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Ruth Asawa, a Pioneer of Necessity
"Black Mountain College was not Ruth Asawa’s first choice. Determined to be an art teacher, she enrolled in Milwaukee State Teachers College from 1943 to ’46. She chose Milwaukee because it was the cheapest college in the catalog she consulted while she and her family were interned in the Rohwer Relocation Center, in Rohwer, Arkansas. However, when she learned that her fourth year was going to be devoted to practice teaching, and that no school in Wisconsin would hire someone who was Japanese, she decided to go to art school. The war might have been over, and the Japanese defeated, but the racism it engendered was still officially in place.

This is perhaps why she and her sister Lois took a bus trip to Mexico City, where she enrolled in a newly formed art school, La Escuela Nacional de Pintura y Escultura La Esmeralda. She also enrolled at the University of Mexico, where she took a class with Clara Porset, an innovative furniture designer from Cuba who had been at Black Mountain College in 1934 and studied with Albers. Through the influence of Porset, as well as that of Asawa’s friend Elaine Schmitt, whom she had met at the end of her freshman year in Milwaukee, Black Mountain College and Josef Albers emerged as a viable American option — a small, relatively isolated environment where she had at least one friend, Schmitt.

Asawa was 20 years old when she and her sister arrived at Black Mountain in the summer of 1946. On the way there, at a stop in Missouri, they did not know whether to use the “colored” or “whites only” bathroom. Like other Asians living in America at that time (and even now), she was both visible and invisible, not always knowing which way she would be regarded.

I thought about the road that Asawa took to Black Mountain College on her way to becoming an artist when I went to the exhibition Ruth Asawa at David Zwirner (September 13–October 21, 2017), her first with this gallery, which now represents her estate. Asawa — whose work was included in the traveling exhibition, Leap Before You Look: Black Mountain College 1933-1957, organized by Helen Molesworth — is the latest postwar American artist to be rediscovered by an establishment still waking up to its racist and sexist biases.

In the summer of 1947, Asawa returned to Mexico and worked as a volunteer teacher in the town of Toluca. While she was there, she learned about the crochet loop, which the locals used to make wire baskets. The act of making a loop, or bundling wires together and tying them with a knot, is central to her work. The loop, done in profuse repetition, gave her the freedom to make a range of transparent forms and to contain other transparent forms within them. Many of these works she suspended from the ceiling. Conceivably they could grow to any size, limited only by the dimensions of the room in which they were suspended. There are a number of works done in this way in the exhibition, spheres and cones and teardrop shapes, often with another shape suspended within. I was reminded of soap bubbles stretching but not dispersing, of a form changing slowly and inevitably as it descended from the ceiling.

Made of woven wire, the sculptures oscillate between solidity and dematerialization, which is underscored by the shadows they cast. I think this aspect of the work should have been dramatized more. The strongest works are the ones made of a number of what artist called “lobes” and forms suspended within forms. When she weaves a wire sphere within a larger, similarly shaped form, it evokes a woman’s body, an abstract figure with a womb.

The sculptures with an hourglass shape underscore this association. But this connection can be extended further. In some of Asawa’s sculptures, an elongated tubular form periodically swells into a globular structure with a small spherical form cocooned inside. It is as if these are models for cells undergoing a transformation, generative organisms giving birth to a similar being. At the same time, because they are suspended, gravity is registered as an inescapable and relentless force, an invisible presence manifesting itself on the very structure of the sculpture’s body.

Through the act of weaving the artist has transformed wire — an industrial material — into a cellular structure, something both microscopic and organic. Paradoxically, the structure is a kind of armor, at once protective and vulnerable, with inside and outside visible at the same time.

In other classes of sculptures, of which there are fewer examples, Asawa bundled together wires, which she tied with a knot. These spiky constructions — which are like abstract root systems — were inspired by nature, as were the artworks Asawa made while a student at Black Mountain: small oil paintings on paper, a potato print, a work in ink on paper made with a BMC (Black Mountain College) laundry stamp.

These pieces are complemented by archival materials and vintage photographs of her and of her works taken by Imogen Cunningham. The presentation is beautiful and clean, which made me happy and yet bugged. The wall text at the entrance to the show cited the difficulties Asawa encountered because she was a “woman of color,” which to my mind dilutes what happened.

In all of the work, a simple action or form is repeated. Asawa took this lesson and made it into something altogether unique in postwar sculpture. She does not weld or fabricate. There is nothing macho about her work. Rather, she weaves; her practice, gender, and race cast a shadow over her initial reception in the 1950s in New York, when she had shows at the Peridot Gallery in 1954, ’56, and ‘58. She was a woman of Japanese ancestry making art in the years after World War II, which was a double whammy. In the Time magazine review of her first show at Peridot, the writer paired her exhibition with one by Isamu Noguchi. That same writer identified her as a “San Francisco housewife.” The Art News review of her 1956 show by Eleanor C. Munro characterized her this way:
These are “domestic” sculptures in a feminine, handiwork mode — small and light and unobtrusive for home decoration, not meant, as is much contemporary sculpture, to be hoisted by cranes, carted by vans and installed on mountainsides.

Looking at this exhibition, and thinking about Asawas’ persistence and generosity, I realized why Robert Frost’s “The Road Not Taken” has often bothered me. In that poem, read by nearly all American schoolchildren, the poet talks about taking the road “less traveled.” That is all fine and dandy if you have that choice. Asawa did not. More than once, she had to make a road where there was none. She was a pioneer out of necessity."
ruthasawa  art  artists  education  arteducation  2017  blackmountaincollege  bmc  mexico  sanfrancisco  sculpture  josefalbers  claraporset 
21 days ago by robertogreco
No. 360: Ruth Asawa, Angela Fraleigh – The Modern Art Notes Podcast
"Episode No. 360 of The Modern Art Notes Podcast features curator Tamara Schenkenberg and artist Angela Fraleigh.

Schenkenberg is the curator of “Ruth Asawa: Life’s Work” at the Pulitzer Arts Foundation in St. Louis. Ruth Asawa (1926-2013) was a San Francisco-based artist who melded traditional craft practices with industrial materials to make some of the most distinctive sculpture of the twentieth century. The exhibition includes 80 works including sculpture, works on paper and collages spanning the start of Asawa’s career at Black Mountain College in western North Carolina through to the intricate and complicated ceiling-hanging works of her later years. It is the first museum exhibition of Asawa’s work in 12 years and the first away from the West Coast. The exhibition is on view until February 16, 2019. A catalogue is forthcoming from Yale University Press. Amazon offers it for pre-order for $40.

Angela Fraleigh is included in “The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.” at the Shiva Gallery at John Jay College. The exhibition includes artists such as Kara Walker, Yoko Ono, Senga Nengudi and Suzanne Lacy and was curated by Monica Fabijanska. It is on view through November 2. On Wednesday, October 3, the Shiva will host an evening symposium related to the exhibition.

Fraleigh is a painter and sculptor whose work engages issues of desire and power. Her work is in the collections of the Kemper Art Museum in Kansas City and the Museum of Fine Arts Houston."
ruthasawa  2018  art  artists  bwc  blackmountaincollege  craft  labor  work  tamaraschenkenberg  angelafraleigh  weaving  knitting  crochet  identity  arteducation  education  activism  hands-on  rural  handmade  materials  simplicity  repetition  layering  wire  imogencunningham  buckminsterfuller  mercecunningham  movement  sculpture  farming 
21 days ago by robertogreco
White at the Museum | April 3, 2019 Act 3 | Full Frontal on TBS | Full Frontal on TBS - YouTube
"White statues have long been a tool for white supremacists to claim historical superiority but as with all things, the white supremacists are wrong. The Lucas Brothers went to The Met to see it all in color. Produced by Tyler Hall and Halcyon Person with Ishan Thakore. Edited by Jesse Coane."

[See also:
"The Myth of Whiteness in Classical Sculpture: Greek and Roman statues were often painted, but assumptions about race and aesthetics have suppressed this truth. Now scholars are making a color correction."
https://www.newyorker.com/magazine/2018/10/29/the-myth-of-whiteness-in-classical-sculpture

"Why We Need to Start Seeing the Classical World in Color: The equation of white marble with beauty is not an inherent truth of the universe; it’s a dangerous construct that continues to influence white supremacist ideas today."
https://hyperallergic.com/383776/why-we-need-to-start-seeing-the-classical-world-in-color/ ]
whiteness  greeks  ancientgreek  romans  ancientrome  racism  whitesupremacy  lucasbrothers  2019  samanthabee  museums  sculpture  arthistory  history  themet 
5 weeks ago by robertogreco
At MoMA, Bodys Isek Kingelez Finally Gets the Retrospective He Deserves - Artsy
"Due to Kingelez’s “lack of known art historical precedents,” Suzuki writes in the catalogue, “[the work] evades the genealogy that we love to document and trace.” While there are no artists known to have made anything quite like Kingelez did, however, there is also no shortage of associations with the visual culture of Kinshasa, the capital of what is now the DRC. “I draw my ideas from Africa,” Kingelez once said. And as indicated in catalogue texts by Suzuki, British-Ghanaian architect David Adjaye, and Chika Okeke-Agulu, a Nigerian artist and art historian at Princeton University, Kingelez must be understood in the postcolonial context of the history and culture of Kinshasa."

[https://www.moma.org/calendar/exhibitions/3889
https://www.youtube.com/watch?v=RB4jgBx16vY
https://news.artnet.com/exhibitions/bodys-isek-kingelez-1308167

“Without a model, you are nowhere. A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live." –Bodys Isek Kingelez]
bodysisekkingelez  congo  utopia  art  architecture  cities  models  modelmaking  classideas  africa  zaire  jeanpigozzi  okwuienwezor  sarahsuzuki  drc  democraticrepublicofthecongo  uban  urbanism  sculpture  davidadjaye  chikaokeke-agulu  chérisamba  moké  kinshasa 
august 2018 by robertogreco
Cecilia Vicuña: About to Happen | BAMPFA
"This first survey exhibition of the work of Chilean-born artist Cecilia Vicuña traces her career to stage a conversation about discarded and displaced people, places, and things in a time of global climate change. The exhibition includes key installations, sculptures, texts, and videos from a multidisciplinary practice that has encompassed performance, sculpture, drawing, video, poetry, and site-specific installations over the course of the past forty years.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile. Her practice weaves together disparate artistic disciplines as well as cultural and social communities—with shared relationships to land and sea, and to the economic and environmental disparities of the twenty-first century.

The exhibition presents a large selection of Vicuña's precario (precarious) sculptures produced over the last four decades that feature found objects in lyrical juxtaposition, as well as a monumental hanging structure created out of materials scavenged from the ever-diminishing Louisiana coast. Reframing dematerialization as both a formal consequence of 1960s Conceptualism and radical climate change, Cecilia Vicuña: About to Happen examines a process that shapes public memory and responsibility."

[See also: https://bampfa.org/event/reading-cecilia-vicu%C3%B1a
https://bampfa.org/event/cecilia-vicu%C3%B1a-performance ]

[via: https://www.instagram.com/p/Bk37axFFoPk/ ]
ceciliavicuña  togo  tosee  glvo  chile  art  bampfa  2018  displacement  multidisciplinary  artists  video  poetry  sculpture  climatechange  memory  responsibility 
july 2018 by robertogreco
New sculptures installed at Richmond Branch Library | Richmond District Blog
"To honor the first birthday of the renovated Richmond Branch Library, the SF Arts Commission recently installed two new sculptures in front of the building.

Entitled Touching Earth, the two disc shaped sculptures were created by artist Scott Donahue. The pieces are inspired by the transient nature of the Bay Area’s population in that everyone arrived here from elsewhere using different modes of travel. The artist himself initally rode into the Bay Area on a bicycle.

Located on either side of the walkway leading up to the library’s entrance on 9th Avenue, the sculptures are two concrete containers covered with bronze epoxy domes. On top of each dome is a relief map of the Bay Area.

The south side sculpture depicts the historical Bay Area, before there was any Golden Gate or Bay Bridges. Inset in the relief map are various small photos showing how people reached the Bay Area in the past: by foot, horse, ship, train or prairie schooner.

The north side relief sculpture shows a closer, more contemporary view of the Bay with the Richmond Library highlighted in the center. More modern methods of transportation are shown including a jet plane, a bicyclist, a ferry, cars and even the 38 Geary MUNI bus.

The pieces were commissioned as part of the Branch Library Improvement Program. Donahue’s proposal for the pieces was selected through a community-based process back in 2005.

