“No Spectators: The Art of Burning Man” Opens March 30 at Smithsonian American Art Museum’s Renwick Gallery

Exhibition Brings Large-Scale Installations From Famed Desert Gathering to Washington

Cutting-edge artwork created at Burning Man, the annual desert gathering that is one of the most influential events in contemporary art and culture, will be exhibited in the nation’s capital for the first time this spring. “No Spectators: The Art of Burning Man” will take over the entire Renwick Gallery building, exploring the maker culture, ethos, principles and creative spirit of Burning Man. Several artists will debut new works in the exhibition. In addition to the in-gallery presentation, the Renwick exhibition will expand beyond its walls for the first time through an outdoor extension titled “No Spectators: Beyond the Renwick,” displaying sculptures throughout the surrounding neighborhood. A concept artist career is like a roller coaster ride but some manage to survive until they reach a success level.

Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, is organizing the exhibition in collaboration with the Burning Man Project, the nonprofit organization responsible for producing the annual Burning Man event in Black Rock City, for facilitating and extending the culture that has issued from Burning Man into the wider world and for cultivating its principles reflecting an immediate, non-commercial and participatory culture. The outdoor extension of the exhibition is presented in partnership with Washington, D.C.’s Golden Triangle Business Improvement District, a 43-square-block neighborhood that stretches from the White House to Dupont Circle. The Burning Man community was instrumental in suggesting artworks for inclusion in the exhibition.

“No Spectators: The Art of Burning Man” opens March 30, 2018. The Renwick is the sole venue for the exhibition, which will close in two phases. The first floor will showcase works by Candy Chang, Marco Cochrane, Duane Flatmo, Michael Garlington and Natalia Bertotti, Five Ton Crane Arts Collective, Scott Froschauer, Android Jones and Richard Wilks and will close Sept. 16, 2018. The second floor, featuring works by David Best, FoldHaus Art Collective, Aaron Taylor Kuffner, HYBYCOZO (Yelena Filipchuk and Serge Beaulieu), Christopher Schardt and Leo Villareal, will remain on view through Jan. 21, 2019. “No Spectators: Beyond the Renwick,” will be presented in downtown Washington through December 2018.

Burning Man is both a cultural movement and a thriving temporary city of more than 75,000 people that rises out of the dust for a single week each year in late summer in Nevada’s Black Rock Desert. During that time, enormous experimental art installations are erected, some of which are then ritually burned to the ground. The desert gathering is a uniquely American hotbed of artistic ingenuity, driving innovation through its philosophies of radical self-expression, community participation, rejection of commodification and reverence for the handmade.

“The scale, the communal effort and the technical challenges inherent in creating works for the desert are part of what sets Burning Man apart from other art experiences,” said Stephanie Stebich, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “It is an amazingly creative laboratory where innovators go to play and to push the boundaries of their craft. Displaying the art of Burning Man at the Renwick is the latest example of our focus on new directions in craft and making.”

Large-scale installations—the artistic hallmark of Burning Man—will form the core of the exhibition. Individual artists and collectives featured in “No Spectators: The Art of Burning Man” include Best, Chang, Cochrane, Five Ton Crane Arts Collective, Flatmo, FoldHaus Art Collective, Froschauer, Garlington and Bertotti, HYBYCOZO (Filipchuk and Beaulieu), Kuffner, Jones, Schardt, Villareal and Wilks. Best is creating a temple specifically commissioned for the Renwick’s Grand Salon, where the museum has presented its program of large-scale, immersive installations. Multiple installation sites have been selected throughout the neighborhood surrounding the museum for “No Spectators: Beyond the Renwick.” Confirmed sculptures to date include works by Jack Champion, HYBYCOZO and Kate Raudenbush.

The installations by perennial Burning Man artists Best, Garlington and Bertotti, Five Ton Crane and Jones were commissioned specifically for the Renwick’s presentation and will debut in the exhibition. “No Spectators” also marks the first public display of the works chosen for the exhibition by Chang, Froschauer and Kuffner.

“These artists represent the creative spirit of the contemporary maker movement and the ongoing importance of craft in the digital age,” Atkinson said. “They range from members of the art world, the tech community and beyond. Their work asks questions such as ‘what does art look like when it is separated from commercial value?’ and ‘why do we continue to make in the 21st century?’”

“No Spectators: The Art of Burning Man” also will feature costumes, jewelry, video and photography by artists and designers who participate in Burning Man, emphasizing the breadth of self-expression at the event. Archival materials and photographs from a condensed presentation of “City of Dust: The Evolution of Burning Man,” organized by the Nevada Museum of Art in Reno, will trace the movement’s growth and bohemian roots.

