Patrick Gries’ collection of skeletal photographs are part of his book, “Evolution,” that seeks to make the case for evolutionary theory in a way that has not yet been captured so eloquently through the medium of photography. The project spanned 6 months and involved Gries shooting the photographs of over 250 skeletons at The Museum of Natural History in Paris, as well as 4 other locations in France. These monochrome photographs of skeletons were shot with strong directional light and appear almost sculptural in their presentation, asking viewers to consider the boundaries of scientific study and aesthetic event.
In the book, Gries’ photographs are accompanied with text written by scientist, documentarian, and professor emeritus at Paris’ Museum of Natural History, Dr. Jean-Baptiste de Panafieu. This text describes the skeletons, suggesting how to understand them in the context of history and the patterns of evolution. “New forms have evolved from old ones. Stubby amphibian feet have been transformed into hooves, bird wings and whale flippers. Yet many of the bones in those original limbs have not changed their relationship to the rest. They have just been stretched, flattened or reduced to vestigial knobs. Along the paths of evolution, the vertebrate skeleton has been transformed into similar forms many times over — aardvarks in Africa and anteaters in South America.” You can purchase and see more photographs at Éditions Xavier Barral. (via unknown editors, ny times, and the guardian )
A collaboration (of sorts) between Mother Nature and Los Angeles-based artist Emilie Halpern, Shōka, Halpern’s current show at Peppin Moore, has been on view since the autumnal equinox on September 22nd, and it closes on the upcoming winter solstice on December 21st. The exhibition has three stages, which is a concept derived in part from the shōka style of ikebana, the traditional Japanese art of floral composition. The shōka style, cultivated in the Ikenobō school in the 15th century, is a minimal description of the universe in three parts: the earth (地), the heavens (天), and humanity (人).
The first part of her exhibition titled 地 (pronounced chi, meaning ‘earth’) consists of fluorescent rocks set up in a rectangle according to the proportions of the gallery. In the day, the lights appear to be minimal earthwork. At night when exposed to black light they become fluorescent.
Part two was titled Shōka 天 (pronounced ten, meaning ‘heaven’) and it documented the sunlight in the gallery on the first day of the show. Gold leaf marks the gallery space at the time when diret sunlight hit the interior on October 26, 2013.
The final part of the show is 人 (pronounced jin, meaning ‘human’) and it consists of a collection of Halpern’s pottery works. Representative of the human interaction and manipulation of the two prior elements, pottery is an apt culminating medium.
Halpern’s exhibitions are the final for Pepin Moore Gallery.
Interested in the floor, the wall, their flatness and the way his sculptures engage with both of them, artist Joel Shapiro’s installations and sculptures are dynamic and engaging. Suspending sculptures at various points and angles throughout a space, Shapiro seeks to create a sense of movement that depends on the forms and their relationships to one another. Though not site-specific, his installations are in direct dialogue with architecture. Shapiro is compelled by what he refers to as that “capricious” moment where forms come together to become something else.
Born in Sunnyside, Queens to a physician and microbiologist Shapiro tried to follow his parents into science, but realized that he had to become an artist. Of the need to make art he says, “You have to have some real drive and deep belief, a combination of ego and humility, so it’s difficult. You have to have some sense of self and have to have some doubting sense of self in order to externalize your interior, so it’s a peculiar combination of factors, at least in my case, that you sort of, in retrospect, allow. I’m always surprised that the work looks good!”
The extreme structural and architectural nature of Shapiro’s work, however, perhaps begs at that scientific inclination. There is a precision to his abstraction that is challenging in the way it defies gravity and logic. Catch his show currently up at LA Louver through January 14th.
If you have a huge sweet tooth like I do, then the chocolate art supplies by design firm Nendo are probably whetting your appetite. These tubes of paint and pencils are completely edible, and the paint tubes are full of different sweet fillings. You can sharpen the “pencils” and use the shavings to enhance other desserts.
We wanted our plates to show off the beauty of meals and desserts like a painting on a canvas. Based on this idea, our “chocolate pencils” come in a number of cocoa blends that vary in intensity, and chocophiles can use the special “pencil sharpener” that comes with our plate to grate chocolate onto their dessert. Pencil filings are usually the unwanted remains of sharpening a pencil, but in this case, they’re the star!