Donahue got into some hot water last year when he was paid $196,000 by Berkeley’s public arts program to create two large statues honoring the history and daily life of the city of Berkeley. At the base of the statues were small medallions showing dogs doing what they do – biting each other, defecating, even having sex with each other.

Apparently in his original proposal to the Berkeley Civic Arts Commission, Donahue’s design didn’t show the tiny canine reliefs. Many Berkeley-ites were not thrilled with the artist’s irreverent, canine commentary on Berkeley life, nor the Commission’s oversight of it."
sfsh  richmonddistrict  sculpture  art  libraries  maps  mapping  sanfrancisco  berkeley  2010  bayarea  scottdonahue 
october 2017 by robertogreco
REPATRIATION — Gabby Miller
"This project facilitates the repatriation of “Home” a sculpture by Nguyen Phuong Linh from Oakland to Vietnam. "Home" is made from 200 year old heavy tropical hardwood, originally used as the floorboards to a Catholic church in the outskirts of Hanoi. This vessel was made in 2012 for Hinterlands at The Luggage Store Gallery. In 2017 "Home" was brought out of storage, and restored for the inaugural exhibition at The Museum of Capitalism,  in The Port of Oakland. "Home" was brought into public view with the express purpose of being repatriated to Vietnam, as a symbolic commemoration of imagining capitalism's end.

repatriate

verb re·pa·tri·ate \(ˌ)rē-ˈpā-trē-ˌāt, -ˈpa-\

to restore or return to the country of origin, allegiance, or citizenship repatriate prisoners of war

verb (used with object), repatriated, repatriating.

1. to bring or send back (a person, especially a prisoner of war, a refugee, etc.) to his or her country or land of citizenship.

2. (of profits or other assets) to send back to one's own country. verb (used without object), repatriated, repatriating.

3. to return to one's own country: to repatriate after 20 years abroad.

Repatriation is the return of art or cultural heritage, usually referring to ancient or looted art, to their country of origin or former owners (or their heirs). The disputed cultural property items are physical artifacts of a group or society that were taken from another group usually in an act of looting, whether in the context of imperialism, colonialism or war. The contested objects range widely from sculptures and paintings to monuments and human remains."

[See also: https://www.instagram.com/p/BYKOEcGl7LV/

"Phase 2 of Repatriation // Preparing for departure at @helloforevor studio // Repatriation is the return of art or cultural heritage, usually referring to ancient or looted art, to their country of origin or former owners (or their heirs). The disputed cultural property items are physical artifacts of a group or society that were taken from another group usually in an act of looting, whether in the context of imperialism, colonialism or war. The contested objects range widely from sculptures and paintings to monuments and human remains.

Repatriation of Nguyen Phuong Linh's wooden boat, made for HINTERLANDS at The Luggage Store Gallery, 2012.

Referencing hinterlands as a shipping term, the project explored the geopolitics of ocean freight trade, and the historical connection between. The two artists from Vietnam were invited to ship raw materials across The Pacific, from Vietnam to San Francisco, to produce their work. Nguyen Phuong Linh asked her father, who founded “Nha San Studio” - Vietnam’s first and longest running experimental art space in their family home, and who collects and salvages wood for a living, to send her wood of his choosing. Her father decided to send her the floorboards of a two hundred year old catholic church in the outskirts of Hanoi. These floorboards were thick and strong. They were planed down and shaped into this boat, which Linh gave the title “Home”.

The establishment of the Port of Oakland is deeply connected to the escalation of The Vietnam War, and the subsequent transformation of the global supply chain through the worldwide adoption of containerization. ➰
In 1967 the U.S. government contracted Sea-Land to begin service from The Port of Oakland to South Vietnam. In November of that year the 685-foot-long ship The Oakland delivered 609 thirty-five foot containers. The ship held as much cargo as could be carried on ten average break bulk ships hauling military freight to Vietnam.

Supplies flowed in, the cargo backlog dissipated. “The port congestion problem was solved,” the army’s history of 1967 declared triumphantly. * (Levinson, The Box) ➰"]
gabbymiller  repatriation  oakland  vietnam  art  sculpture  nguyenphuonglinh  capitalism  museumofcapitalism  hanoi  2017  2012  heritage  culture 
august 2017 by robertogreco
Why there’s no such thing as a gifted child | Education | The Guardian
"Even Einstein was unexceptional in his youth. Now a new book questions our fixation with IQ and says adults can help almost any child become gifted"



"When Maryam Mirzakhani died at the tragically early age of 40 this month, the news stories talked of her as a genius. The only woman to win the Fields Medal – the mathematical equivalent of a Nobel prize – and a Stanford professor since the age of 31, this Iranian-born academic had been on a roll since she started winning gold medals at maths Olympiads in her teens.

It would be easy to assume that someone as special as Mirzakhani must have been one of those gifted children who excel from babyhood. The ones reading Harry Potter at five or admitted to Mensa not much later. The child that takes maths GCSE while still in single figures, or a rarity such as Ruth Lawrence, who was admitted to Oxford while her contemporaries were still in primary school.

But look closer and a different story emerges. Mirzakhani was born in Tehran, one of three siblings in a middle-class family whose father was an engineer. The only part of her childhood that was out of the ordinary was the Iran-Iraq war, which made life hard for the family in her early years. Thankfully it ended around the time she went to secondary school.

Mirzakhani, did go to a highly selective girls’ school but maths wasn’t her interest – reading was. She loved novels and would read anything she could lay her hands on; together with her best friend she would prowl the book stores on the way home from school for works to buy and consume.

As for maths, she did rather poorly at it for the first couple of years in her middle school, but became interested when her elder brother told her about what he’d learned. He shared a famous maths problem from a magazine that fascinated her – and she was hooked. The rest is mathematical history.

Is her background unusual? Apparently not. Most Nobel laureates were unexceptional in childhood. Einstein was slow to talk and was dubbed the dopey one by the family maid. He failed the general part of the entry test to Zurich Polytechnic – though they let him in because of high physics and maths scores. He struggled at work initially, failing to get academic post and being passed over for promotion at the Swiss Patent Office because he wasn’t good enough at machine technology. But he kept plugging away and eventually rewrote the laws of Newtonian mechanics with his theory of relativity.

Lewis Terman, a pioneering American educational psychologist, set up a study in 1921 following 1,470 Californians, who excelled in the newly available IQ tests, throughout their lives. None ended up as the great thinkers of their age that Terman expected they would. But he did miss two future Nobel prize winners – Luis Alvarez and William Shockley, both physicists – whom he dismissed from the study as their test scores were not high enough.

There is a canon of research on high performance, built over the last century, that suggests it goes way beyond tested intelligence. On top of that, research is clear that brains are malleable, new neural pathways can be forged, and IQ isn’t fixed. Just because you can read Harry Potter at five doesn’t mean you will still be ahead of your contemporaries in your teens.

According to my colleague, Prof Deborah Eyre, with whom I’ve collaborated on the book Great Minds and How to Grow Them, the latest neuroscience and psychological research suggests most people, unless they are cognitively impaired, can reach standards of performance associated in school with the gifted and talented. However, they must be taught the right attitudes and approaches to their learning and develop the attributes of high performers – curiosity, persistence and hard work, for example – an approach Eyre calls “high performance learning”. Critically, they need the right support in developing those approaches at home as well as at school.

So, is there even such a thing as a gifted child? It is a highly contested area. Prof Anders Ericsson, an eminent education psychologist at Florida State University, is the co-author of Peak: Secrets from the New Science of Expertise. After research going back to 1980 into diverse achievements, from music to memory to sport, he doesn’t think unique and innate talents are at the heart of performance. Deliberate practice, that stretches you every step of the way, and around 10,000 hours of it, is what produces the expert. It’s not a magic number – the highest performers move on to doing a whole lot more, of course, and, like Mirzakhani, often find their own unique perspective along the way.

Ericsson’s memory research is particularly interesting because random students, trained in memory techniques for the study, went on to outperform others thought to have innately superior memories – those you might call gifted.

He got into the idea of researching the effects of deliberate practice because of an incident at school, in which he was beaten at chess by someone who used to lose to him. His opponent had clearly practised.

But it is perhaps the work of Benjamin Bloom, another distinguished American educationist working in the 1980s, that gives the most pause for thought and underscores the idea that family is intrinsically important to the concept of high performance.

Bloom’s team looked at a group of extraordinarily high achieving people in disciplines as varied as ballet, swimming, piano, tennis, maths, sculpture and neurology, and interviewed not only the individuals but their parents, too.

He found a pattern of parents encouraging and supporting their children, in particular in areas they enjoyed themselves. Bloom’s outstanding adults had worked very hard and consistently at something they had become hooked on young, and their parents all emerged as having strong work ethics themselves.

While the jury is out on giftedness being innate and other factors potentially making the difference, what is certain is that the behaviours associated with high levels of performance are replicable and most can be taught – even traits such as curiosity.

Eyre says we know how high performers learn. From that she has developed a high performing learning approach that brings together in one package what she calls the advanced cognitive characteristics, and the values, attitudes and attributes of high performance. She is working on the package with a group of pioneer schools, both in Britain and abroad.

But the system needs to be adopted by families, too, to ensure widespread success across classes and cultures. Research in Britain shows the difference parents make if they take part in simple activities pre-school in the home, supporting reading for example. That support shows through years later in better A-level results, according to the Effective Pre-School, Primary and Secondary study, conducted over 15 years by a team from Oxford and London universities.

Eye-opening spin-off research, which looked in detail at 24 of the 3,000 individuals being studied who were succeeding against the odds, found something remarkable about what was going in at home. Half were on free school meals because of poverty, more than half were living with a single parent, and four in five were living in deprived areas.

The interviews uncovered strong evidence of an adult or adults in the child’s life who valued and supported education, either in the immediate or extended family or in the child’s wider community. Children talked about the need to work hard at school and to listen in class and keep trying. They referenced key adults who had encouraged those attitudes.

Einstein, the epitome of a genius, clearly had curiosity, character and determination. He struggled against rejection in early life but was undeterred. Did he think he was a genius or even gifted? No. He once wrote: “It’s not that I’m so smart, it’s just that I stay with problems longer. Most people say that it is the intellect which makes a great scientist. They are wrong: it is character.”

And what about Mirzakhani? Her published quotations show someone who was curious and excited by what she did and resilient. One comment sums it up. “Of course, the most rewarding part is the ‘Aha’ moment, the excitement of discovery and enjoyment of understanding something new – the feeling of being on top of a hill and having a clear view. But most of the time, doing mathematics for me is like being on a long hike with no trail and no end in sight.”

The trail took her to the heights of original research into mathematics in a cruelly short life. That sounds like unassailable character. Perhaps that was her gift."
sfsh  parenting  gifted  precocity  children  prodigies  2017  curiosity  rejection  resilience  maryammirzakhani  childhood  math  mathematics  reading  slowlearning  lewisterman  iq  iqtests  tests  testing  luisalvarez  williamshockley  learning  howwelearn  deboraheyre  wendyberliner  neuroscience  psychology  attitude  persistence  hardwork  workethic  andersericsson  performance  practice  benjaminbloom  education  ballet  swimming  piano  tennis  sculpture  neurology  encouragement  support  giftedness  behavior  mindset  genius  character  determination  alberteinstein 
july 2017 by robertogreco
Objects of Nature Encrusted with Polygons Made From Twine by Norihiko Terayama | Spoon & Tamago
"Driftwood, stems and branches. They’re all around us but so easily overlooked. But designer Norihiko Terayama’s latest series of sculptures offers different way of seeing these ordinary objects of nature.

Titled “crust of the polygon,” the artist, designer and architect has merged all his specialties into crafting a series of delicate sculptures. One by one he plants pins into his objects – a piece of driftwood or a flowering branch – and then connects the tip with twine to create, what he calls, additional “exterior crust” of polygons.

Sometimes the pins balance the objects on a surface while others are suspended by a separate piece of twine. But either way the minimal and delicate sculptures work to levitate the natural object creating a poetic reframing of the ordinary.

Tarayama is the creator of other poetic and mesmerizing objects like the flower ruler (currently out of stock) and the awaglass."
via:tealtan  classideas  polygons  art  norihikoterayama  sculpture  2017  objects 
january 2017 by robertogreco
jay nelson | san francisco on Vimeo
[previously: https://pinboard.in/u:robertogreco/b:20fe18f26fad ]

"Jay is a surfer, artist, husband, father and creator of super rad ‘functional sculptures’.

