At the intersection of art and technology Austria-based Ars Electronica Futurelab has developed a method for making responsive light art in the sky. “Spaxels (a portmanteau word from space pixels) are LED-equipped quadcopters. They make up a swarm of drones that can ‘draw’ three-dimensional figures in midair.” A cross between fireworks and a screensaver, the quadcopters move in precision routines to make 3d light sculptures in the sky.
Flying through the air, the Spaxels look like UFOs, strange glowing objects in the sky. Because they’re controlled, though, they are capable of creating endless permutations. In London, they drew the Star Trek logo near the Tower Bridge. 50 quadcopters performed “The Cloud in the Web” in Linz. The Emirate of Sharjah saw multiple formation flights in “Clusters of Light,” part of a celebration of the start of its term as Islamic Capital of Culture.
“Clusters of Light’ gives an account of the life of the Prophet Mohammed and the early history of Islam. While the cast acted out the narrative on stage, the LED-studded spaxels visualized it in the sky above. In this role, the spaxels formed visual elements such as an arc spanning the amphitheater and the words of God falling from the heavens like drops of rain.” (Source)
Gracefully swooping and swarming, guided by gesture, the Spaxels mimic nature while pushing the boundaries of technology. (via Juxtapoz)
Laurie Hogin, a painter based in Illinois, is setting up to open a show at Littlejohn Contemporary from October 9th through November 8th. This show, titled “Amygdala,” features colorful paintings of a vast array of animals.
“The title of the exhibition refers to an almond-shaped mass located deep within the mammalian brain, although other species, including certain reptiles, appear to have structures with similar function.(1) It is involved in motivation, emotion, and emotional behavior, and is activated by all sensory experiences.(2) It is widely accepted that the amygdala plays a critical role in acquisition and consolidation of emotionally charged memories. Research suggests that emotional memories are formed, in part, through associative learning, (3) wherein a creature’s or person’s emotions and behaviors are influenced by sensory experiences that cause associations with earlier experiences, even if the current environment is different.
Hogin is interested in how emotionally charged memories become language, symbols and metaphors, and how sensory inputs like color, sound, scent, physical pain, pleasure, or social and emotional context develop latent meanings through naming, categorization, and narrative.”
Hogin describes her aesthetics as such:
“As a painter, I value the visual, tactile and poetic pleasures of what paint can do and what it’s for: It’s formal and material qualities, it’s plasticity, and it’s usefulness in appropriating languages from the history of its use to certain semiotic purposes. My color palette has acquired the Day-Glo intensity of contemporary media landscapes; I revel in its visuality and vulgar seductiveness as much as cast a critical eye. My animals remain allegories of culture as much as avatars of my own psyche, whose expressions engage with the emotionality of daily fears, joys, pleasures, desires and outrages, and whose furs and skins are both tactile and toxic.” (Excerpt from Source and Source)
Pop culture and classic, fine art mashups aren’t anything new, but they nevertheless provided an interesting juxtaposition between the visual culture of then and now. Philippines-based multimedia producer Eisen Bernardo has created a series that places the covers of contemporary magazines like Vogue, Rolling Stone, and Vanity Fair. It’s appropriately titled Mag+Art.
Bernardo told Buzzfeed that he began the project because he felt that magazine covers were inspired by classical paintings. This is his way of comparing the aesthetics of the long ago as well as the present. What kind of clothing, hairstyles, poses, etc. are popular now? How has beauty changed or stayed the same. He poses the question, “Do we still see a naked woman as an object of art/beauty? Can the celebrities and models on magazine cover be considered as muses of the contemporary masters?” And, he hopes that these covers can be considered classic art. (Via The Huffington Post and Buzzfeed)
The Museum of Contemporary Art Chicago is hosting a massive exhibition about the one and only, David Bowie. A titan glam rocker and all-around swoonage daydream, Bowie is one of the most influential musicians to date. Running from September 23rd to January 5th, 2015, this exhibition, titled “David Bowie Is,” includes installations, outfits, artwork, album art, and much more. The exhibition unfolds chronologically, starting from Bowie’s teenage years and running up until his retirement from touring in the 2000′s.
“David Bowie Is presents the first retrospective of the extraordinary career of David Bowie—one of the most pioneering and influential performers of our time. More than 400 objects, most from the David Bowie Archive—including handwritten lyrics, original costumes, photography, set designs, album artwork, and rare performance material from the past five decades—are brought together for the first time.
