Photos by Jeff Luker.
Wednesday, August 31, 2011
Tuesday, August 30, 2011
Nendo
Mind-Bending Nendo Exhibition in Taiwan:
Nendo has a solo exhibition going on through the end of August at the National Taiwan Craft Research and Development Institute that features two collections: Thin Black Lines and Dancing Squares.
Thin Black Lines s a collection of furniture formed from “Still Black,” whose installation looks
Dancing Squares is a collection based on the concept of “Active White,” which has been installed onto a room-sized sketch affixed to walls and floor with a fish-eye lens-like effect as though viewers are seeing it through a tiny water drop.
Photos by Daici Ano.
Nendo has a solo exhibition going on through the end of August at the National Taiwan Craft Research and Development Institute that features two collections: Thin Black Lines and Dancing Squares.
Thin Black Lines s a collection of furniture formed from “Still Black,” whose installation looks
Dancing Squares is a collection based on the concept of “Active White,” which has been installed onto a room-sized sketch affixed to walls and floor with a fish-eye lens-like effect as though viewers are seeing it through a tiny water drop.
Photos by Daici Ano.
Cec LePage
Cec LePage:
Artist Cec LePage creates one-of-a-kind hand-painted sculptures from lucite (and has been doing so for 32 years!).
Made in Manhattan and shown in her gallery in Soho, her work ranges from vases to lights to custom furniture but each is an individual piece of art. I love that the vibrant colors feel sharp and rich, while also appearing translucent and light.
Artist Cec LePage creates one-of-a-kind hand-painted sculptures from lucite (and has been doing so for 32 years!).
Made in Manhattan and shown in her gallery in Soho, her work ranges from vases to lights to custom furniture but each is an individual piece of art. I love that the vibrant colors feel sharp and rich, while also appearing translucent and light.
Philip Govedare
Paintings by Philip Govedare:
Oh wow Philip Govedare’s landscape paintings are something out of a sci-fi movie about the surface of Mars.Or maybe New Zealand.
Oh wow Philip Govedare’s landscape paintings are something out of a sci-fi movie about the surface of Mars.Or maybe New Zealand.
Brian Dettmer
Altered Books by Brian Dettmer:
This kind of paper cutting art never ceases to amaze me. There must be so much time and a great amount of patience involved in the making of this by Brian Dettmer. Via Design Milk.
This kind of paper cutting art never ceases to amaze me. There must be so much time and a great amount of patience involved in the making of this by Brian Dettmer. Via Design Milk.
Thursday, August 25, 2011
Wednesday, August 24, 2011
Andrew Brooks
Andrew Brooks photography:
Andrew Brooks is a photographer, a digital artist and film maker living and working in Manchester, northwest England. His visual palette draws its inspirations from analogue reality, the contemporary urban surroundings in which he lives and works or the natural world that he escapes into.
More photos here
Andrew Brooks is a photographer, a digital artist and film maker living and working in Manchester, northwest England. His visual palette draws its inspirations from analogue reality, the contemporary urban surroundings in which he lives and works or the natural world that he escapes into.
More photos here
Santiago Calatrava and Frank Stella
Santiago Calatrava and Frank Stella:
Santiago Calatrava and Frank Stella
Work from The Michael Kohlhaas Curtain @ The Neue Nationalgalerie with text by Nicholas O’Brien.
“Upon approaching the renown last building by Mies van der Rohe, a distinct glass pavilion supported by the German architect’s signature grid of steel beams, one immediately is captivated by the massive caged painting that hangs roughly seven feet from the floor. The structure, a collaboration between Santiago Calatrava and Frank Stella, is at once imposing and sublime. The neon colors of the 98 foot mural immediately jump out and clash against the surrounding stoic tones, while the gridded donut enclosure acts as an update the stagnant flat grid of Late Modern architecture. The collaboration between these two acclaimed figures manifests as an attempt to create a visual narrative within the space that traces a route from the Modern to the Contemporary. The Curtain certainly takes cues from early 20th century murals, but instead of opting for a figurative approach, this collaboration tells an abundantly abstract story of the reciprocating influence that painting and architecture have had upon one another, as well as point toward a vivid future where both disciplines can merge into one grand gesture.
Although Stella’s work appears flat from a distance, closer examination of the structure reveals a vibrating surface that contains multiple layers and shapes that could be mistaken for onomatopoeia bubbles found in comic books or default software paint brushes – a gesture that speaks as much to PaintFX as it does to the legacy of Roy Liechtenstein. Amidst all of the organic forms, and their inorganic color schemes, glimpses of a comment on the bravado of architecture peak out intermittently. Warped gridded lines move along the mural in strokes that begin to resemble columns. The shapes that undulate beneath the top surface reference mechanical floor plan drawings, or else borrow from a palette familiar to anyone who has worked with a CAD process. But as quickly as these nods appear to the viewer, they recede just as rapidly behind gradients pulled from the look of an 80s air-brushed billboard.