He lives a few blocks away from the sea in a special little place in San Francisco called the Outer Sunset district.

When it comes to Jay’s work he values aesthetics, but appreciates imperfections and practicality more.

This is his story thenouncollective.com"
outersunset  sanfrancisco  art  artists  cars  campers  boats  classideas  jaynelson  2016  sculpture  space  life  living  aesthetics  imperfections  practicality 
january 2017 by robertogreco
PAVING SPACE on Vimeo
"An unconventional encounter between maths, art and skateboarding.

This film documents a series of performances at the Palais de Tokyo in Paris, as well as the Institute of Contemporary Art Singapore and Sainte-Croix Museum in Poitiers.

The project originated after Carhartt WIP approached Isle skateboards to work on a collaborative
collection.ISLE, which started in 2013, has always prided itself on artist led conceptually driven ideas. Carhartt WIP and ISLE could think of no one better than artist and fellow skateboarder, Raphaël Zarka to work with. When they approached Zarka, he had been researching the work of 19th Century mathematician Arthur Moritz Schoenflies.

Schoenflies was a master of geometry and crystallography. He had developed his own three dimensional models that specifically captivated Zarka’s attention, after he was inspired with their sculptural potential.

This film invites you to view Zarka’s large scale reconstructions of Schoenflies’ models, re-appropriated in a way never imagined before.

Featured skaters :
Sylvain Tognelli / Nick Jensen / Casper Brooker / Jan Kliewer / Joseph Biais / Rémy Taveira / Josh Pall / Chris Jones / Armand Vaucher

Filmed, Edited and Directed by Dan Magee.
Technical motion design by Fabian Fuchs & Location intro animations by Andrew Khosravani.
Music composed and performed by Joel Curtis with contributing scoring by ADSL Camels."
skating  skateboarding  skateboards  danmagee  film  art  math  mathematics  arthurmoritzchoenflies  raphaëlzarka  sculpture  3d  tessellations  edg  video 
january 2017 by robertogreco
The Midcentury Sculptor Who Changed The Way Kids Play | Co.Design | business + design
"No one doubts the importance of play in childhood development—it lets kids figure out the world in an environment that encourages creativity, movement, and socializing. Swing sets teach kids about momentum, slides about gravity, monkey bars about coordination. Some of the cutting-edge playgrounds of today even experiment with movable objects to get kids collaborating and thinking like designers.

But playground design wasn't always so diverse. For that we can thank, in part, Jim Miller-Melberg, an artist who rebelled against conventional playground design, creating climbable, abstract sculptures that changed how a generation of kids played.

Miller-Melberg is one of dozens of designers featured in Michigan Modern: Design that Shaped America (Gibbs Smith, 2016), a new book edited by Amy Arnold and Brian D. Conway that charts how practitioners who lived, worked, or were educated in the state influenced the country as a whole. In many ways, Michigan is the cradle of modernism in America: Henry Ford shaped how we get around and how factories manufactured products. Architect Albert Kahn and his brother, engineer Julius Kahn, revolutionized how we build by inventing reinforced concrete and constructed the first structures with the material in Detroit. A generation of midcentury modernists cut their teeth at Cranbrook and created furniture that revolutionized the way we live.

Miller-Melberg, meanwhile, designed a new way to have fun.

Born in 1929, Miller-Melberg was introduced to sculpture as a child via his patternmaker father's workshop in Detroit. There, he experimented with metal and wood and eventually became a journeyman patternmaker by the time he graduated college. After brief stints at Wayne State University and the University of Michigan, he decided to pursue independent study and traveled to Europe where he scoped the studios of artists Henry Moore, Barbara Hepworth, and Bernard Leach. The early sculptures he made were carved from wood, but he eventually cast large-scale bronze pieces before moving on to more utilitarian objects—like his play forms, which would become iconic.

In 1961, Miller-Melberg founded Form, Inc., a company that designed and manufactured "sculptures for play" made from molded concrete. (He also made park benches and furniture.) These included slides that looked like abstract saddles; climbable forms reminiscent of double helixes found in DNA; cylindrical towers and wavy walls with cutouts.

He spoke about how he developed pieces for an environment of play in a 2014 interview with design writer Debbie Millman, which is published in the book:
I grew up in the country and we always had a garden, had a little stream going through our property, glacial rocks in the stream, and we would jump from one to the other. But it was an environment for play. When I started designing, swings and slides were about it. I think kids love to swing and slide, but the emphasis is on individual activity. What I was trying to get across was to provide an environment to play together.
Miller-Melberg wasn't alone in his "playscapes" approach. Designers like Isamu Noguchi and the Smithsons experimented with abstract forms.

But what made a difference is the widespread adoption of Miller-Melberg's work. Cities across the country latched on to his philosophy. He had contracts with San Diego and Los Angeles to furnish their public parks with his play forms. His turtles can be found in Golden Gate Park, in San Francisco. He built a special concrete basketball hoop stand for Miami-Dade County parks, which were resilient in the region's salt air; now the hoops are all over the country. In researching the book, Arnold and Conway discovered the sculptor's work installed as far away as Kuwait and Saudi Arabia.

Miller-Melberg manufactured his products until selling the company in 1981 to Wausau Tile, a Wisconsin-based fabricator of architectural products; to this day, it still sells Miller-Melberg's park furnishings.

"Jim’s play sculptures represent a broader movement to incorporate art into daily life," Arnold says. "It was thought that if children were around art and design, they would gain a strong appreciation for it that would carry over into their adulthood and shape the choices they made. That was the beauty of Modernism, it was all about 'better living' and making a better world. Jim has said that what he tried to do with his play sculptures was to provide an environment where children could be creative and put their imaginations to use—the possibilities were limitless. He likened them to playing on natural rock formations. The plastic, primary colored play structures of today are not very inspiring."

Arnold and her team included Miller-Mellberg in the book partly out of nostalgia, and because of the personal connection they had with his designs—a sentiment that reinforces the broad, sweeping impact Michigan designers had.

"The baby boomers working on the book remembered Jim’s work, which appeared in playgrounds, school yards, parks, and malls across America throughout the 1960s," Arnold says. "When we started the Michigan Modern project, we had no idea Jim was from Michigan. A colleague had found a copy of a 1960s Play Forms catalog, and when we saw Jim was from South Lyon, Michigan, we were thrilled. It supported our claim that Michigan designers shaped the modern America lifestyle.""
children  play  playgrounds  sculpture  parks  jimmiller-melberg 
october 2016 by robertogreco
Reading Things — Magazine — Walker Art Center
"I’m sunbathing on the beach on a cloudless August day in the Rockaways. It’s blindingly bright and I have a T-shirt draped over my eyes to block the sun. I am overhearing a conversation between some of the friends around me and someone new who has walked across the sand to us. Whose is this voice I don’t know? I think it is man, someone I’ve never met. I uncover my eyes and see that it is one of my friends—a woman, a transwoman whose female-ness I have never questioned, whose voice I had always heard as a female voice. Had I never heard her before? How can my ears hear two different voices, depending on whether or not I know who is speaking? As I puzzle over this, I start thinking of other instances in which two or more versions of reality butt up against each other, two contradictory sensory experiences that are somehow both real to me, depending on how I encounter them. What is going on here?"



"This winter I delivered an artist talk at Virginia Commonwealth University, where I’ve been teaching, about my investment in objects with open-ended or ambiguous function—things that cause one to ask, “What is this for?” I discuss the studio as a place where I aim to make objects that frustrate even my own attempts to know them, once and for all, as one thing and not others. I make things that ask for nuanced, open-ended forms of reading that can accommodate these objects of ambiguous functionality. Over coffee the following morning, one of the other faculty members in the department, Corin Hewitt, excitedly wanted to know if I had heard of a beloved object known as the “slant step.” I had not, but since then an image of it has been following me around—in the studio, on the train, in and out of bathrooms, while reading the news. The slant step is a small piece of furniture that was purchased in a second-hand store in Mill Valley, California, in 1965 by the artist William Wiley and his then-graduate student Bruce Nauman. Costing less than a dollar, this wood and green linoleum, one-of-a-kind handmade object struck these two artists as puzzling and fascinating, primarily because its function was a mystery. Though reminiscent of a step stool, the step part of the stool sits at a 45-degree angle to the floor, making it impossible to step up onto it, hence the name, the slant step. This unassuming ambiguous object resonated not just with Wiley and Nauman, but also with a whole range of Bay Area artists in the 1960s, inspiring more than one group exhibition themed around it, a catalogue, and numerous articles as well as extensive use as a teaching tool by the painter Frank Owen. It is now in the permanent collection of the University of California Davis.3"



"In the midst of all this urgency, the figure of the slant step comes to my mind. I feel embarrassed about it because what could this remote object have to offer when we are in need of such concrete changes? A useful object with no apparent use. A handmade thing of unknown origin, producing more questions than answers. An object that modestly requests a more effortful type of reading than what we normally engage in. We identify things in terms of their function and move on, reading passively. We learn only as much as we need to know. This object, compelling to so many in the past 50 years, is compelling to me as well, insofar as it encourages me to read more slowly. It makes me want to see it as more than one thing at once, or as many different things in quick succession. Looking to the slant step as a teacher, I want to learn what it seems to already know—I can’t always know what I am looking at. Clearly already well used in the mid-1960s but for an inscrutable purpose, the slant step speaks of bodies without being able to name them. It has always seemed wrong to me to say that we see what is before us and then interpret it, because the idea of “interpreting what we see” implies an inaccurate linearity to this process and suggests that the things themselves are fixed while our understandings of them remain malleable. Rather, we understand what we are seeing at the same moment we see it; perception is identification. Understood in this way, changing our interpretations is literally synonymous with changing the functioning of our senses, initiating a pulling apart of the instantaneous act of assigning meaning to what we see. This slowness to assign identification in the moment of encounter lies at the heart of the slant step’s curious appeal."



"On an overcast August day in 1995, Tyra Hunter, a hairstylist and black transgender woman, got in a car accident while driving in Washington, DC. Adrian Williams, the emergency medical technician at the scene who began to cut away her clothing to administer urgently needed aid, is reported to have said, “This bitch ain’t no girl… it’s a nigger; he’s got a dick!” Hunter lay on the ground bleeding as Williams and the other EMTs joked around her, and died later that day of her injuries at a nearby hospital. A subsequent investigation into the events leading to her death concluded that it would very likely have been prevented had treatment been continued at the scene of the accident.15

In the fall of 2014, a grand jury in St. Louis County Missouri decided not to indict police officer Darren Wilson for the shooting death of 18-year-old Michael Brown. In the spring of 2015, the US Department of Justice also cleared Wilson of all civil rights violations, deeming the shooting to be an act of self-defense. In Wilson’s testimony in his grand jury hearing, he recounted looking at Brown in the moments before shooting him six times, and described him as having “the most intense aggressive face. The only way I can describe it, it looks like a demon, that’s how angry he looked.”16

It’s hard to stomach these statements, but I write them here because I am noticing the ways that both of the speakers managed to transform the person they were about to kill from a human being to a thing in the moments before their deaths. By a probably less-than-conscious twist of verbal gymnastics, both killers shift from using a pronoun generally used to refer to people (he/she) to using a pronoun generally used to refer to inanimate things: it. If murder is the act of permanently dehumanizing another, then it is as if in order to give themselves permission to kill these two individuals Williams and Wilson had to preemptively transform them from people into things. “It’s a nigger…” “It looks like a demon…” Did these statements make it possible to turn a human being into a corpse? Maybe so, as a person turned nonconsensually into a thing is already a person dangerously close to death."