Bowie’s work has both influenced and been influenced by wider movements in art, design, theater, and contemporary culture, and the exhibition subsequently focuses on his creative processes, shifting style, and collaborative work with diverse designers in the fields of fashion, sound, graphics, theater, and film. Multimedia installations incorporating advanced sound technology produced by Sennheiser, original animations, continuous audio accompaniment, and video installations immerse visitors in the sights and sounds of Bowie’s artistic life. David Bowie Is was organized by the Victoria and Albert Museum, London, and has embarked on an international tour with the Museum of Contemporary Art Chicago as the only US venue.” (Excerpt from Source)
Charles Avery‘s artistic practice is centered around a fictional island. Everything he creates has some connection to either the history of this place, or specimens and relics that are found there. Since 2004 Avery has been building the story of this place through intricately detailed drawings, sculptures, installations, and texts.
The gateway to the Island is the town of Onomatopoeia – once the stepping off point of the pioneers who first came to the place, turned colonial outpost, turned boom town, bustling metropolis, depression ravaged slum, to regenerated city of culture and tourist destination. (Source)
Avery builds on his own personal history as a starting point to this Island. Born on the Isle of Mull off the West Coast of Scotland, it seems as if he is commenting on the influence the British Monarchy has had over his home country, and also on numerous other countries and islands. His oeuvre is concerned with the progress of a nation – from rags to riches, and back again. The retelling of this folklore is a complex one. His work includes samples of the flora and fauna found there (different types of tree branches and birds), the fashions worn (a lot of different headpieces) and also studies of the local’s behavior. He creates a full anthropological study.
His past projects include “The Island” – concerned with the same place, just with the information organized differently. His attention to detail is so great, he even shows us the type of creature that we would encounter in the Island’s pantheon: a strange hybrid of dogs joined at the head, engaged in battle. Judging from these animals and the frenzied activity he depicts in his studies of the town square, this Island is definitely one I am glad to visit theoretically. (Via HiFructose)
Pastel-hued and delicate, the body part collages in the series “Anatomy” are part of Hong Kong artist Kayan Kwok’s daily art project “A poster per day for 365 days. ” The scope of her project is impressive—one fully realized piece of art every day for a year. Along with “Anatomy” the categories for the one-a-day posters are “Banana”, “Birdman”, “Blow”, “Dot”, “Hand”, “Letter”, “Loner”, and “Lost.Found”. Each grouping has a specific aesthetic and point of view although all are inspired by vintage graphics and American advertisements from 1920–1960.
In “Anatomy”, Kwok combines tinted anatomical drawings with mostly black and white figural images, incorporating other elements including scissors, flowers, and animals. She says:
“Collage has a surrealism background, but other than that, it also act[s] like Alchemy. Because you are putting stuff together from different places and times, the result is clearly unpredictable and this is what makes collage so fascinat[ing].”
One of the things that make this work captivating is the shifts in scale between body part and inhabitant. The small figures are nestled in, reclining on a heart chamber and a brain cavity. The integration of disparate parts into a cohesive whole makes these pieces deceptively simple. In fact, the blending of content and styles is technically accomplished, somewhat subversive, and really quite lovely.
Russian-born painter Polina Tereshina has a love for the awkward and bizarre aspects of our daily lives, so much so that she interprets them through her abstract, figurative paintings. Utilizing acrylic, ink, and watercolor, she disassembles the body to arrive at a newly resolved aspect, one which speaks more clearly to the reality of our movements.
“I am fascinated with passing feelings and short private moments of human interaction. In particular, I look for the humor in our struggle for balance. I find inspiration by looking both outward and inward. From these observations I have developed a cast of characters who help me tell the stories. Then I pose the characters out of context in a simple, shallow space. The personal experience of each and every one of us dictates the way we interpret the interactions.”
The rigid lines of the geometric and lined backgrounds add a sense of control to the piece, one which the subject interacts around. This brings balance, along with the idea of limits and structure. Through this we can relate to the modified human. By simplifying the body to the elemental aspects of the figure, often just a silhouette, she draws the viewer into the exaggerated trait, like lending it a megaphone. All in all, each piece seems to detail a specific frequency of the beauty of being in the moment, however graceless or messy that may be in reality. (Excerpt from Source)
Diana Chryzynska’s photoshop-ed female faces seem surprising natural upon first sight. With most of the pieces of a normal face present, the viewer’s brain mashes them together to make sense of them, when actually they’re quite reworked. It’s fascinating how well your brain is able to reconcile two noses and two mouths sandwiched between two hands with eyes on top. Somehow, it takes a few seconds to realize what you’re seeing is completely surreal. Of course you realize what you’re looking at isn’t quite right, but it takes a while for your brain to sort out exactly what that is.
Maybe what makes the images more consumable is the appealing features: big eyes, luscious lips, unblemished skin. I don’t think it’s that, though. It’s like when you read a word like baeufitul, and your brain is able to organize it into beautiful (with some coaxing). The see-through hands over the faces are the most interesting in terms of theme. They feel like veils, hiding the strange faces from view, though not entirely. It feels like the women are hiding their mixed up faces, but some are peaceful while others are confrontational. Most close their eyes, but the confrontational ones stare out from behind their hands, self-consciously aware of their strange arrangement.