Installation - Ann Mc Cormick with sound Installation from Urban Blau. 

Soundings / Echo

Mind Map City was very much influenced by my interest in the work of the colour field artist Richard Diebenkorn. I tried to enrich the work materially by using found objects from my environment and combining them with plains of colour. Flat plains broke into three dimensions yet remained flat. I was also influenced by the work of Kasimir Malewitsch in his radical reduction of space and form.

The city landscape of streets and architecture, it's open and closed spaces was the backbone of this project. 

The musician Martin Fonfara complemented the work with his playful sound installation.

Video:
(https://youtu.be/dIYC6tw3je4) 


Mind Map City

n the year 2000 I wandered around Dublin taking photographs along the quays of the river Liffey and in the dockland area. Using slide-film I was able to interact with the images in a more painterly way and use light and shadow to build the images up in layers. 

Annalivia refers to the river Liffey in the heart of Dublin and also a character in Joyce's Finnegans wake.

In 2010 I scanned the slides. The series is diveded into two categories – Structural and non-structural abstract. These are a selection of the structural images.


Annalivia

Mind Cloud Town  is an  installation project with the writer and sound artist Urban Blau.

The inspiration for the work is my experience of the urban environment. I am interested in the exploration of the relationship between painting and real space, between the urban environment and the perception of space; the ties between art and the environment, materials and context, art criticism and marketing.

In this Installation I am using simple materials with uniform shapes to compose a painting in time and space using shades of light, shadow and colour. I want to approach form and structure in a light playful meditative way.

Urban Blau´s Klang-installation is based on sounds that are found and taken from the urban environment. It adds another level of the senses to the installation work.

Video:
(https://youtu.be/GbF55F-m7vA)


Mind Cloud Town

imaginary creatures playing with perspective

an ocean playroom of playthings buzzing sweet worded desires into the ears of time

wonderings about our place in the stars

imaginary creatures playing in an surreal landscape

the dreamers arm their fears with swords and words while above them the town’s angel plays with balls of light

On Love, Violence and The Lack of It

Black and White Photography. No Retouching.

Memento Mori. Colored Photography. No Retouching.

On Love Violence and the Lack of It

Into the wild. Colored Photography. No Retouching.

On Love, Violence & The Lack of It

Nature's Carpet II

Circular weaving and hand-stitching
51cm diameter

Daydreaming III

Circular weaving and hand-stitching
120 x 77cm

Awakening

Circular weaving and hand-stitching
both 54 x 48cm

Among the trees & Wandering II

Hand-stitching; various yarns and wools
51cm diameter

Daydreaming I

Circular weaving and hand-stitching; various yarns and wools
93 x 67cm

Ancient Conversations II

Circular weaving and hand-stitching; various yarns and wools
80 x 64cm

Enhanced

hand-stitching; various yarns and wools
51cm diameter

Daydreaming  II

Circular weaving and hand-stitching
115 x 72 cm

Connected

Circular weaving; Various yarns and wools
70 X 90 cm


Body and Soul

Good food - good mood (creative food photography)

En 
the squares are stacked, overlapped and fall down. they are living and getting together. the whole structure emerges and disappears. the squares  look similar or same each other but it doesn’t mean that they are same and equal. society and relationships are made and changed by the differences. recently we see these scenes more clearly, in between individuals, or something beyond human and something that we have thought not greater than humankind. it has seemed that every single element possesses its own position. but the social, non-social, natural and non-natural dispositions conflict or merge and function in varied structure.


De
Die Hexaeders sind gestapelt, überlappen sich und fallen herunter. Sie leben und kommen zusammen. Die ganze Struktur entsteht und verschwindet. Die Hexaeders sehen ähnlich oder gleich aus, aber das bedeutet nicht, dass sie gleich (same) und gleichgestellt (equal) sind. Gesellschaft und Beziehungen werden durch die Unterschiede hergestellt und verändert. In letzter Zeit sehen wir diese Szenen deutlicher zwischen Individuen oder etwas jenseits des Menschen und etwas, das wir für nicht bedeutender als die Menschheit gehalten haben. es scheint, dass jedes einzelne Element seine eigene Position besitzt. Aber die sozialen, nicht sozialen, natürlichen und nicht natürlichen Anordnungen widersprechen oder fusionieren und funktionieren in verschiedenen Strukturen.