"In the 1966 slant step show, William Wiley, the artist who originally bought the step from the thrift store, made a metal casting from it that bore the following inscription: “This piece is dedicated to all the despised unknown, unloved, people, objects and ideas that just don’t make it and never will, who have so thoughtlessly given their time and talent to become objects of scorn but maintain an innocent ignorance and never realize that you hate them.”18 For Wiley, the slant step was both an intriguing object of ambiguous functionality, while also serving another purpose as the object of certain recuperations. To treat a discarded object with care, to focus on it, show it to others, make copies and homages to it—to, in a sense, treat it with love—had a value for him on its own account. A small act of treating an uncared-for thing with care as an articulation of an ethos for encountering one another. Frank Owen, one of Wiley’s friends and an original participant in the slant step show, used the step as a model in his life-drawing classes for decades—producing innumerable depictions of its likeness and encouraging his students to think deeply about it through the slow and close looking necessitated by drawing. “This was its job—to pose on a model stand patiently (which it is very good at) and be drawn while also posing its eternal question: What is this thing, what is it for and why do we attend to it?”19"



"In thinking about Mark and her succulents, I am wrapping myself around the sustaining potential of relations of care with non-human things. I wonder about the role that the cultivation, protection, and recuperation of things might play in the day-to-day processes of healing necessitated by living as a body that is objectified, misread, or unrecognized. Can attending to objects with care be a labor of self-sustenance for us as well? Can the things of our lives be our companions, our children, our comrades?24 What can we know or feel about our own bodies through the ways that we relate to objects? I want to propose the possibility that our relations with objects themselves might function as a means of remodeling our own often-fraught bonds with the materiality that is our own lived bodies. I sometimes joke that all I am doing in the studio is making friends. This joke is feeling more real by the day. I am thinking now about all the gorgeous non-traditionally gendered people I know coming back to their apartments exhausted from the daily labor of moving through the world and carefully watering their plants."
objects  kinship  objectkinship  care  caring  reality  perception  senses  gordonhall  gender  seeing  sculpture  art  artists  2016  functionality  corinhewitt  brucenauman  williamwiley  1960s  slow  slowreading  howweread  reading  knowing  howwelearn  noticing  observation  identification  bodies  naming  notknowing  meaning  meaningmaking  frankowen  ambiguity  mickybradford  race  markaguhar  michaelbrown  williamwitherup  mrionwintersteen  chancesdances  tyrahunter  northcarolina  housebill2  body 
august 2016 by robertogreco
Robotic Sculptures Will Cross the U.S.-Mexico Border | The Creators Project
"Chico MacMurtrie's Border Crossers are sculptural statements that bridge borders, both physical and symbolic. MacMurtrie plans to install Border Crossers at a range of significant locations, including the U.S.-Mexico border in the artist’s home state of Arizona. Here, the artist would anchor sculptures on both sides of the border. Illuminated from within, the structures would then inflate simultaneously over the border to create six glowing archways, as shown above.

Like the Amorphic Robotic Works director’s previous works—which include his Biomorphic Wall and The Robotic Church—these six sculptures employ robotics to create lightweight, transportable installations. When compressed, Border Crossers can easily fit into a travel backpack. When inflated, however, MacMurtrie’s balloon-like creations can arch over fences and walls and are equipped with sensing and surveillance technology in order to stage the choreographed installation as a “mediatized event.” As the press release explains, “Border Crossers invites the public to rethink the notion of borders in a globalized world […] This project envisions technology as a positive tool to establish dialogues beyond borders, to question borders, and to create a symbolic suspension and transcendence of borders.”

MacMurtrie’s robotic sculptures debuted late last month in San José, California in collaboration with arts organization ZERO1, in the spirit of using art as a platform for social issues. The artist will further the discussion at CalArts’ symposium on Art and Immigration, Immigration: Art/Critique/Process, in March."

[See also: http://amorphicrobotworks.org/works/index.htm
http://www.zero1.org/events/exhibition/border-crosser-chico-macmurtrieamorphic-robot-works
https://www.youtube.com/watch?v=8yeyn_8PSPU ]
chicomacmurtie  border  borders  art  sculpture  arizona  us  mexico  inflatables  robots  immigration  inflatable 
february 2016 by robertogreco
A Studio Visit with Charlotte Mei on Vimeo
"I spent some time with Charlotte Mei at her South London studio, where she produces ceramics, drawings and paintings, for both her personal projects as well as commissioned work for clients. We spoke about the approach she takes when making each, her process when doing so and also her studio space at the Aylesbury Estate near Elephant & Castle.

Charlotte Mei is a ceramicist and illustrator from Bristol, who currently lives and works in London, UK. See more of Charlotte's work and visit her online shop over at her website - charlottemei.com

Produced, filmed and edited by Joshua Whitelaw, 2015 - joshuawhitelaw.co.uk "
art  artists  charlottemei  edg  srg  glvo  illustration  clay  plaiting  sculpture  ceramics 
july 2015 by robertogreco
Reuben Margolin: On Kinetic Art - YouTube
"First inspired by the mysterious and mathematical qualities of a caterpillars crawl, artist Reuben Margolin creates large-scale kinetic sculptures that use pulleys and motors to recreate the complex movements and structures we see in nature. Margolin takes to the PopTech stage to share some of his extraordinary mechanical installations."

[See also: http://poptech.org/reubenmargolin
http://poptech.org/popcasts/reuben_margolins_kinetic_art
https://vimeo.com/7711239
http://robertogreco.tumblr.com/post/210831294/ ]
reubenmargolin  sculpture  kineticsculpture  classideas  kineticart  art  projectideas  beauty  math  nature  sinewaves  cycles  waves 
may 2015 by robertogreco
Walking City on Vimeo
"Winner of Golden Nica at Ars Electronica 2014
prix2014.aec.at/prixwinner/12662/

Architecture + Evolution + Movement

Referencing the utopian visions of 1960’s architecture practice Archigram, Walking City is a slowly evolving video sculpture. The language of materials and patterns seen in radical architecture transform as the nomadic city walks endlessly, adapting to the environments she encounters.

universaleverything.com/projects/walking-city/

Soundtrack by Simon Pyke
soundcloud.com/freefarm/walking-city "
edg  3d  animation  video  sculpture  art  architecture  walkingcity  archigram  2014  simonpyke 
april 2015 by robertogreco
Andrea Dezsö
"Andrea Dezsö is a visual artist who works across a broad range of media including drawing, painting, artist's books, cut paper, embroidery, animation, sculpture, site-specific installation and permanent public art. Dezsö's large-scale permanent public art has been installed in two New York City subway stations and at the United States Embassy in Bucharest, Romania. Community Garden, Dezsö's mosaic in the New York City subway was awarded Best American Public Art in 2007. Dezsö is an award-winning illustrator whose work has been featured in many books, magazines, and CD covers, and by The New York Times, Sony Music, and Candlewick Press. Dezsö exhibits in museums and galleries around the world, and teaches widely. She is Assistant Professor of Art at Hampshire College in Amherst, MA. Dezsö is represented by the Nancy Margolis Gallery in New York and the Pucker Gallery in Boston."



Artist Statement

"I wanted to be alone in quite an unusual, new way. The very opposite of what you are
thinking: namely, without myself…” – Luigi Pirandello

In my drawings, paper cuts and paintings I tell stories. My visual narratives range from the
mystical to the absurd and I often use traditional techniques to express non-traditional or
subversive content. I am drawn to the visually unusual, weaving together psychological,
historical and ornamental themes, and find unspeakable beauty in the natural world.
Sometimes in my dreams I fly, although not as often as when I was a child in Romania, then
I flew every night.

In one way or another, many of the images I’ve been creating lately touch on the idea of
disappearance and absence. There is a sort of absence when a space has never been
inhabited, and then there is a different sort of absence that is left behind when something
or someone has been removed and is no longer present. It’s more of a negative imprint.
I feel that I’m disappearing sometimes, liberated from the confines of a particular self, a
reward I experience through my studio practice, the cessation of self-preoccupation and
doubt."
andreadezsö  art  artists  embroidery  animation  sculpture  installation  romania  dreams 
august 2014 by robertogreco
Public Workspace Playscape Sculpture Graz | Dismal Garden
"Nils Norman’s Public Workplace Playground Sculpture for Graz, 2009, jumbles our expectations of what public sculpture can be today. Its title and look immediately announce the piece’s contradictory status as a workplace design, combined with the look of a roughshod playground for children, categorized as a sculpture, situated in the midst of a park! What appears striking is the project’s mind-boggling merging of functions (work and play), typological categories (artistic sculpture, office furniture, DIY-construction), intended users (children, business people, recreational visitors), and spaces (public and private). By joining these paradoxical qualities together in a bizarre, composite object, the work enters a utopian dimension by momentarily suspending all social and political contradictions implied by those qualities. But like all good uses of utopia—in contrast to the regressive, nostalgic, escapist versions—Norman’s piece rebounds reflexively and critically on reality by literalizing and exaggerating its ideals.

One important point of departure for Norman’s work—which is informed by the artist’s ongoing research—is the recent reconceptualization of office design within the New Economy (the post-manufacture financial system of globalization based on services and information technology). Unlike older plans for offices—based on cubicles, hierarchical layouts, and privileged zones of access—recent designs of the 1990s and 2000s aim to inspire fluid social interaction amongst workers, engendering cross-disciplinary communication in the name of creative innovation, efficiency, and of course the maximization of profit. The resulting design aesthetic typically emphasizes the flexible open plan (as in loft architecture), which combines uses of space and strategically situates social areas to facilitate exchanges within and between office members that will lead to collaborative solutions to business problems."

[See also: Educational Facility. No. 2. 2008
http://www.dismalgarden.com/projects/education-facility-no-2
http://centrefortheaestheticrevolution.blogspot.com/2008/07/nils-normans-educational-facility-no-2.html
http://web.archive.org/web/20080209013234/http://www.dismalgarden.org/pages/dulwich.html ]
nilsnorman  2009  playgrounds  playscapes  graz  sculpture  learning 
july 2014 by robertogreco
// i v a n p u i g . n e t // [Ivan Puig]
"Inventar otras formas posibles. Solucionar, manufacturar; chácharas y tiliches. Pepenar, reciclar, alargar la vida de objetos obsoletos, la tecnología y la lucha contra su enajenamiento. Preguntar, cuestionar, incidir; el sarcasmo, la ironía y la paradoja. Me gusta la contradicción, me gusta la poesía, la simpleza y la complejidad juntas, la sorpresa y sorprender. Me gusta que la gente se sonría cuando la pieza detona en su interior; me gusta, incitar, me gusta pensar que el arte tiene una fuerza transformadora, política y creativa, con resultados concretos y tangibles y también con efectos sublimes y sutiles. Me gustan las herramientas, disfruto transformar los materiales y gozo de las formas, procuro que mis piezas tengan varios niveles de lectura; me encanta la metáfora y los juegos de palabras. Me fascina el humor sencillo y lúcido. Me gusta el sonido y su capacidad de evocar y suscitar. Disfruto mucho de los procesos y del trabajo colectivo. Jugar a la ciencia y de pasada dudar de ella, dudar de todo, dudar de la duda misma, rayar en lo metafísico. Observar y concluir, temerario y temeroso, me enfuerece la prepotencia y la injusticia social."
ivanpuig  art  artists  mexico  sound  sculpture 
june 2014 by robertogreco
Theo - a short film about the wind-eating Strandbeest - Aeon
"Theo Jansen is part-artist, part-mad scientist. From PVC piping, he builds fantastical creatures that feed only on the wind: propelled by the movement of the air around them, his many-legged Strandbeest are free to roam the countryside and beaches around his house in the Netherlands. From a distance, they look like enormous grazing sheep, but up close, the intricacy of the mechanisms that facilitate their movement is breathtaking. Theo invites us to enter Jansen’s imagination, and to see the Strandbeest as he sees them, not as kinetic sculptures, but as living, breathing creatures."

[Direct link to video: https://vimeo.com/80378842 ]
theojansen  strandbeast  art  sculpture  kineticsculpture  georgibanks-davies  2009 
june 2014 by robertogreco
Lyndal Osborne: Bowerbird, Life as Art | Art Gallery of Alberta
[See also: http://www.lyndalosborne.com/ ]

"Lyndal Osborne: Bowerbird, Life as Art is a survey exhibition of the work of Edmonton artist Lyndal Osborne. The exhibition traces the almost 40-year career of this nationally renowned artist, starting with early print works from the mid-1970s to the complex, multi-component installations of the present day.

Over the last 40 years, Lyndal Osborne has also developed a remarkable body of large-scale sculpture and installations that have brought her art work to national attention. These sculptural creations are densely woven, deeply layered constructions of natural materials. Through observing, collecting and manipulating material from the world around her, Osborne is able to enhance our understanding of both the natural world and the place in which we live. Consistent in all of Osborne’s work is a fascination with the processes of growth and decay, life and death. Her work speaks of the possibility of infinite transformation, yet, also reminds us of the fragility and impermanence of the world and our place within it.

Lyndal Osborne immigrated to Canada from Australia in 1971 and since that time played a fundamental role in the development and growth of the Alberta art community. She is a strong and active presence in Edmonton, but is also an ongoing contributor to the cultural heritage of Alberta. Osborne was instrumental in establishing both the Printmaking Department at the University of Alberta as well as their Print Study Centre, which opened in 1997. Osborne’s work has been featured in numerous group and solo exhibitions at venues such as: The Rooms (St. Johns, Nfld.), Glenbow Museum (Calgary), the Southern Alberta Art Gallery (Lethbridge); the Kelowna Art Gallery and the Kamloops Art Gallery amongst others; and her print work continues to be included in graphic biennales and exhibitions around the world."