As one walks around Calatrava’s encasing web, one begins to see how his contribution acts as a counter swing in the pendulum that is this monumental work. The visual simplicity – but technical complexity – of the apparatus that holds together Stella’s mural exemplifies the desire that Yoshio Taniguchi stipulates for contemporary architecture to not just envelope, but to eventually “disappear.” The criss-crossing array certainly adds a sculptural component to the Curtain, but it also serves a purpose akin to the bridges that gave Calatrava his name. The frame in this collaboration creates a similar surface/space in which to transport and traffic mobility, but instead of cars being the primary vehicle of movement, Calatrava instead directs our eyes. The uniformity of his ornamentation creates a even distribution of attention along the chaotic scramble of Stella’s scribbles and loops.
The impact of the Curtain is undeniable, given its presence in the space, its resonating colors, its complex construction and installation, its ambition, and its balance between the baroque and the minimal. The collaboration between Calatrava and Stella is perhaps most successful due to the surprising reflexivity that emerges from the work as one navigates its density and observes the elegant meditative spaces resting between surface and structure.” - Nicholas O’Brien
Santiago Calatrava and Frank Stella
Work from The Michael Kohlhaas Curtain @ The Neue Nationalgalerie with text by Nicholas O’Brien.
“Upon approaching the renown last building by Mies van der Rohe, a distinct glass pavilion supported by the German architect’s signature grid of steel beams, one immediately is captivated by the massive caged painting that hangs roughly seven feet from the floor. The structure, a collaboration between Santiago Calatrava and Frank Stella, is at once imposing and sublime. The neon colors of the 98 foot mural immediately jump out and clash against the surrounding stoic tones, while the gridded donut enclosure acts as an update the stagnant flat grid of Late Modern architecture. The collaboration between these two acclaimed figures manifests as an attempt to create a visual narrative within the space that traces a route from the Modern to the Contemporary. The Curtain certainly takes cues from early 20th century murals, but instead of opting for a figurative approach, this collaboration tells an abundantly abstract story of the reciprocating influence that painting and architecture have had upon one another, as well as point toward a vivid future where both disciplines can merge into one grand gesture.
Although Stella’s work appears flat from a distance, closer examination of the structure reveals a vibrating surface that contains multiple layers and shapes that could be mistaken for onomatopoeia bubbles found in comic books or default software paint brushes – a gesture that speaks as much to PaintFX as it does to the legacy of Roy Liechtenstein. Amidst all of the organic forms, and their inorganic color schemes, glimpses of a comment on the bravado of architecture peak out intermittently. Warped gridded lines move along the mural in strokes that begin to resemble columns. The shapes that undulate beneath the top surface reference mechanical floor plan drawings, or else borrow from a palette familiar to anyone who has worked with a CAD process. But as quickly as these nods appear to the viewer, they recede just as rapidly behind gradients pulled from the look of an 80s air-brushed billboard.
As one walks around Calatrava’s encasing web, one begins to see how his contribution acts as a counter swing in the pendulum that is this monumental work. The visual simplicity – but technical complexity – of the apparatus that holds together Stella’s mural exemplifies the desire that Yoshio Taniguchi stipulates for contemporary architecture to not just envelope, but to eventually “disappear.” The criss-crossing array certainly adds a sculptural component to the Curtain, but it also serves a purpose akin to the bridges that gave Calatrava his name. The frame in this collaboration creates a similar surface/space in which to transport and traffic mobility, but instead of cars being the primary vehicle of movement, Calatrava instead directs our eyes. The uniformity of his ornamentation creates a even distribution of attention along the chaotic scramble of Stella’s scribbles and loops.
The impact of the Curtain is undeniable, given its presence in the space, its resonating colors, its complex construction and installation, its ambition, and its balance between the baroque and the minimal. The collaboration between Calatrava and Stella is perhaps most successful due to the surprising reflexivity that emerges from the work as one navigates its density and observes the elegant meditative spaces resting between surface and structure.” - Nicholas O’Brien
Monday, August 22, 2011
Wes Whaley
Incredible Light Patterns:
Wes Whaley is a «light junkie» who by day works as a sales representative for an electrical supply company and by night turns into a magnificent artist. Incredibly, none of his pictures are Photoshopped.
See more at My Modern Met.
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