The paint tubes have an edible label that tell you what flavored syrup to expect. They range from green tea to honey to caramel. Nendo describes their new creation as “…design that combines the childhood excitement of opening a new box of paints and the thrill of opening a box of chocolates you’ve been given unexpectedly.” What a perfect gift for someone who is both a sweets and artist. Yum! (Via This Is Colossal and Yatzer)
Fiber Arts have a longstanding history rooted in craft and tradition. Woven objects have tended to be functional or decorative, and often viewed more as the works of artisans, as opposed to artists. In the twentieth century this has begun to shift more, and in the 21st century the practice of weaving and knitting has been reclaimed and turned on its head by a number of artists that are forward thinking and highly skilled in their “craft.” Artists included here are: Olga de Amaral, Erin Riley, Olek, Ann Tilley and Andrea Sherrill Evans. It is important to note that historically weaving has been viewed as women’s work. All of the artists included in this post are women, yet appear to have adopted the practice of weaving and redefined it on their own terms, while becoming masters in the process.
Olek‘s work is an absolutely fantastical explosion of bright-textural fun. Often taking her work outside the white walls of galleries and into the streets, Olek has taken fibers to a place most thought impossible. Some of the works she has made recently include huge feats such as completely encasing the Wall Street Bull in neon crocheted and knitted camouflage pattern and re-adorning a whole locomotive in rainbow patterned softness- completely handwoven. Her work tends to encase and cover objects and people- creating whole installations, performance art costumes and beautiful sculptural objects in a sort of renegade demonstration of liberated punk-rock-quirk.
Jimmy Nelson captures the last glimpses of dying tribes in Africa, Asia, South America, and Siberia.
The photos are part of Nelson’s series “Before They Pass Away,” a captivating set of photographs that beautifully capture the purity and authenticity of a dying culture.
The homogeneous characteristics of today’s digitalized world compelled him to document a timeless document of these tribes.
“In all this homogeneity, people no longer think that their ethnicity and authenticity is valuable. They think what’s valuable is what they see here,” he said, gesturing to the many indistinguishable laptops that sat on almost every table in the crowded cafe before pointing to his heart, “and not in here.”
Since 2009, the photographer has been traveling through the most remote areas of the world in order to capture the “pure beauty in their goals and family ties, [and] their belief in gods and nature.”
With genuine interest and purpose, Nelson embeds himself in the culture of these tribes without judgement. Whenever I see a project of this kind (one that captures the lives of non-western peoples), I feel as though the westerner capturing and creating a narrative based on what he sees, tends to have an air of superiority. In small ways, the images become these objects of amusement. Nelson, however, is appreciative of these cultures, not because they are exotic, but simply because they carry, through their rituals and social rules, an imminent duty to preserve and nurture their culture and social rituals in ways that are, in fact, absent in Western societies. (via huffpost)
Walter Robinson creates amusing sculptures that work as witty social criticisms about consumerism and popular culture.
I’m fascinated by the human drive to possess material objects and by our intransigent attachment to the things we own. In my work I investigate the ways that consumer products have been crafted to perpetuate hunger for more. Brand and corporate logos, mascots, cartoon characters, advertising text and signage are the semiotic sources I draw from.
Robinson subverts meanings of familiar brands and Western cultural symbols by tweaking their scale, context and color.
With marketing and adverting psychology in mind, Robinson uses seductive surfaces, saturated color, bling and glitter to draw his audience to examine their own relationship to consumer culture and it’s effect on the environment and world events.
NADA (New Art Dealers Alliance), founded in 2002, is a not-for-profit art fair that showcases international galleries in New York, Miami Beach, and Cologne. NADA’s exhibitors are a breath of fresh air; the young vibe, the weirdness, and progressiveness of this exposition is hard to dismiss.
Here, I gather the most interesting works at the expo:
Estonian artist Kris Lemsalu sculpts and stages grotesque figures. In this particular set, it seems, are two very strange looking dogs(?), wrapped around sleeping bags. I’m not sure what is artist is going for here, but it seems to me that he is trying to set a scene, and a specific one at that. Both ‘dogs’ are covering their eyes, they are wrapped tightly, and they hovering amongst themselves; might it be that these are scared ‘dogs’ at an estranged camp of sorts?
Jonathan Torres, a Puerto Rican artist, creates half-animal, half-human sculptures, that are brightly colored and full of feathers. They are on the floor, nor are the hanging from the upright walls, instead they appear in odd places, throughout the tiny booth of the http://crenaz.byethost22.com/.