[via: https://twitter.com/adriennepancbc/status/442504603251118081 RTed by @1anhaga]
art  artists  lyndalosborne  2014  alberta  edmonton  glvo  sculpture  installations  materials  growth  decay  life  death 
march 2014 by robertogreco
MARLEY DAWSON - Hemphill
"Australian artist, Marley Dawson, approaches the studio environment as a test laboratory, and the gallery or public space inevitably turns into a hall of wonders for experimental objects. He is attracted to materials and processes with veiled significances that suggest the possibility of interaction, i.e miniature rockets created with the same ballistics technology used in weapons manufacturing, and aerodynamic, turned wooden objects made from rock maple baseball bat blanks."

[via: http://darklyeuphoric.tumblr.com/post/78496002441/australian-sculptor-marley-dawson ]
marleydavidson  art  artists  sculpture  aerodynamics  rockets  motorcycles  cars 
march 2014 by robertogreco
eliza bennett embroiders a self-inflicted sculpture into her flesh
"using her own skin as a canvas, british artist eliza bennett has realized a self-inflicted sculpture, woven into the palm of her hand. considering the flesh as a base material, bennett carefully stitches patterns and lines into the epidermis of her body using colored thread; ‘a woman’s work is never done’ results as an incredibly worn-looking hand, overworked and fatigued. by using intricate embroidery techniques — traditionally used to symbolize femininity — and applying it to a context of its opposite, bennett challenges the pre-conceived notion that ‘women’s work’ is light and easy. ‘through a personally charged perception, I explore a range of issues relating to the formlessness of both individual and social reality’, the artist says of her ephemeral sculpture’s significance. the administered piece on the surface of her skin aims to chronicle the effects of labor intensive work, while drawing attention to low paid jobs such as cleaning, caring, and catering, all of which are traditionally considered to be gender specific towards women."
elizabennett  2013  embroidery  body  bodies  art  skin  sculpture  flesh  glvo  sewing 
december 2013 by robertogreco
Ghostly International presents Matthew Shlian on Vimeo
"Matthew Shlian works within the increasingly nebulous space between art and engineering. As a paper engineer, Shlian's work is rooted in print media, book arts, and commercial design, though he frequently finds himself collaborating with a cadre of scientists and researchers who are just now recognizing the practical connections between paper folding and folding at microscopic and nanoscopic scales.

An MFA graduate of Cranbrook Academy, Shlian divides his time between teaching at the University of Michigan, mocking up new-fangled packaging options for billion dollar blue-chips, and creating some of the most inspiring paper art around.

Ghostly teamed up with the Ann Arbor-based photographer and videographer Jakob Skogheim, to produce this feature short, which combines interview and time-lapse footage of Shlian creating several stunning new pieces."

[See also: http://mattshlian.com/ ]
matthewschlian  folding  paper  packaging  sculpture  design  art  origami  math  spatialrelations 
december 2013 by robertogreco
Deutsche Bank - ArtMag - 58 - feature - Walter Pichler’s Futurist Visions
"Since the 1960s, Walter Pichler has been working in the borderline area between sculpture and architecture, designing models of utopian cities and objects such as his legendary "TV Helmet." Many of Pichler's works are owned by the Deutsche Bank Collection. The 1996 exhibition "Joseph Beuys / Walter Pichler. Drawings," conceived by Deutsche Bank, juxtaposed a significant group of Beuys drawings with paper works by the 1936-born Austrian. Silke Hohmann introduces the inventor of the "Portable Living Room.""



"In the sixties, after studying at the Hochschule für Architektur in Vienna, he worked with his friend, the internationally renowned architect Hans Hollein, on a new concept of architecture. In 1963, the two exhibited together at the Galerie nächst St. Stephan under the title Architecture. Hollein and he explored utopian architectonic designs; they countered the growing subdivision of the city with a larger modernist vision made from cement, declaring architecture "freed from the constraints of building." This statement can easily be extended to the TV helmet if one were to view it not merely as a blinding device, but conversely as a free-thinking extension of space: who needs four walls when you can have the whole world?

In his media-theoretical standard work Understanding Media: The Extensions of Man, which was published in Germany one year after Pichler exhibited his TV helmet, Marshall McLuhan famously declared that "the medium is the message." At first, McLuhan was interpreted in just as one-dimensional a way: the culturally pessimistic interpretation of his thesis was that the technical device is so powerful that it even functions without content. Stupidity, social and physical disorders, conformism seemed inevitable. Yet McLuhan was far more the sober observer and affirmative analyzer than a warning Cassandra.

To understand the cultural significance of Pichler's TV Helmet, it is irrelevant whether or not the work was conceived as a cynical commentary on the social isolation resulting from excessive TV viewing—even while it seems improbable that the studied architect, a perfectionist, would have been satisfied with a work motivated solely by sociological concerns. Whatever his intentions, the work—together with only a very few other works, such as Ivan Sutherland's Head mounted display of the same year—marks the quantum leap of the physical into the virtual world. It addresses less the individual psyche than it seeks to redefine space. "
art  architecture  spacesuits  walterpichler  sculpture  helmets 
december 2013 by robertogreco
Ruth Asawa's wire scuptures qualify as extreme craft: they look weightless, but suggest you back off.: Observatory: Design Observer
"When I wrote about the figure of the knitting architect in February, inspired by Maria Semple's novel Where'd You Go, Bernadette, little did I know that a panoply of knitted, woven and recycled work would soon be on display in New York ... all under the rubric of art, but definitely spatial and challenging. El Anatsui's sinuous works at the Brooklyn Museum, which play with one's sense of weight and material, Orly Genger's Red, Yellow and Blue in Madison Square park, walls of crocheted rope that snake through the park, and, most modest in scale, the first New York show in 50 years of the work of midcentury sculptor Ruth Asawa, who wove forests, anemones and orbs out of metal wire. One of Asawa's largest works, known as Untitled (S.108, hanging, six lobed, multi-layered continuous form within a form), was auctioned by Christie's, the organizers of the exhibition "Ruth Asawa: Objects & Apparitions", on May 15 for $1.4 million, four times its low estimate. (I posted a few of my own photos of the exhibit on Tumblr; Christie's also made a video.)

I first encountered Asawa's work in the corners of photographs of the Design Research stores in Cambridge and San Francisco. Her wire sculptures, which she began making in the late 1940s, were shown and sold in both places. Inspired by traditional Mexican wire baskets, made by a Japanese-American modernist, these pieces embodied the roots of the D/R aesthetic. In person, they also recall the work of Isamu Noguchi, particularly his Akari light sculptures. Both the Akari and Asawa's lobed pieces are extremely delicate — hers are transparent — and yet can take up quite a lot of room. Their strangeness makes you want to back off, their intricacy makes you want to zoom in. And their shadows are a separate spatial construct.

Asawa trained at Balck Mountain College, and the additional revelation of this exhibit were her drawings and works on paper. I had thought of the sculpture as form, but the drawings also made me consider them as line, just as Genger's rope works are both gargantuan lines and made of thousands of lines. Several drawings, one in pink-on-pink, showed a repeated wave, eddying in different directions, playing with positive and negative space. Another set used rubber stamped letters (sans serif, all caps) to make patterns, one playing against the different lettered grain of a piece of newsprint.

Asawa continued to make her sea creature-like pieces through the 1990s, but another set of works use bunched wire to make rather deadly-looking wreaths and trees. These reminded me of her contemporary Harry Bertoia and his spiky dandelions. (Until May 24, DORMA is exhibiting some of Bertoia's sound sculpture, mushrooms and other metal pets.) The combination of anemones and trees made me think of Asawa as a weaver of witchy tales, geometric, lightweight, and yet fearsome.

Christie's biography smooths over any rough edges, but there were a couple of statements that caused me to wonder. Asawa, like Noguchi, was held in a Japanese-American internment camp in the 1940s. The press release quotes her as saying, "I hold no hostilities for what happened; I blame no one. Sometimes good comes through adversity. I would not be who I am today had it not been for the Internment, and I like who I am." It also describes her weaving her nets in the company of her six children, adorably photographed by Imogen Cunningham: "Asawa's looped wire forms were often executed in her home, with her six children surrounding her, creating a poetic narrative in which life intertwines with art." Whose choice was it to intertwine the two? And what, beyond poetics, was the effect on her work? I am looking forward to reading the catalog from Asawa's 2006 exhibition at the De Young Museum in San Francisco. I hope this exhibit, the accompanying book, and that million-dollar sale, will provoke more writing about Asawa and her multivalent connections to the postwar and contemporary art, architecture and design worlds."

[More photos: http://abitlate.tumblr.com/post/50772497128/ruth-asawa-at-christies-exhibit-up-until-may-31
video: http://www.christiesprivatesales.com/exhibitions/ruth_asawa/index.aspx?CID=541700296027_9 ]

[Found these on the occasion of Asawa's death: http://www.sfgate.com/art/article/California-sculptor-Ruth-Asawa-dies-4709612.php ]
ruthasawa  alexandralange  2013  sculpture  art  artists  elanatsui 
august 2013 by robertogreco
Jim SKULDT / skuldt.com
"Jim SKULDT (b. 1970) is an American Visual Artist.

Skuldt received an MFA from Caliornia Institute of the Arts in 2005
and is based in Los Angeles where he is a professor of Skulpture at UCLA..

He is the recipient of grants by the Creative Capital Foundation (Muriel Pollia Awardee),
the Harpo Foundation, the California Community Foundation, the Durfee Foundation, and
the Center for Cultural Innovation.

His work has appeared in venues including Marlborough Chelsea (NY), Sculpture Center (NY),
LTD Los Angeles (LA), LACE (LA), MOCA (LA), Armory Center for the Arts (LA),, High Desert Test Sites (Joshua Tree, CA), Friche la Belle de Mai (Marseille, FR), Temporare Kunsthalle (Berlin, DE) and is part of the Skadden LA25 collection.

He has been awarded residencies by the Rauschenberg Foundation (Captiva, FL),
the Center for Art and Performance UCLA (Los Angeles), the Banff Centre (Alberta, CN),
AIR Antwerpen (Antwerp, BE) and the Tringle France (Marseille, FR), which he reached
via containership.

He is currently attempting to modify a standard shipping container in order to ship himself internationally via cargo ship, train, truck, or any other conceivable method of transport."

[See

Island Effects
http://www.skuldt.com/work/island_effects.htm

Iceland
http://www.skuldt.com/work/iceland.htm

CROP CIRCLE (Int'l) CAKE PLUG and COLOR FIELD REEF
http://www.skuldt.com/work/crop_circle.htm

NY as LA / LA as NY as LA
http://www.skuldt.com/work/swapping_NYasLA.htm

Wild Blue
http://www.skuldt.com/work/wild_blue.htm

In the Round (Cyclically Active & Dormant)
http://www.skuldt.com/work/in_the_round.htm ]
artists  jimskuldt  maps  mapping  shipping  california  losangeles  ucla  skulpture  sculpture  nyc  stealth  camouflage  visibility  via:lizettegreco 
july 2013 by robertogreco
Parangolés – Wikipédia
"Os Parangolés, do artista brasileiro Hélio Oiticica, é um conjunto de obras que nasceu, segundo o próprio artista, de "uma necessidade vital de desintelectualização, de desinibição intelectual, da necessidade de uma livre expressão"."

[See also http://www.digestivocultural.com/colunistas/coluna.asp?codigo=856&titulo=Parangole:_anti-obra_de_Helio_Oiticica and
http://www.youtube.com/watch?v=2zTJDCugNB4 and
http://www.nytimes.com/2007/03/17/arts/design/17oiti.html?pagewanted=all and
http://en.wikipedia.org/wiki/H%C3%A9lio_Oiticica ]

"He also created works called Parangolés which consisted layers of fabric, plastic and matting intended to be worn like costumes but experienced as mobile sculptures. The first parangolés experiences were made together with dancers from the Mangueira Samba school, where Oiticica was also a participant."
heeliooiticica  paranolés  art  ncmideas  glvo  wearables  wearable  tropicália  brasil  brazil  gruponeoconcreto  dance  fabric  textiles  artists  costumes  sculpture  openstudioproject 
june 2013 by robertogreco
Exhibitions > Maria Nepomuceno: Tempo para Respirar (Breathing Time) | Turner Contemporary
"The second artist commission for our Sunley Gallery is Tempo para Respirar (Breathing Time) by Brazilian artist Maria Nepomuceno. From Friday 14 September to 17 March 2013, Nepomuceno’s exuberant installation fills this spectacular double-height space.

