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JON RUBIN

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The $100 Assignment is in Aperture's The Photographer’s Playbook Edited by Jason Fulford and Gregory Halpern

July 9, 2014

The Photographer’s Playbook

← Daily Mail (UK) "A swipe at Facebook and ideas for a blog: Spooky billboard uses an old-fashioned advertising medium to tackle some very modern ideas 90.5 Pittsburgh's NPR News Station Interview About The Last Billboard →

@JONRUBINSTUDIO

#Repost @counterpublic
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We are in the final 48 hours of #Counterpublic2019 The triennial has evolved over its three months with new commissions, performances, publications and more. None marked the time more distinctly than Joseph del Pesco and Jon Rubin's "Monuments, Ruins, and Forgetting," which transitioned each month to a new fictive institution. Join us today and tomorrow on @cherokeestreet as we close this iconic project. @delpesco @jonrubinstudio
#STLMade #cherokeestreet #callecherokee #jonrubin #josephdelpesco

#Repost @jamesxmcanally with @get_repost
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Counterpublic closes this weekend after a remarkable and remarkably dense three month run. I really (really) hope those in town come out to NIC Kay’s show-stopping closing performance that will weave through the streets surrounding Cherokee Street, or party with us and ONG3 afterwards at Fellowship. This one deserves to go out with the floors shaking.

We estimate that around 32,000 people have experienced this first triennial exhibition (a number that goes much higher if you include the audience for all of the outdoor installations and street banners). Long-form reviews are still to come from Frieze, Artforum, Art Papers, The Art Newspaper, Public Art Review and more following pieces from ARTnews, Hyperallergic, Informality, Sixty Inches from Center, CultBytes, and coverage from pretty much everywhere in St. Louis.

Counterpublic was always meant as a kind of counter-triennial - an experiment in organizing this kind of globally-focused festival bottom-up, scaled to a neighborhood and embedded in its execution. Counterpublic was organized for less than 1/50th the budget of triennials like FRONT in Cleveland or Open Spaces in Kansas City. It was never meant to compete or compare to those or others on that scale, but re-envision what these events look like in the hands of artists and independent institutions. Despite our scale, we paid artists well beyond W.A.G.E. standards, engaged our neighbors in lasting ways, and put forth bold structures for how these increasingly common art world structures don't have to fall into the bloated patterns and easy critiques we’ve grown used to.
As it closes, I think Counterpublic reached beyond the heights I hoped when I conceived of this expanded project several years ago, and offers a template I look forward to learning from as it unfurls in the future. If you haven't made it yet, you have two days left to taste, touch, hear, and feel this counter-triennial before it goes quiet.
#Counterpublic2019

#Repost @alishabwormsley
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THIS SATURDAY!!! There Are Black People in the Future:
A Conversation about Arts, Activism, and the Future

Join Rasheedah Phillips of Black Quantum Futurism, director and writer Ellen Sebastian Chang, and artist activist Jasiri X for workshops and a panel discussion about Alisha B. Wormsley’s There Are Black People in the Future artwork-in-residence project. Share your ideas and participate in discussion about Black Housing Futures and Human Rights and the Arts. Children’s workshops will be provided by Assemble. For more information, visit: thereareblackpeopleinthefuture.org.

This event is FREE and open to the public. Please register at http://www.pittsburghartscouncil.org/public-art/public-art-events/event/683

Presented by artist Alisha B. Wormsley, in collaboration with Jon Rubin and the Office of Public Art.

This project is generously supported by The Heinz Endowments.

#Repost @thecmoa ・・・
"This is one tiny segment of one museum in the world. Thrilling to imagine the millions of other untold stories still waiting."
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From Storyboard Issue 2: a Q&A with artists Lenka Clayton and Jon Rubin about their installation in the 2018 #CarnegieInternational. Fruit and Other Things, their project, featured artists painting the titles of 10,632 previously rejected submissions by hand in alphabetical order in the Forum gallery. .
Visitors could take the paintings home—free of charge—and submit photos of the works on display in their houses to fruitandotherthings.com. A substantial gallery of these photos can be seen in the "collectors" portion of the website.
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Jakob, Nate, Sarah, and Brett, Pittsburgh, PA. From Fruit and Other Things.
#CMOAstoryboard #fruitandotherthings @lenkaclaytonstudio

#Repost @counterpublic ・・・
The final cycle of Joseph del Pesco and Jon Rubin’s “Monuments, Ruins, and Forgetting” opens tomorrow at 2pm with a solo brass performance. Find the letterpress posters, printed at @leadgraffiti around Cherokee Street. @delpesco @jonrubinstudio
#nationalmuseumofforgetting #cherokeestreet