Organized

Clickbaits attract the attention of Internet users every day. They often simulate scandalous content and actual sensations. On the occasion an exhibition opening in the Kassel Regional Council in 2017, Schomburg cast her own bait and invited to a blowjob performance. The present representatives of the press had followed her announcement curiously and finally found the artist blowing up a large-format floating animal. The bathing island is formed as a unicorn.This combines the self-portrayal of young women distinguishing themselves as attractive and adventurous at the side of a toy in the internetwith significantly older mythologies. In the fantasy narrative "The Last Unicorn", for example, a female robber living alone among men in the wilderness encounters the magical animal and negotiates ideas of female purity and sexuality at its side.

The Blowjob

∞ of Evolution
50 x 90
apes , fragmentary love song lyrics , endless scientific formulas . 

Nr1 The number π : spray paint, black gomera beach sand, duct-tape on steel panel 
Nr2 Polyethylene : spray paint, baltic sea beach sand on rusted steel panel
Nr3 Nuclear Chain Reaction : spray paint, burnt metal dust on steel panel


∞ of Evolution /Trilogy

**RFQ: Elevating History: A Mural Series from the Living Oral History Project in Ann Arbor, MI**

The Ann Arbor Downtown Development Authority (**DDA**), through its Elevate public art program, is partnering with the Ann Arbor District Library (**AADL**) and the African American Cultural and Historical Museum of Washtenaw County (**AACHM**) to commission three murals along Ann Street. These murals will honor the area's history as a vibrant center for Ann Arbor’s Black community, businesses, families, and civic leaders. The murals will be located on three prominent downtown sites and aim to restore visibility to a vital history that remains unknown to many today. Artists will draw inspiration from the **Living Oral History Project** and digital archives, translating this significant history into a compelling mural reflecting one of three site-specific themes:

1. Black-owned businesses and commercial street scenes
2. Residential and community life, incorporating a map
3. Civic leadership and the Fair Housing Ordinance

**PROJECT AND SITE BACKGROUND**

Beginning in 2013, the AADL and AACHM partnered to create the **Living Oral History Project** (LOH), a growing collection of interviews that document what local African Americans witnessed, experienced, and contributed to, building the community in Ann Arbor we share today. The associated **LOH Digital Collection** extends the archive with over 3,000 historical photographs and news articles from AADL’s Community Collections about major topics featured in the interviews, including Community Centers, Education, Housing, Employment, Entrepreneurship, and Faith. The **LOH Walking Tour** offers an on-the-ground experience guiding participants through neighborhood locations connected to the stories and archives.

Inspired by the Living Oral History Project and Digital Collection, the DDA joined the partnership for this special public art project to support and visually illuminate the history back into the neighborhood where it originated. These murals will serve as a companion to the LOH Walking Tour, educating the public and visitors about the neighborhood’s influential past. Installed at key sites, the murals aim to reestablish a sense of presence and place within the urban landscape.

As early as the late nineteenth century, Black business owners began operating barber shops on East Ann Street and North Fourth Avenue, and the area grew into a flourishing site for Black businesses. Ann Arbor’s Black population grew from 4.1% in 1940 to 6.7% in 1970, but the city’s neighborhoods remained racially segregated well into the 1960s. Most Black families lived in the area north of downtown, stretching from Kingsley Street to the Huron River and west to Brooks Street. Former residents remember it as a tight-knit community anchored by Jones School, the Dunbar Community Center, and two historically Black churches.

The area where the murals will be installed now includes Community High School (formerly Jones School prior to its closing during desegregation), the Ann Arbor Farmers Market, and many small and unique businesses. It remains a walkable and vibrant district that hosts numerous community events, including the annual **African American Downtown Festival**. A new housing development and community creative center on Catherine St, Dunbar Towers, just one block down from Ann Street, will be complete in 2026\. Inspired by the original Dunbar Center, this development will also promote the history of the area and Ann Arbor’s Black community.