Inspired by traditional South American craft techniques, Nepomuceno weaves straw, strings and piles beads, and sews brightly-coloured ropes into draping coils and flower-like forms. These materials form a fantastical landscape, also populated by playful ceramic shapes, shiny over-sized beads and found objects.

This new work, Nepomuceno’s most ambitious to date, brings a landscape of colour, sound and texture into our beautiful Sunley Gallery, which overlooks Margate seafront. Tempo para Respirar (Breathing Time) expresses the energy and colour of Brazil, but goes beyond the earthly, with spiralling forms and carefully balanced objects drawing on opposing forces, like movement and stillness, unity and division, contraction and expansion.

Visitors are invited to be a part of the artwork, whether it be sitting amongst the work’s many colours and textures, or relaxing in a hammock looking out to sea."

[See also: https://vimeo.com/52542169 ]

[More on Maria Nepomuceno: http://www.victoria-miro.com/artists/_37/ and
http://www.victoria-miro.com/exhibitions/_406/ and
http://www.e-flux.com/announcements/always-in-a-spiral-by-maria-nepomuceno/ and
http://www.blouinartinfo.com/news/story/34587/interview-maria-nepomuceno and
http://arttattler.com/archivemarianepomuceno.html and
http://artnews.org/victoriamiro/?exi=21144&Victoria_Miro&Maria_Nepomuceno and
http://www.magasin3.com/en/blog/exhibitions/maria-nepomuceno/ and
http://www.artnet.com/artwork/426161324/759/maria-nepomuceno-the-force.html ]
art  ncmideas  2013  2012  marianepomuceno  artists  color  landscapes  brasil  textiles  sculpture  glvo  affection  making  participatory  installations  sound  slow  cooperation  collaboration  ncm  participatoryart  openstudioproject  brazil 
june 2013 by robertogreco
Resistant Objects | HiLobrow
"What I’m trying to do is understand how things come to take their place—especially in museums and collections—as embodiments of knowledge, artifacts out of time and nature, and objects provoking curiosity and wonder, how they become objectified. And just as much as Foucault long ago pointed out, neither the natural nor the human sciences exist until “nature” and “the human” take their modern form as such, I’m eager to imagine a science that employs enough modesty to realize that the objects of its interest do not take their sole, true, or final form beneath its gaze. Even under the light of science, objects withdraw their auras, that dark matter reaching back into deep time; and when the museums are in ruins, they will expose new banners to unfolding time. I think Tamen would agree with me here—the tupilaq are players in a luminous, long-durée ecology in which paintings and pelts, sculptures and scarab beetles, clay pots and crania take equal part."

[Expanded here: http://www.aeonmagazine.com/nature-and-cosmos/matthew-battles-museum-pieces/ ]
matthewbattles  objects  2013  museums  withdrawal  foucault  darkmatter  meaning  context  collections  knowledge  stories  storytelling  auras  resistantobjects  ebay  tupilaq  lowellgeorge  corbis  interpretation  interpretableobjects  figurines  sculpture  sociability  northwestterritories  migueltamen  michelfoucault 
january 2013 by robertogreco
Spencer Finch
"Finch carefully records the invisible world, while simultaneously striving to understand what might lie beyond it. Whether he is relying on his own powers of observation or using a colorimeter, a device that reads the average color and temperature of light, the artist employs a scientific method to achieve poetic ends. … Contrary to what one might expect, Finch's efforts toward accuracy- the precise measurements he takes under different conditions and at different times of day- resist, in the end, a definitive result or single empirical truth about his subject. Instead, his dogged method reinforces the fleeting, temporal nature of the observed world, illustrating his own version of a theory of relativity. In Finch's universe if you wait a few hours, the sun may very well change a leaden hue into gold. Like the ancient practitioners of the hermetic arts, who saw changes as the most fundamental truth of the universe, the artist doesn't always provide an answer in his investigations…"
installations  design  photography  sculpture  art  spencerfinch  artists 
december 2012 by robertogreco
ELLEN GROSSMAN Drawings and Sculpture
"ELLEN GROSSMAN These drawings and sculptures are a response to topographic maps, satellite photos, scanning electron microscope images, astronomy and the unfolding of intertwined relationships.

They emphasize the sensuous aspects of water currents, land masses and the wind made visible.

Much of my sculpture developed from an attraction to moiré patterns created by the overlay of two or more grids that are slightly askew."

[Via a search having watched: http://gothamist.com/2012/12/05/video_adorable_old_lady_asks_subway.php#photo-1via https://twitter.com/austinkleon/status/276358290592653313 ]

[Shared here: http://robertogreco.tumblr.com/post/37368380844/resurgence-25-x-39-in-metallic-gel-pen-on-blue AND http://robertogreco.tumblr.com/post/37368712718/subsequent-hills-detail-25-x-39-aluminum-gel ]
satelliteimages  nyc  drawing  drawings  microscopy  mapping  maps  sculpture  artists  art  ellengrossman 
december 2012 by robertogreco
Noah Purifoy Foundation
"Born in Snow Hill, Alabama in 1917, Noah Purifoy lived and worked most of his life in Los Angeles and Joshua Tree, California, where he died in 2004. He received an undergraduate degree from Alabama State Teachers College in 1943 and a graduate degree from Atlanta University in 1948. In 1956, just shy of his fortieth birthday, Purifoy received a BFA from Chouinard, now CalArts. His earliest body of sculpture, constructed out of charred debris from the 1965 Watts Rebellion, was the basis for 66 Signs of Neon (1966), a landmark group exhibition on the riots that traveled throughout the country. As a founding director of the Watts Towers Art Center, Purifoy knew the community intimately. His 66 Signs of Neon, in line with the postwar period’s fascination with the street and its objects, constituted a Duchampian approach to the fire-molded alleys of Watts. This strategy profoundly impacted artists then emerging in Los Angeles and beyond, such as David Hammons, John Outterbridge…"
artists  tovisit  sculpture  via:paulsoulellis  noahpurifoy  art  joshuatree  california 
september 2012 by robertogreco
El Ultimo Grito design, curatorial, academic and publishing work - hi
"Rosario Hurtado and Roberto Feo are the Post Disciplinary studio EL ULTIMO GRITO. Founded in 1997, their studio is currently based in London. El Ultimo Grito’s work continuously researches our relationships with objects and culture, exploring them in a wide variety of projects for a broad mix of international client, organizations and institutions such as Magis, Lavazza, Matadero Madrid (Sp), Marks & Spencer, Figueras, UNO, LABORAL, Museo Nacional de Arte Reina Sofia, British Airways, Claudio Buziol Foundation, the Sorrel Foundation or Victoria and Albert Museum. Their work is part of the permanent collections of museums such as the MoMA in New York, Stedlijk in Amsterdam, or The V&A; in London

In 2010 they founded SHOPWORK and POI an independent publishing, research, education iesign platform."
london  poi  sculpture  productdesign  designers  publishing  design  elultimogrito  rosariohurtado  robertofeo  shopwork 
september 2012 by robertogreco
M12
"The M12 art collective is organized and operated by a collective of artists and creative professionals and is based in Denver and Byers, Colorado. We also operate a rural field office and land-based project site that is located 2 miles south of the HWY 71 and 36 intersection in Last Chance, Colorado. M12 creates interdisciplinary site-based art works, research projects, and education and outreach programs. Working in the fields of sculpture, architecture, and public art and design, we favor projects that are centered in rural areas and which can be developed through dialogical and collaborative approaches. Our projects explore community identity and the value of often under-represented rural communities and their surrounding landscapes. We strive to be stewards of effective local and global creative problem solving, and a community resource for evolutionary thinking and innovative communication."
byers  denver  collaboration  community  communityidentiry  sculpture  publicart  rural  lastchance  colorado  m12  art  culture  design  interdisciplinary  landscape  learning  place  architecture 
august 2012 by robertogreco
Life:size - Book no.1 - 431.8CM x 213.36CM - Representational Sculpture by Artist Roland Tiangco
"The first of a series of books that contain 1:1 scale representations of everything in the physical world. The pages are perforated near the spine allowing for the dismantling of the book-block to reassemble the content of the book as a 1:1 scale image. The foreword of the book is "On Exactitude in Science" by Jorge Luis Borges."
scale  sculpture  photography  borges  books  rolandtiangco 
august 2012 by robertogreco
Art Workshops in Aspen Snowmass Colorado | Anderson Ranch Arts Center
"Anderson Ranch Arts Center Anderson Ranch celebrates artists, art-making, critical dialogue and community. We promote personal and professional development of artists of all levels of expertise through year-round workshops in ceramics, sculpture, photography, new media, painting and drawing, printmaking, woodworking, furniture design and more. Our artists residencies for emerging and established artists, summer internships, visiting artists and critics, community outreach, and public events offer a full spectrum of opportunities to creative people of all levels. The facilities feature fully-equipped art studios and galleries. Anderson Ranch programs and activities including art auctions and artist slide lectures, attract thousands of artists, art-lovers, students, faculty and patrons annually to this historic Rocky Mountain ranch dedicated to the fine arts."
furnituredesign  furniture  woodworking  drawing  painting  newmedia  photography  sculpture  ceramics  workshops  aspen  education  community  design  colorado  residencies  art 
august 2012 by robertogreco
taylor!
"Taylor Levy is a Canadian artist currently based in New York…

With her partner Che-Wei Wang, Levy co-runs the design studio CW&T.;…"

"I turn everyday technologies inside out.

Value emerges when design reveals the evolution of human logic and thinking embedded within technology. Really, it makes us feel better.

My work is about recovering the human gesture within the context of technology.

Sometimes I make sculpture, sometimes I build machines, sometimes I write code. Often I draw and write words with a black pen on paper.

I begin by breaking apart an opaque technology. Once it is in pieces, I play and explore in a way that is personally intuitive. Regaining my own gesture within what was once an impenetrable system. I begin to reconstruct. Extracting any unnecessary complexities, my reconstructions are simple, ordered and transparent.

love,
taylor"
everydaytechnology  opaquetechnology  sculpture  technology  taylorlevy  prototyping  artists  brooklyn  nyc  design  art  cw 
june 2012 by robertogreco
Frieze Magazine | Archive | Border Control
"…Once they have identified what we should be looking at & talking about, my eye is inevitably drawn to the ‘not art’ side of the room, which often seems more alive to me, more fun. Is it possible to make things, do things, before they are categorized? Is it possible to build a life’s work as a free-range human, freely meandering and trespassing without regard for the borders?…

Children naturally operate this way, but it’s the opposite of how most formal education works. We are introduced to borders, decide which ones we want to surround ourselves with, learn what happened within them before we got there, and are then expected to perform within their narrow perimeters until we die… If I am interested in gardening, I don’t want to make work about gardens, I become a gardener…

Maybe identifying myself as one limits my freedom by implying that everything I do aspires to be art. I’m not aiming for art, I’m aiming for life, and if art gets in the way, that’s fine."

[via: http://randallszott.org/2012/05/21/border-control-fritz-haeg/ ]

Another passage from earlier on:

"In her 1979 essay ‘Sculpture in the Expanded Field’ Rosalind Krauss analyzes the slippery, evolving nature of what was being referred to at the time as sculpture by artists including Carl Andre, Walter De Maria, Michael Heizer, Robert Irwin, Sol LeWitt, Richard Long, Robert Morris, Bruce Nauman, Richard Serra and Robert Smithson. Krauss talks about sculpture, and its relationship to ‘not architecture’ and ‘not landscape’. Recently the term ‘expanded field’ has been revived to help make sense of the work of a new generation of artists (including myself), whose legacy can ironically be traced directly back to artists from the 1970s whom Krauss does not mention in her essay. These include: Ant Farm, Buckminster Fuller, Anna Halprin, Joan Jonas, Mierle Laderman Ukeles, Yayoi Kusama, Gordon Matta-Clark, Ana Mendieta, Adrian Piper and Yvonne Rainer, to name just a few personal favourites. They were working at the borders of what was known as sculpture, and some were outside what was even considered art. With our generation growing out of theirs, I would argue that the field has not expanded at all, but rather the ossified borders that previously separated it and other fields from each other are becoming more porous."
criticism  autonomy  freedom  notart  artpractice  theory  tresspassing  meandering  lcproject  deschooling  learning  generalists  multidisciplinary  interdisciplinarity  interdisciplinary  disciplines  free-rangehumans  freeranging  unschooling  living  life  making  glvo  2009  fritzhaeg  culture  unartist  community  art  borders  carlandre  walterdemaria  michaelheizer  robertirwin  sollewitt  richardlong  robertmorris  brucenauman  richardserra  robertsmithson  antfarm  buckminsterfuller  annahalprin  joanjonas  mierleladermanukeles  yayoikasuma  matta-clark  anamendieta  adrianpiper  yvonnerainer  rosalindkrauss  architecture  landscape  artists  sculpture  porosity  gordonmatta-clark 
may 2012 by robertogreco
Phil Ross | The Biotechnique of Phil Ross
"My art is driven by a life-long interest in biology. While I was terrible in high-school science and math my education about the life sciences emerged from a wide engagement with materials and practices. Through my work as a chef I began to understand biochemistry and laboratory methods; as a hospice caregiver I worked with life support technologies and environmental controls; and through my interest in wild mushrooms I learned about taxonomies, forest ecology and husbandry.