#Repost @theluminaryarts ・・・
The St. Louis Brass Band marks the opening of the second phase of Joseph del Pesco and Jon Rubin’s project “Monuments, Ruins, and Forgetting” as part of #counterpublic2019 @delpesco

#Repost @counterpublic
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The National Museum of Monuments is giving way to the National Museum of ... Join us for the opening of the second phase of Joseph del Pesco and Jon Rubin’s “Monuments, Ruins, and Forgetting” with a performance by the St. Louis Brass Band this Saturday at 1pm.

#counterpublic2019 #nationalmuseum #monuments #ruins #josephdelpesco #jonrubin

First baseman for the Hymie’s Delicatessen Mets. We didn’t win a game all year, but our team picture was hung prominently in the deli near the pickle bar.

#Repost @theluminaryarts
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Our first artist commissions for #Counterpublic2019 are going up around the Cherokee Street neighborhood! For this project in a formerly vacant storefront, Joseph del Pesco and Jon Rubin inaugurate a prospective National Museum that—over the course of three months—presents a micro-narrative about historical progression.
Del Pesco and Rubin consider, how does a nation or city or neighborhood decide what to collectively remember? Which histories are deemed worth saving and which are ignored, denied or forgotten? How long does it take for monuments to become ruins, or for once widely known stories to be forgotten?

#nationalmuseum #monument #monumentlabstl #stlmade #josephdelpesco #jonrubin @counterpublic

Excited to participate with @delpesco in this exhibition. #Repost @theluminaryarts
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Hello! ARTnews has announced the full artist list for Counterpublic featuring 39 artists for St. Louis’s largest triennial exhibition to date. Link in bio 🗞
#counterpublic2019 #STLMade

#Repost @kcartinstitute
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This week's visiting speaker is Jon Rubin, an interdisciplinary artist who creates interventions into public life that re-imagine individual, group, and institutional behavior. See him on campus Thursday, 3/28 at 7pm! Rubin is an associate professor in the School of Art at Carnegie Mellon University and Chair of the Contextual Practice area. Projects include Conflict Kitchen, The Last Billboard The Royal Danish Protesters, and The Independent School of Art. He has exhibited at The San Francisco Museum of Modern Art; The Guggenheim Museum; The Mercosul Biennial, Brazil; The Shanghai Biennial; The Museum of Contemporary Art, Denver; The Carnegie International; as well as in backyards, living rooms, and street corners.
#studio #spractice #interactive #social #spatial #artist #gallery #kcai #artschool #public #lecture

Next to last day for @lenkaclaytonstudio and I to be painting #fruitandotherthings @thecmoa

Last week for #fruitandotherthings #carnegieinternational with @lenkaclaytonstudio

#Repost @artinamerica
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Review | Brian Droitcour on the Carnegie International at the Carnegie Museum of Art: “A projector beams words onto pieces of heavy-stock paper to be traced in black ink. The artists slide their finished works into frames that line the gallery walls, replacing ones where the ink has dried; those are slipped into plastic envelopes and left on a table where visitors are welcome to take them home. The painted words are titles of works submitted to the Carnegie International from 1896 to 1931, when the exhibition was selected from responses to an open call. By the time the latest edition closes, all 10,632 rejected submissions will have been commemorated in alphabetical order in these paintings.” @briandroitcour @thecmoa
Read the full review in our February issue, and on our website [link in bio]! Pictured: View of Lenka Clayton and Jon Rubin’s installation Fruit and Other Things, 2018, at the Carnegie International. @lenkaclaytonstudio @ingridschaffner @liz_sr_park #carnegieinternational #fruitandotherthings

#fruitandotherthings #carnegieinternational @lenkaclaytonstudio

We’re up to P and thus painting Portraits all week at Fruit and Other Things in the #carnegieinternational #fruitandotherthings @lenkaclaytonstudio .......... From 1896 to 1931 the Carnegie International selected artworks for its exhibitions from an international competition. The museum kept meticulous records, not only of all the works accepted, but of those rejected as well. Only the title, artist’s names, and the year of each work were recorded, no images exist. Over this 35 year span, 10,632 artworks were rejected from the exhibitions. For the duration of the 57th Carnegie International, each of the 10,632 rejected titles are being made into hand-lettered text paintings. Each text painting will be exhibited for a day, and then given away to visitors.