machine we used was found in an alley and repaired at minimal cost. Remaking the world from its broken and cast off pieces has really been the work of a lifetime… and I'm pleased with the shape of the world that I've built.

Face of Spades Masks from Recycled Shovel Blades

2009-04-22T14:49:01-04:00

Inspired by traditional mask designs from all over the world, each Face of Spades carving is made from 100% recycled materials— breathing new life into the atoms of the abandoned.

Shovels retired after a life of hard labor are reborn as playful, intriguing masks— faces peering back as if astonished by their own renewed existence. From whimsical, cartoonish expressions exaggerated for impact, to hauntingly beautiful adaptations of traditional tribal designs, the collection features 24 designs resplendent in their individuality. Stoic or serene, silly or insouciant, their glances enhance the indoors and outdoors alike. A single mask makes an excellent accent piece, but the most exciting display is to group a series of the shovel-mugged characters to create your own custom totem pole.

The tradition of masks has haunted and enchanted the dreams of man for millennia. Rain forests hide glaring eyes and snarled lips amongst twisted vines and water-wet branches as shamans craft faces to protect and faces to defend. Masks of the Far East embellished with their red and black lacquered paints give character to the actors of old and knit the fabric of stories for generations. What do they foretell of your destiny? Will they ward off evil or draw in spirits that bless? Display the Face of Spades series as a single mask, or combine them for a powerful grouped display to embellish fences, deck railings, or even to construct a forest of tree faces. Since the intricate designs are crafted freehand, without the use of guides and stencils, Face of Spades masks each contain their own unique spiritual fingerprint.

Whether a playful grin is more your style or a powerful sneer conveys your message, the Face of Spades series has character abounding. The expressions are drawn from within as if they had lain dormant within the metal for eons. Once exposed to nature’s influence they’ll turn a rich rust color, a perfect compliment to the flora and fauna that graces their newfound environs.

Since each mask is hand-cut, carving freehand without the use of templates, your mask may vary slightly from the photo shown. To preserve the mask outdoors, it's not a bad idea to spray it with WD-40 once a year or so.

Face of Spades: Masks, Tree Faces or Totem Pole Heads

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All Face of Spade Designs © 2009, John T Unger

Amazing Great Bowl O Fire installation in Utah

2008-11-05T13:40:07-05:00

Dale Ayers is an architect in Park City, Utah. He just sent me some amazing photos of his Great Bowl O Fire firepit installed at his home in the Promontory development outside Park City. The fire bowl with gas burner is accessible from the deck, but what I really love is the way that it can be viewed from inside the house against the backdrop of the open landscape. This is definitely one of the coolest installations I've yet seen. There are more photos of Dale's home and firebowl in my flickr set of customer photos here.

Animated walkthrough of container studio and home

2008-11-05T13:20:43-05:00

The video below is generated from the 3D model built by architect Greg La Vardera, who worked with me this year to design a new home and studio building built from shipping containers. I had planned to put the building up this year but the economy ran into a little snag just as we reached the finance stage of the project. Oops.

I have a new project coming up soon that I hope will be able to raise funds to erect the building without loans… If you'd like to know more, please subscribe to the RSS feed for this site. I'll announce the project as soon as it's ready to launch. In the mean time, check out the animation… I can't wait to build this thing. It's going to be an amazing work space.

Font O' Fire Fire/water feature at the Glenn Hotel

2008-10-19T14:20:29-04:00

Fire/water feature at the Glenn Hotel in the heart of Downtown Atlanta using my 24" Font O' Fire firepit as a centerpiece. Photo courtesy Brian Sweeney of Sweeney Gardens.

The 24" Font O' Fire firepit has also been incorporated into a fountain fire feature at Rancho Las Palmas Resort in Rancho Mirage, CA. I haven't gotten photos back from the resort yet, but I found a photo of it on Flickr.

Big fire, Rancho Las Palmas, originally uploaded by mpeg2tom.

Big Bowl O' Zen firebowl in Houston, TX courtyard

2008-10-19T13:39:16-04:00

Jeremy sent in this photo to show how he's set up the Big Bowl O' Zen firebowl in his Houston, TX courtyard. He says he'll send photos with fire when Houston cools off a bit.

The Great Bowl O Fire Firebowl at RumFire, Sheraton Waikiki

2008-10-19T13:28:07-04:00

DSC03719, originally uploaded by takaokun.

I didn't get to go to Hawaii to install the eight firebowls purchased by Sheraton Waikiki for their awesome RumFire restaurant/bar, but I did find a lot of beautiful images of them on Flickr! I've been hearing from people all over the world who've seen the bowls at RumFire and tracked me down online to get their own. Here are a few of my favorite images from Flickr.

IMG_2593_8, originally uploaded by Corey & Kellie.

IMG_0146, originally uploaded by beccacantpark.

Rumfire, originally uploaded by Kanaka's Paradise Life.

IMG_0567R33, originally uploaded by quarkcsj.

IMG_0570R33, originally uploaded by quarkcsj.

Monday, originally uploaded by cascioli.

Announcing Emoodicons— the new mood ring that tells the world how you feel!

2008-03-05T23:52:16-05:00

Emoodicons are one of the most exciting ideas I've had in years and I just launched a new blog where you can get your own. Check out the animated short: Marcie's Grand Adventure which shows how Emoodicons work, enter the Make a Face Contest or the Emoodicon Design Contest for a chance to win one of the rings, or read the story of how Emoodicon.com got started. I've been working with some great people to make this a reality and I'm really excited about how it turned out.

What's an Emoodicon, you ask? Well, you know when you’re online and you can just type a couple keys and tell the whole world how you feel? Happy? Angry? Shy? ROFL? In lurve? Don’t you wish real life was that easy? No big discussion. No beating around the bush. No batting your eyes or getting passive aggressive. Just, “This is ME, are you LISTENING?!

Emoodicon Rings make that happen.

They're like a secret decoder ring for your mood. They’re smilies for the real world. They tell everyone just what’s on your mind. “If you don’t know, I’m not going to tell you,” is a phrase you’ll never utter again. If your boyfriend or girlfriend or best friend or evil arch nemesis has eyes, they’ll know. (If they don’t have eyes, no ring will help you. Sorry.) Emoodicon jewelry comes with your choice of 25 mood icons: pick Kitteh or Bleep the Robot. We'll be adding more designs soon so you can mix and match, swap and share, spice it up. Emoodicons are totally customizable. They’re cool, they’re fun, and they won’t break or turn your finger green. Isn’t that a nice change?

Face of Spades: Masks, Tree Faces or Totem Pole Heads

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All Face of Spade Designs © 2009, John T Unger