The creative projects I work on take a variety of forms, though all are based on research, experimentation and long term planning. Recent work has included some videos about live cultures, experiments with growing fungal building materials, and founding and directing CRITTER- a salon for the natural sciences. These diverse projects stem from my fascination with the interrelationships between human beings, technology and the greater living environment."
sanfrancisco  naturalsciences  biochemistry  materials  lifescience  mushrooms  plants  environment  technology  design  artists  sculpture  via:laurenpopp  philross  nature  art 
may 2012 by robertogreco
Autumn 2012 Profile | Art News New Zealand: Francis Upritchard
"Given her sculptural installations collapse boundaries between art, craft, architecture and design by combining ceramics, textiles, furniture, found objects and lighting in the same space – it’s no wonder Upritchard felt a kinship with the Secessionist group when she was invited to exhibit at this prestigious institution. She also appreciated the fact that the Secession’s programme is chosen not by curators but by artists, which results in a fascinating and idiosyncratic programme of solo artist exhibitions."

[More:
http://2009.nzatvenice.com/upritchard.php
http://www.saatchi-gallery.co.uk/artists/francis_upritchard.htm?section_name=body_language
http://www.youtube.com/watch?v=MOAL9Hcv6ME
http://www.youtube.com/watch?v=26XRLF-0eM4
http://www.youtube.com/watch?v=XFiYWiImwYQ
http://www.dailymotion.com/video/xd3vvx_francis-upritchard-solo-show-at-kat_creation
http://www.youtube.com/watch?v=p6XfFmeIryQ
http://blip.tv/vernissagetv/francis-upritchard-solo-project-at-art-cologne-3566314 ]
bricolage  assemblage  textiles  ceramics  artists  glvo  sculpture  newzealand  craft  art  francisupritchard 
march 2012 by robertogreco
paper torso - a set on Flickr
"A torso with removable organs for the Science Lab of the International School Nadi, Fiji Islands built entirely from 200gms/sqm white card. Templates for some of the organs are available now:"
humananatomy  human  papercraft  sculpture  design  art  anatomy 
march 2012 by robertogreco
Mark Jenkins: Go Figure! on Vimeo
[For me, the most interesting bit comes towards the end (8:57 and on) when Jenkins speaks about teaching, holding workshops, and sharing his technique…]

"The basic casting process is quite simple and I've taught it to like seven-year-olds and up. The learning curve is really low… And I don't even know if it's good, but they see my work and then they see the technique and a lot of people gravitate towards doing something that they've seen on my site, which is usually an outdoor installation.

You always hesitate to try to…teach. People can look at your work and get inspired, but if they look too long they end up creating your own work. And what seems to have work best…longer workshops in Russia…sometimes I've done projects…Getting used to being outdoors and using objects. It's more that they learn a perspective than learn… That seems to be the most valuable thing that they get out of it. Or even just learning a different way to see the city."
art  2012  perspective  cities  noticing  learning  style  sculpture  technique  streetart  markjenkins 
february 2012 by robertogreco
David Byrne's Journal: 10.22.2011: The Subjectivity of Perception
"Our brain’s ability to patch together a coherent visual field and construct a seamless looking image that we know is imaginary (there are noses and trees and thumbs blocking parts of our eyesight) is similar to the propensity to construct a narrative—to imagine a chain of cause and effect out of almost random events. What we see and what we experience of the world is largely a lie, made up by us to satisfy some deeply evolved needs and tendencies. We might know it’s a lie but, still, we are helplessly drawn into these perceptual tricks."
davidbyrne  evesussman  christianmarclay  ryanoakes  trevoroakes  ryanandtrevoroakes  oakestwins  2011  perception  illusion  huans  huamn  vision  fieldofvision  brain  subjectivity  art  sculpture  lawrenceweschler 
november 2011 by robertogreco
Rhizome | 5 Million Dollars 1 Terabyte (2011) - Manuel Palou
"5 Million Dollars 1 Terrabyte (2011) is a sculpture consisting of a 1 TB Black External Hard Drive containing $5,000,000 worth of illegally downloaded files. A full list of the files with clickable download links can be found here: http://www.art404.com/5million1terrabyte.pdf "
art  piracy  sculpture  readymade  copyright  2011 
august 2011 by robertogreco
Arne Quinze - Wikipedia
"Arne Quinze (born 15 December 1971, Belgium) is a conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, paintings. In his late teens he started out as a graffiti artist in Brussels."<br />
<br />
[via: http://blog.flickr.net/en/2011/08/10/cityscape/ ]
arnequinze  art  sculpture  architecture  belgium  brussels  publicart  installation 
august 2011 by robertogreco
NuPenny: Portland
"NuPenny exists as a traveling art installation under the guise of an inaccessible toy store. On the surface, & viewed as a retail establishment or typical sales model, NP seems fundamentally flawed in connecting w/ those who desire to take its products home. True enough. But on another level the storeʼs reason for being is as a realm of carefully manufactured objects of desire that have not (or perhaps cannot) find either their place or time in the world. The first appearance of this toy store installation was in Waterville, Maine in January of 2010. Four months later & w/out notice NP closed in Waterville & moved to another town."

"Conceptually each toy is my interpretation of a song lyric, poem or literary work that has affected me. By using the NP/Teletype code card that is available on this site you can easily (though perhaps not quickly) read the ʻtextʼ on each toy, box & placard. More toys will occur, & arrive in the store over time, as I have the means to make them."
art  toys  sculpture  desire  consumerism  maine  nupenny  objects  glvo  edg  srg  randyregier  installation  via:anterobot 
july 2011 by robertogreco
Hallowgreen | Art21 Blog
"While we often think of contemporary art and how our older students might respond to it, we are always pleased that our very youngest students are so enthusiastic about it, too. Nick Cave is one reason why.

Cave, chair of the Department of Fashion Design at the School of the Art Institute of Chicago, brings together his interests in fashion, performance and sculpture while making reference to African ceremonial costumes. Watch a video of Nick Cave, produced by United States Artists:"
nickcave  performance  performanceart  sewing  costumes  classideas  tcsnmy  art  fashion  interdisciplinary  multidisciplinary  design  glvo  wearable  textiles  sound  dance  sculpture  soundsuits  fabric  crossdisciplinary  wearables 
may 2011 by robertogreco
Nick Cave Lecture at Fowler Museum, Jan. 9, 2010 on Vimeo
"A lecture presentation by Nick Cave about his signature Soundsuits is followed by a conversation between Nick Cave and the Fowler Museum's director Marla C. Berns about the global resonances in the artist's work.

This event was organized in conjunction with the exhibition "Nick Cave: Meet Me At The Center Of The Earth" which is on view at the Fowler Museum at UCLA January 10 - May 30, 2010."
costumes  music  masks  nickcave  art  performance  fowlermuseum  ucla  lectures  conversations  2010  textiles  wearable  performanceart  sewing  sound  soundsuits  glvo  classideas  tcsnmy  artists  expression  design  dance  sculpture  fabric  interdisciplinary  multidisciplinary  crossdisciplinary  wearables 
may 2011 by robertogreco
The School of the Art Institute of Chicago: Profiles: Nick Cave
"My work, clothing & fiber-based sculptures, collages, installations, & performances, explore use of textiles & clothing as conceptual modes of expression & pose fundamental questions about human condition in social & political realm…

I believe that what happens in my studio & living life as an artist are the single most important things I bring to the classroom. Artists must design their own pathways, work through plateaus in their work & understand that they will find themselves humbled by the very process of art-making.

I encourage my students to build their work w/ conviction, come face-to-face w/ truth of what they are attempting to create, & be open to experimentation.

I have been lucky to have been mentored by talented artists who taught me to challenge myself & build level of confidence & trust in my creative judgment…I hope to provide my students w/ knowledge that their art making holds the possibility for acting as a vehicle for change on a larger, global scale."
nickcave  art  performance  textiles  classideas  performanceart  design  collage  assemblage  life  living  teaching  education  learning  artists  glvo  cv  sound  interactive  sculpture  installation  expression  humancondition  society  politics  sensemaking  experimentation  doing  making  understanding  self  confidence  trust  wearable  fabric  sewing  change  costumes  dance  soundsuits  tcsnmy  interdisciplinary  multidisciplinary  crossdisciplinary  pedagogy  howwework  wearables 
may 2011 by robertogreco
Art - Nick Cave, Dreaming the Clothing Electric, at the Yerba Buena Center - NYTimes.com
"Over the last decade Mr. Cave has become known for making colorful, extravagant sculptures with this kind of double life: they can stand alone in galleries as visually compelling art objects, or they can be worn by dancers as vehicles for sound and movement. He calls them Soundsuits.

Some Soundsuits, like a bouquet of metal toys and tops perched on top of a bodysuit made of crocheted hot pads, make a clanking commotion. Others, like the Soundsuits made of human hair (bought already dyed from a wholesaler in New York), tend to fall in the quiet, whispery range. All come to life in performance.

Yerba Buena’s director, Kenneth Foster, who described his institution as “deeply multidisciplinary,” called Mr. Cave a natural choice for the center for that reason. “So many visual artists cross over in a way that the performance world would be aghast at,” he said. “Nick is one of the rare artists as strong in his secondary field as he is in his home art form.”"
nickcave  design  performanceart  performance  dance  art  glvo  classideas  tcsnmy  costumes  sound  soundsuits  2009  interdisciplinary  multidisciplinary  crossdisciplinary  fabric  sewing  textiles  wearable  sculpture  wearables 
may 2011 by robertogreco
The Soundsuits of Nick Cave: Contemporary Art or Material Culture? : Bad at Sports
"My own lack of familiarity  with Cave’s work makes me wonder, though: Why is Cave’s show traveling to the Fowler Museum, which is a museum of cultural history, and not an art museum that has an equally strong ability to support and exhibit interdisciplinary art of this nature, like, say, the Los Angeles County Museum of Art (LACMA) or even UCLA’s “other” arts institution, the white-hot Hammer Museum*?"
art  fashion  costumes  design  sound  nickcave  fowlermuseum  ucla  2009  classification  interdisciplinary  multidisciplinary  crossdisciplinary  glvo  classideas  tcsnmy  wearable  performanceart  performance  sewing  soundsuits  dance  sculpture  fabric  wearables 
may 2011 by robertogreco
Magpie Studio | 
"Tae Hwang & M R Barnadas are visual artists…Their art & science relationship began as interns…at The Field Museum of Natural History…

For 10+ years they have been working & creating together in almost every conceivable sustance for many museums & independent research projects…combined skill set includes: traditional sculpting, painting, & drawing techniques, casting/mould making, metal/plastic/wood fabrication, blacksmithing, bronze foundry work, archival restoration methods, textiles, electronics/kinetics for art applications, heirloom craft processes, analog & digital print based design…

plant & animal models/illustrations, pictured…were informed by research heads of various biology disciplines. From pharmaceutical silicone (squid) to wax (cactus), new materials are used along w/ historically familiar ones, & both experimental & traditional modeling methods are applied…"
art  artists  melindabarnadas  models  animals  scale  restoration  illustration  nature  biology  sculpture  plants  taehwang  sandiego 
february 2011 by robertogreco
Electric Dreamers on Vimeo
"Short documentary film shot at NAMCO BANDAI Games Inc in March 2010 in Tokyo, Japan. Features interviews with the genius creator of the Katamari and Noby Noby Boy video games, Keita Takahashi, and the man behind the strange and wonderful Muscle March, Shinya Satake.