“We are pleased to collaborate with the Renwick Gallery of the Smithsonian American Art Museum to bring the world a slice of the creativity that was born in Black Rock City,” said Marian Goodell, CEO of Burning Man Project. “Through this ambitious exhibition, more people will have a chance to engage with Burning Man’s ethos, which has given rise to a thriving year-round culture spurred by a growing global community of participants. We’re looking forward to this excellent opportunity to share the elements of Burning Man that are helping change the world around us for the better.”

A variety of public programs will accompany the exhibition. Information will be available in the spring on the museum’s website, americanart.si.edu/nospectators. The public can follow the museum’s social media accounts for exhibition updates under the hashtags #RenwickGallery and #NoSpectators.

Credit

The Renwick Gallery especially thanks colleagues from the Burning Man Project, a nonprofit public benefit corporation, for their close collaboration and assistance throughout the preparation of this exhibition. Generous financial support has been provided by Anonymous, Sarah and Richard Barton, the Diane and Norman Bernstein Foundation, The Bronner Family, the Elizabeth Broun Curatorial Endowment, the James F. Dicke Family Endowment, Ed Fries, the James Renwick Alliance, Nion McEvoy, Bobby Sarnoff and Kelly Williams and Andrew Forsyth. The installation of outdoor sculptures in the neighborhood and related programming are made possible by a collaboration with the Golden Triangle Business Improvement District. Learn more about the new set of software that you can use as a graphic artist.

Melbourne Car Detailing

Car paints can now be safeguarded with finishes utilizing nanotechnology. Scratches and damages on cars are any vehicle owner’s nightmare. Nanotechnology is becoming significantly popular in Melbourne. This service is perfect for paint protection finishings and car paints. In fact, when it comes to Paint Protection Melbourne is ahead of numerous other cities. Our interior car detailing port Melbourne services are customized per vehicle to best fit the standards of proper car care while keeping ease of future up-keep in mind.

Types of paint protection:

Nanotechnology based vehicle paint protection can be divided into two categories, i.e., technology incorporated within the automobile paint formula and that which is used as a finishing on standard automobile paint. The second variety is more versatile. It is likewise a true blessing for used automobile buyers. Such coverings further vary in their structures. Examples of nanotechnology based coatings consist of ceramic polymer finishings and some nanoparticles containing finishes. The structure of the coverings eventually determines the effectiveness of the finish.

What nanotechnology based vehicle paints and paint finishes offer:

For beginners, these paints and finishes firmly attach the automobile’s existing paint to the body of the automobile. For that reason, scratches and swirl marks do not develop on the paint as easily as they would without such technology. Cracking of paints is also not likely with this technology in the paints or thanks to the finish over the paint.

The nanotechnology based paints and coverings are also weatherproof. For that reason, water, heat, ultraviolet light, contaminants and some strong chemicals are not likely to damage the existing paint on the automobile.

The car’s paint generally begins looking faded after an amount of time. With this finish, the car looks as shiny as a new automobile.

Cleaning the automobile ends up being extremely easy, and less time consuming too. Bird droppings can also be cleaned really quickly and will not damage the underlying paint. Similarly, a few of these paints and finishes safeguard the automobile from scratches.

White paint on cars has the tendency to turn yellow-colored in time. A few of these coatings are specifically developed to prevent this.

Traditionally, waxes and sealants were utilized for keeping water off from the automobile’s body. However these diminish within a year or so, and they have to be applied again several times throughout the life expectancy of the car. Unlike such waxes and sealants, nanotechnology based automobile paints and paint coatings last for a very long time, virtually for the lifetime of the vehicle. Water, pollutants and some extreme chemicals accountable for the corrosion on the metallic frame once the paint wears away. Gunk likewise makes the automobile look dirty and cleaning it is not that simple either. However with nanotechnology based car paints and paint coatings, cleaning gunk and dirt is significantly much easier.

Paint Protection in Melbourne

In Melbourne among the most popular nanotechnology based paint covering is the Ceramic Pro. The maker of this paint finish, which makes the car’s outsides gleam like a new vehicle, provides a lifetime guarantee also. As the name recommends this paint finishing includes a ceramic polymer.

Conclusion:

Nanotechnology is fairly in the market of automobile paints. It will quickly find its method into other paints and minimize the have to frequently paint automobiles. New approaches are still being studied to make the technology even more reliable and individuals from Melbourne will be ahead of others in embracing such innovations.