**Project 1:**

**Theme:** Black-owned businesses and commercial street scenes

**Site:** The east facing facade of the Ann & Ashley Parking Structure (220 N Ashley St)

* The artwork will be directly painted on the three or four horizontal levels. The selection committee asks that the artist or artist team consider painting at least half of the facade. However, the whole facade is available for the artist to use as they see fit to their design and budget, including the lower brick level and vertical columns. The most visible part of the facade from Ann St is directly above the street.

**Project 2:**

**Theme:** Residential and community life, incorporating a map

**Site:** The west facing facade of the Ann Arbor Fire Department (111 N 5th Ave, Ann Arbor, MI 48104). This site is adjacent to **Ann Arbor Hands-On Museum** entrance and will be seen by many families and children.

* The artist or artist team must paint the mural on an approved substrate, such as Aluminium Composite Material, and install it on the facade. The artist can not paint directly onto the brick. The artist should be familiar with working and installing substrate panels and will be required to provide stamped engineer drawings from an MI licensed engineer for safe installation.
* The selection committee would like to see the artist to incorporate about 400 square feet into their design at minimum, but the artist can use as much as the facade as they see fit to their design and budget.
* The artwork can not cover the vents or windows
* The artwork can be painted on rectangular panels and/or custom cut to any shape.
* The mounted work can be designed as one unit or spread out as separate elements on the facade.

**Project 3:**

**Theme:** Civic leadership and the Fair Housing Ordinance

**Site:** The red and/or grey brick west-facing facade of Ann Arbor City Hall (301 E. Huron St, Ann Arbor, MI 48104) at the intersection of 5th St and Ann Street.

* The artist or artist team must paint the mural on an approved substrate, such as Aluminium Composite Material, and install it on the facade. The artist can not paint directly onto the brick. The artist should be familiar with working and installing substrate panels and will be required to provide stamped engineer drawings from an MI licensed engineer for safe installation.
* The selection committee requires the artist to incorporate about 500 square feet into their design at minimum, but the artist can use as much as the facade as they see fit to their design and budget.
* The artwork, or key aspects of the artwork, should sit above the treeline to be visible all seasons.
* The artwork can not cover the vents, windows, or existing infrastructure.
* The artwork can be painted on rectangular panels and/or custom cut to any shape.
* The mounted work can be designed as one unit or spread out as separate elements on the facade.

**Other Design Guidelines and Considerations**

* Designs may include limited letters, numbers, or words but should not be the sole focus of the artwork.
* Designs may not include any logos, trademarked materials, commercial imagery, or any sort of advertising.
* Designs may not be religious or political in nature, or contain imagery that is considered sacred by any peoples.
* Designs must be original artwork. Use of AI-generated images and design is not permitted.
* Use of specific images or images of people will be discussed with the semi-finalists.

**Timeline**

All dates except the submission deadline are approximate, subject to change, and are presented for guidance only.

* Semi-finalists Selected: Feb 2026
* Semi-finalists Proposals: Artists will be given 6 weeks to develop proposal(s) after notification.
* Finalist Awarded: April 2026.
* Project Completion and Installation: Ann Street will be under construction Summer and Fall of 2026, starting near the parking garage (Project 1) and moving sequentially towards City Hall (Project 2 and 3). The DDA would like to install the murals after construction of each street section is complete.
1. Project 1: Installation expected September 2026, dependent on the completed section of Ann Street construction. Installation may move to Spring 2027
2. Project 2: Fabrication to be complete in 2026 and installed early 2027 after Ann St construction is complete
3. Project 3: Fabrication to be complete in 2026 and installed early 2027 after Ann St construction is complete

The budget for each project site is the following:

1. Project and Site 1: $45,000
2. Project and Site 2: $45,000
3. Project and Site 3: $50,000

This contract amount is inclusive of all costs associated with the project, including, but not limited to: the artist's design fee, artist's assistant costs, consultation fees, structural engineering and stamped drawings if applicable, permits, insurance, tools, materials (including substrate panels required for Project 2 or Project 3), facade prep, fabrication, transportation, installation, any building or site modification required, travel to and from the site, per diem expenses, project documentation, a contingency to cover unexpected expenses, and any other costs. 

For budgeting purposes, semi-finalists will have the opportunity to discuss permitting requirements, process, and estimated fees individually with the A2AC and the DDA.

  
Mural displayed in Ann Arbor, MI.

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