Following Keita Takahashi's departure from NAMCO BANDAI in autumn 2010, the film was never released, but we were pleased with how it turned out and NAMCO BANDAI have kindly given me permission to show it here."
keitatakahashi  games  gamedesign  katamaridamacy  nobinobiboy  nobynobyboy  namcobandai  shinyasatake  sculpture  brianholmes  musclemarch 
december 2010 by robertogreco
Move: Choreographing You / Amanda Levete | ArchDaily
"The exhibition design was driven by the relationships between choreography and geometry, movement and form. Inspired by the photographic motion studies of the human body of Etienne-Jules Marey and Eadweard Muybridge, we have created a collection of spatial dividers which are defined by a serial transformation of a single material: a sequence of folded oscillations of Dupont Tyvek. The resulting translucent paper-like fabric ribbons, a counterpoint to the brutality of the building, rise and fall with undulating folds which simultaneously define themselves as way finding devices, partitions, suspended ceilings, and portals. These fluid spatial and formal transformations choreograph the movement of the visitor through areas of sculpture, film, archive and performance."
choreography  architecture  sculpture  eadweardmuybridge  etienne-julesmarey  anatomy  human  body  movement  geometry  form  motion  motionstudies  fabric  glvo  bodies 
december 2010 by robertogreco
The Here & Now | Future Archaeology
"The Here & Now presents documentation of projects by the collective Future Archaeology as well as original artworks by each of its members. The show explores themes of ephemerality and the specificity of time and place. Using a variety of media — sculpture, film, sound, photography — the show connects our present situation to an imagined future."
brooklyn  nyc  art  media  hereandnow  futurearchaeology  imaginedfuture  sculpture  photography  sound  soundscapes  film  time  place  ephemeral  ephemerality  heatherdewey-hagborg  thomasdexter  ellieirons  josephmoore  danphiffer  matthewradune 
november 2010 by robertogreco
LIBESKIND’S MACHINES « LEBBEUS WOODS
"Their use of analogy to inform the field of architecture is a potent tool for exploring much-needed new ideas of space and its human purposes than are afforded by the ordinary design process based on history and accepted building typologies. In the past, architects such as Mies found architectural inspiration in works of art (see the post Art to Architecture), while Le Corbusier produced his own paintings and sculptures to work out complex aesthetic problems in his architecture. Libeskind’s machines are in this tradition, though the problems are different. More architects today could benefit from such an analogous method, if they set for themselves problems not already solved. This method, like the machines themselves, opens architecture to a wide range of knowledge coming from different fields of thought and work, which is sorely needed in a time such as the present, characterized by increasing diversity in the human situation."

[via http://twitter.com/javierest/status/22408866350 AND http://greg.org/archive/2010/08/28/do_daniel_libeskinds_awesome_machines_mean_i_have_to_stop_hating_his_work.html ]
architecture  design  machines  robots  sculpture  daniellibeskind  lebbeuswoods  interdisciplinary  diversity  human  multidisciplinary  crossdisciplinary  problemsolving  2009  reading  writing  memory  drawings  history  1979  architecture-as-text  text  post-structuralism  process  fabrication  knowledge 
august 2010 by robertogreco
Pruned: Flutter Field
"WeatherField is a shape-shifting energy generation park in Abu Dhabi. The park is organized and designed to respond efficiently and creatively to climate. Energy generation becomes a public performance, dynamic, reactive, and interactive. The park is active when weather events are active, and calm when weather is calm, in each instance offering the public a compatible experiences."

[Quote from: http://spime.org/post/1017546133/weatherfield-is-a-shape-shifting-energy-generation]
weather  energy  abudhabi  weatherfield  responsive  adaptive  reactive  interactive  art  sculpture 
august 2010 by robertogreco
From the Trenches - Carved in Living Color
"Leave your preconceived notions of ancient art at home. A groundbreaking exhibition at Harvard University's Arthur M. Sackler Museum in Cambridge, Massachusetts, shows how marble statues actually looked in antiquity: covered from head to toe in vibrant paint. Based on 25 years of research by Vinzenz Brinkmann, formerly a curator at the Glyptothek Museum in Germany, Gods in Color: Painted Sculpture of Classical Antiquity features more than 20 full-size color reconstructions of Greek and Roman works, alongside 35 original statues and reliefs." [via: http://io9.com/5616498/ultraviolet-light-reveals-how-ancient-greek-statues-really-looked]
ancient  archaeology  greece  sculpture  history  ancienthistory  ancientgreece  arthistory  painting  art  statues 
august 2010 by robertogreco
Near Future Laboratory » And the time it takes to make them is the time taken to mean it.
"'[Martin Puryear's] sculptures look the way they do because they need to in order to mean what they do. The labor that is compressed into them allows them to work over time, and the time it takes to make them is the time taken to mean it. That they so often employ specialized tradesmen’s skills in their making allows them to work at the edges of utility—vessels that might be dwellings in the shapes of bodies—and in that fertile seam between representation and abstraction.'

A quote from “From Head to Hand: Art and the Manual” by David Levi Strauss.

Why do I blog this? I like the way that time is emphasized here rather than the outcome. The emphasis is on the the practice and process, which have so much to say about the sculpture."
sculrpture  process  toshare  topost  julianbleecker  martinpuryear  davidlevistrauss  creation  time  processoverproduct  productasindicationofprocess  outcomes  labor  craft  representation  abstraction  sculpture  craftsmanship 
july 2010 by robertogreco
Seeing Is Believing | Nerve.com
"Let me also point out, as gently as possible, that everyone is a performer; spouses and lovers might be the most subtle and polished of all. The head resting on the pillow next to yours is ultimately remote and unknowable as life on other worlds. We can’t know for certain what’s behind anyone else’s eyes, or what they’re seeing when they look at us. We never truly touch; all we can ever feel is that spark that leaps across the gap between us. Every time we talk to a friend or look into a loved one’s eyes it’s a gesture of faith, like astronomers beaming signals into interstellar space: we have to believe that someone is out there across the emptiness in the cold glare, someone like ourselves, looking back."

[via: http://scudmissile.tumblr.com/post/773526381/let-me-also-point-out-as-gently-as-possible-that ]
art  performance  sculpture  2010  perception  empathy  marinaabramoviç  unknown  timkreider 
july 2010 by robertogreco
The Collaborative Placemaking Facilitators are Present (with snacks) - a set on Flickr
"photographs commissioned for eric leshinsky, c. ryan patterson, and fred scharmen for their participatory work "The Collaborative Placemaking Facilitators are Present (with snacks)," part of "Evergreen Commons" at the 2010 Evergreen Biennale." [See also: http://friendsofevergreencommons.com/ AND http://www.washingtonpost.com/wp-dyn/content/article/2010/05/13/AR2010051301849.html AND http://www.baltimoresun.com/entertainment/arts/bal-art-evergreen-simultaneous-presence-photos,0,7320835.photogallery ]

[via: http://twitter.com/sevensixfive/status/17543588478 ]
baltimore  architecture  sculpture  placemaking  fredscharmen  ericleshinsky  cryanpatterson  participatory  glvo  art  ncm  participatoryart 
july 2010 by robertogreco
carsten nicolai: 'anti reflex'
"'anti' is a regular geometric form which represents systematic thinking and the interrelationship between mathematics, optics, art and philosophy. in appearance, it is a distorted cube, truncated at the top and bottom to obtain rhombic and triangular faces. the object reacts to the magnetic fields of bodies, enabling interaction with the visitor, while all of its mechanisms are hidden within. derived from artist albrecht dürers engraving 'melancholia i' (1514), 'anti's' black, light-absorbent surface and monolith-like crystalline shape confronts the viewer, trying both to mask its form and to disguise its function, thereby absorbing information."
art  sculpture  science  philosophy  interactive  matter  function  albrechtdürer  geometry  math  mathematics  optics 
may 2010 by robertogreco
Phasing Dancing Stands « Cory Arcangel's Internet Portfolio Website and Portal
"These sculptures are made from 2 over the counter 'Dancing Stands' (the tacky kinetic product display stands you can often see in down market stores) which have been modified to spin at slightly different speeds. When my modified stands are placed next to each other they go in and out of phase about every 4 minutes. I first showed a version of these sculptures in my show "Creative Pursuits" at the University of Michigan Museum of Art. Below is a video of a version of these sculptures in action at my show The Sharper Image at the Museum of Contemporary Art Miami (the music is is Dj Icey, a nod to Miami)."
coryarcangel  sculpture  kinetic  art 
march 2010 by robertogreco
Michel de Broin - Nuit Blanche
"Mirror ball, 1000 mirrors, 7.5 meters in diameter.
art  paris  sculpture  light  sky  stars  astronomy  installation 
march 2010 by robertogreco
Device Gallery
"The Device Gallery exhibits work that embraces the spirit of invention and ingenuity. Drawn to the juxtaposition between the classical and the unusual, the gallery features work bound by artistry and skill, rather than genre or medium. Established by Gregory and Amy Brotherton, in San Diego, California, whose combined 35 years of experience in fine and commercial art brings a unique perspective to The Device Gallery. A self-taught fine artist, Greg has spent the past 20 years honing his skills as a sculptor while forging a successful and award winning career as a commercial artist in the film industry. Amy’s extensive experience in event planning, fundraising and public relations has provided her the opportunity to work with some of the most celebrated and distinguished artists, writers and filmmakers of our time"
sandiego  galleries  graphicdesign  steampunk  fantasy  futurism  graphics  sculpture  art  lowbrow  illustrator  glvo  barriologan 
december 2009 by robertogreco
The Work of Tara Donovan: Observatory: Design Observer
"On October 10, 2008 the Institute of Contemporary Art in Boston, opened an exhibition spanning a decade of work by Tara Donovan — sculptor and 2008 recipient of the MacArthur “Genius” grant. This is an abridged version of an interview between Lawrence Weschler and Tara Donavan that appears in the monograph, Tara Donovan."
art  architecture  nature  sculpture  biomimicry  artists  taradonovan  glvo  biomimetics 
december 2009 by robertogreco
Fantastic Journal: "This Means Something!"
"The film is obsessed with issues of representation and non-verbal communication. The famous five-note score that the scientists use to communicate with the aliens, for example, effectively replaces speech...Roy can't communicate his obsession through conventional language & is forced into non-verbal communication. He has to make what he is thinking in order to express it. And he's not alone in his obsession. Another character - Gillian Guiler - is also obsessed with Devil's Tower. She draws it over and over again...In making a plea for tolerance the film also seems to implicitly reject language, as if our primary means of communication were somehow ultimately a handicap to understanding. Language seems to dissolve during the film, becoming ever more useless until it dissipates into the abstract lights and sounds used by the scientists to communicate to the aliens. It is, in many ways, an anti-logocentric film, a celebration of the non-verbal and the techno-haptic."

[via: http://magicalnihilism.com/2009/11/25/he-has-to-make-what-he-is-thinking-in-order-to-express-it/ ]
nonverbalcommunication  design  science  visualization  communication  via:blackbeltjones  criticism  sculpture  process  sciencefiction  scifi  fiction  narrative  making  craft  expression  film  closeencountersofthethirdkind  drawing  music  human 
november 2009 by robertogreco
Uberorgan [see video at: http://video.whyy.org/video/1237794459/program/1217143847/topic/1217148136#]
Tim Hawkinson and the Uberorgan are featured the Art:21 episode,"Time." Seeing and hearing the piece, even on the small screen, is impressive, and Hawkinson explains how he came about creating such a voluminous, volume-driven work of art.
timhawkinson  time  uberorgan  art  tcsnmy  installation  mechanical  kinetic  sound  sculpture 
october 2009 by robertogreco
Maker Profile - Kinetic Wave Sculptures on MAKE: television on Vimeo
"Reuben Margolin, a Bay Area visionary and longtime maker, creates totally singular techno-kinetic wave sculptures. Using everything from wood to cardboard to found and salvaged objects, Reuben’s artwork is diverse, with sculptures ranging from tiny to looming, motorized to hand-cranked. Focusing on natural elements like a discrete water droplet or a powerful ocean eddy, his work is elegant and hypnotic. Also, learn how ocean waves can power our future. Learn more about Reuben at reubenmargolin.com/"
reubenmargolin  design  kinetic  sculptures  art  sculpture  installation  math  tcsnmy  visualization  diy  waves  ocean  topography  kineticsculpture 
october 2009 by robertogreco
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