Here’s Why You Should Never Take Your Car To A Carwash

With winter setting upon us, it’s important to get any road salt off your car as soon as possible if you don’t want it turning into dust. The best way to do that is to just wash it all off, but heaven help you if you go to an car care products. We spoke to an expert to find out why.

I must say this whole article was spurred by a conversation I had with Road & Track’s Sam Smith. Sam is a beloved and dear friend, a Jalopnik alum, and a Notorious Trickster Who Should Never Be Trusted. So when I proudly posted photos of my new Lexus going through the wringer for the first time, I was utterly perplexed by his eloquent proclamation that “brushless no-paintfuck is a lie perpetrated by Big Flappywheel.”

As elucidating as Sam can be, I wasn’t really able to decipher the reasoning for his rage through all the sniffles. The carwash was brushless, the sign before the big, gaping maw of whirring machines said. All of these fears were old hat, spurred on by the myths of yesteryear. I would proudly set my Lexus into its gentle jaws, and be rid of the salty death chewing away at its metal underside. I was in the clear, so I thought.

Wrong. At least according to Paul Lamberty, who is responsible for “all automotive OEM and refinish coatings research and development within North America” for BASF, a top-tier supplier to the automotive industry.

In short, he knows about paint, and he knows about how it reacts to going through an automatic carwash.

“It’s like painting your car with a wet sandblaster,” he told me over the phone. The problem isn’t really the bristles, he noted. So it didn’t really matter whether or not my trip to the carwash was “brushless,” if it used bristles, or if it used giant floppy foamy things to gracefully slop away dirt.

The problem was all of the other cars and the stuff, or “media,” that clung to them from driving around all day. If the car before yours went on a dirt road, for instance, it would pull into the carwash just covered in mud and sand, he explained. And mud and sand are mostly made up of small bits of rock, including granite, which is extremely hard and abrasive.

That grit tends to stick onto the cleaning apparatus of the carwash, which after a while can start to almost be like sandpaper. “Some of those car washes, seriously, I’ve seen them where the brushes are gray to brown with dirt,” Lamberty said.

With the high speed of the cleaning machines and the high pressure of the water, all that dirt and grit is rubbed along the surface of your car on its way off the body. And with it, can come a little bit of your paint.

“I don’t care what car wash it is, if it rubs that media on the surface of the paint finish,” your paint can be stripped away, he said.

Eventually, your car could end up with what’s called a “spiderweb scratch,” which basically looks how it sounds.

Of course, if you’ve gone through the carwash a couple of times, all is not lost, Lamberty reassured me. I didn’t have to throw my brand-new-to-me beloved Lexus straight into a dumpster. Virtually all cars come with some level of scratch-resistant clear-coat straight from the factory, which should provide some level of protection. It’s really only a concern if you take it to a carwash repeatedly, over the course of a number of years. And if your paint is only deformed, and not stripped entirely, it’ll probably go back to normal once a little heat is applied to it, even from the sun.

And if you only plan on holding onto your car for a few years, it’s not something you’ll probably notice at all if you only go to the carwash every now and then. It’ll mostly start to look bad only after 10 years or more.

But, he cautioned, not all cars are the same. Most new cars come with an intermediate level of clear-coat protection, which should provide a good level of protection, he said. Some cars even have what he called “an advanced level of protection,” which “look as good coming out as they do coming in.”

So how do you know how good the protection is on your car? Well, that’s a much tougher question to answer, Lamberty said. Just because you get a high-end car doesn’t mean the manufacturer sprang for the higher-end paint protection at the factory. And even within a model, the level of protection can vary. Lamberty specifically pointed to the Ford F-150, which has different coatings depending on whether or not it was made at Ford’s Kansas City Assembly in Missouri, or Dearborn Truck Plant, in Michigan.

“Both meet the manufacturer specification, but they’re two different coatings,” he said.

If you need to get stuff like salt off your car, just hand wash it, Lamberty said. Use a lot of water to get all the grit off your car gently first, and then maybe use a soft clay and some towels to make sure everything shines nicely.

Here’s a half-hour video you can watch if you really want to see how it’s done:

I then asked Lamberty if he’s ever taken his car to a car wash.

“Well, I’ve got 18 cars in my personal fleet,” he answered, “they range from a 1922 on up.” He considers a 1999 BMW M3 his baby, though.

“And I don’t think it’s ever seen a carwash.”