Although Michael and Andrea deMeng started the Art Abandonment movement in June of 2012, publicly leaving art for others is not a new concept. Several decades ago there was a movement called “Guerilla Art, ” which inspired the deMengs’ art abandonment movement.
History of “Guerrilla” Art
Guerrilla art–or street art–originated in the 1980s.
It consisted of graffiti, street sculpture, murals, wall mosaics, and various other forms of artistic expression. Artists would create the art pieces and leave them in public spaces for others to enjoy.
The reasons for street art varied. Often the artists wanted to make a political statement. Sometimes they wanted to get their work out into the world, and bypass the constraints subjected to them by the rules of the formal art world. At other times, they wanted “ordinary” people to have access to art that they normally would never have the chance to encounter. Finally, sometimes they did it just for the fun of it!
Want to Participate in the Art Abandonment Movement?
If you are interested in becoming part of this movement, you will find that there are just a few rules to follow. To join in, Michael deMeng makes these simple suggestions. All you have to do is the following:
- Make a small piece of art.
- Put a tag on it stating that you are leaving the art as a free gift to whoever finds it. Make sure to include your desired contact information.
- Discreetly leave the art in a public space.
- Take a picture of the space you are leaving it in.
- Hope that the person who finds the gift responds either by email or replies on the Art Abandonment Facebook page.
Grade I listed Hadlow Tower near Tonbridge, Kent, was commissioned by wealthy businessman Walter May in 1838 because he suspected his wife was sleeping with a local farmer.
The tower and the story were interesting to read about. But, it was this space – the kitchen furniture and set up which I especially like.
The short story only adds to the image. I just want to know more. It seems to be post apocalypse, but it could be something else.
“The days are regimented here and though you should expect him to leave me in the tundra if I were to fall behind, you could say I am well fed and energized, so do not worry. All that he provides in the way of foodstuffs is deer meat. I’ve relied on my rations of tin vegetables and and have taken up the hobby of fishing to satisfy a varied diet.
We hunt most hours of the day, he kills the animals leaving me to fix them to sleds and drag the carcasses, sometimes miles at a time back to the cave where he does not permit me to enter. I’ve been used as little more than a pack mule in these trips but from what I understand he brings me along to observe. It is difficult discerning him as he does not speak, or chooses not to, and he refrains from physical conversation beyond simple gestures when it pleases him. He engages in other activities on a mysterious schedule and he seems to make good use of any time I am away or the rare chance I may be caught sleeping. I’ve stepped outside for only minutes and returned to find a fully skinned and gutted carcass splayed upon the table with its spine removed and ground into sludge. He was sitting in his chair.
He acts like a shadow, constantly moving about the walls rather than cross the floor. If I don’t watch him closely it is easy to lose track of him, even in this confined cabin space. During the nights (if one can call them as such, they are little more than dim evenings here) he sits across from the bed, facing the snuffed out fireplace, barely visible in his dark and oiled wraps. Comfortable sleep has become a luxury, on more than one occasion I have awoke to find he had rotated to face me, his gaunt statuesque form with long fingers clutching the ends of the arm rests. I suppose it goes without saying that he does not make for good company.
I have yet to fully understand what we are doing here, I do hope it is revealed soon. As things are though, I may be here for some time.
Found without an artist signature/ initials. Maybe no one put their initials on it thinking it was just a simple, small thing. But, I especially like it. The ray/ beams coming from the ship work well. I wouldn’t have done them the same (I think) but they work out really well. One of those times I’d wish I had thought of it first.
I’d prefer this method if I had to be cremated. But, at this point in my life I’d actually like to have a living wake (a funeral type of get together while I’m still alive) and have my body tossed into a hole in the ground, as is. Or just throw it into the deep ocean. Having a gravestone is a huge expense and not usually welcome in cemeteries these days. So, I’d rather have no stone at all if I can’t have some grandly romantic and mysterious sculptured gravemarker.
Likely, bio-cremation is the closest I will get to what I’d plan for myself. But, once I’m dead it really is up to whoever has to dispose of my body at that time. We (or I at least) don’t know how or where we are going to end up (literally end).
Bio-cremation is the funeral industry–approved term for alkaline hydrolysis, a method of corpse disposal in which lye and water are heated under pressure, dissolving flesh and leaving only bone fragments and whatever surgical oddments the body contained. The process is often faster than traditional cremation and costs about the same, and the end product takes up less space than a standard burial. Bio-cremation’s unique selling point, however, is its environmental friendliness. It consumes one-eighth the energy of cremation, requires no casket, and leaches no toxic embalming fluids into the earth. Yet it is still a niche practice, even in a country as green-savvy as ours: Hilton’s facility is one of just three in Canada.