Designer Ross Lovegrove teamed up with glass manufacturer Lasvit to create the new architectural glass panel. The panels take inspiration from natural forms. Using a high precision heat transfer process the crystal glass flows and optically shifts that which is behind it. People and objects look as if they are standing behind a waterfall. Colors warp and fracture throughout the surface. Organic shapes created by nature are processed into dynamic architecture.
Conceptual artist Can Pedekmir creates digital portraits of imaginary creatures. According to the bio on his website, he works on the “deformation of human and animal body using various methodologies,” one of which he lists as applying “mathematical equations.” Other methodologies seem to include using hair. Lots of hair.
Pekdemir’s portraits are in stark black and white and appear like artifacts from an alternate dimension. His subjects are creatures with no distinguishable features; instead, their faces and entire heads are coiffed, tangled masses of hair and other biomatter. The result looks something like Where the Wild Things Are by way of Edward Gorey. Alternatively, it’s as though an entire forest undergrowth developed sentience and decided to pose for some erstwhile photographer.
Pekdemir’s work was featured most recently at the Unseen Photo Fair in Amsterdam, which ended late last month. He’s listed as a photographer, which only serves to highlight the eerie surreal quality of his art. Part photography and part elaborate fiction, his work blurs the lines between what is and what could be. (via Hi-Fructose)
Painting is enjoying a remarkable creative renaissance in the 21st century, with many of the world’s leading artists now working in this most enduring and seductive of media. 100 Painters of Tomorrow is an ambitious new project, initiated by editor-curator Kurt Beers and the publishers Thames & Hudson, to find the 100 most exciting painters at work today. Culminating in a major publication that will introduce and present each artist and their work, creating a snapshot of the best new talent in painting from across the globe, submissions are invited from artists from now until March 15th 2013.
The open call submission is international and open to any artist who uses paint as their primary medium. There is no age limit for entry, but each of the selected artists will have gained professional recognition in the last five years (that is, since 2008/9) through their education, gallery representation or in the production of a significant body of work (see Guidelines). In addition, more than 100 of the world’s leading art schools have been directly invited to participate, nominating recent graduates to submit their applications.
Artists’ submissions will be judged by an internationaljury featuring some of the most prominent names in contemporary art, including the painter Cecily Brown, curators Sir Norman Rosenthal, Yuko Hasegawa, Gregor Muir and Suzanne Cotter, and writer-critics Suzanne Hudson, Philip Tinari, Tony Godfrey and Barry Schwabsky.
Kathryn Andrews explores issues relating to performance, presentation and material. Juxtaposing the legacies of pop art and minimalism, Andrews’ works direct a viewer to consider the way subjectivity is constructed in contemporary culture. In the process, Andrews’ works manage to subvert the very art historical categories they reference. Using fabricated forms alongside readymade objects sourced from the likes of prop shops, memorabilia stores or party supply outlets Andrews’ pieces become a powerful contrast between high art and pseudo-kitsch—shiny, serious mirrored surfaces reflect colorful, strange yet common objects. In the reflection the viewer sees himself, thus becoming part of the narrative and generation of information and understanding.
Entertaining similar interests in her two-person exhibition with fellow Los Angeles artist, Alex Israel, at Gagosian in Rome, Andrews and Israel present works that explore a dialogue about specifically the readymade. The show is up through March 14 and you can see images here.
Towering over visitors at a height of almost seven stories, New Cornucopia and The Big IOU by John Salvest is comprised of 105 multi-colored steel shipping containers, stacked seven high and fifteen across. The containers will be used as mosaic tesserae, with “I O U” spelled out on one side of the massive structure, and “U S A” on the other. Developed over the course of the past year, this striking installation is unfolding in Kansas Cities Grand Arts at a moment of exceptionally divisive national politics and public discourse.
Says Salvest of IOU/USA:
“The placement of the project near a regional branch of the Federal Reserve Bank, one of the main components of national economic policy, comes at a time when concern about the United States’ ballooning federal budget and foreign trade deficits is a major part of the national conversation. Its location between the Fed and the Pioneer Mother Memorial is also fitting in that, whereas the permanent public monument rightfully celebrates America’s and Kansas City’s triumphant past, the temporary public sculpture may generate meaningful discussion about where we, as a nation, are heading.”
Jan Dunning manages to transform the rudimentary device of the pinhole camera and create strange and wondrous scenes with them. I love the idea of these expansive macrocosmos unfolding from the microcosm of a single point of light…kind of baffling! I remember using a pinhole in one of my first beginning photography classes and the most I got from the lens-less, shutter-less coffee can cam was blurry black and white blobs at best.
It is fair to assume that while most of us know that our world, our living spaces, and even our bodies are covered with microscopic organisms, we do like to not be reminded of it. Photography student Marcus DeSieno’s recent photoseries begs to differ, offering a beautiful yet disturbingly close look at our microscopic natural surroundings. Parasites is an ongoing project “investigating a history of scientific exploration through images of parasitic animals.” Taken with a Scanning Electron Microscope and then exposed onto dry plate gelatin ferrotype plates, a process which combines classical and cutting-edge photographic techniques. The final images are archival pigment prints from the scanned ferrotype plates and printed larger for these abject animals to confront the viewer at a one-on-one scale.
“Photography and science have had an intrinsic relationship since its’ invention in 1839. It did not take William Henry Fox Talbot long until he was using his calotype process to capture what was under the lens of his microscope. The indexical nature of photography has pushed the reaches of science ever forward into the 21st century. These technologies allow us to peer in to the unexamined corners of the natural world reminding us that the universe around us is much greater than ourselves. In this realm of scientific curiosity, photography has a intriguing relationship with the invisible, allowing us to see the world that we cannot. Parasites explores these themes of science and wonder and, at the same time, confronts a personal fear of these parasitic organisms that attach themselves to humans. Embedded in the work is an engaging dialog with photographic history, its\’ shifting modes of representation, and its’ material possibilities. Parasites investigates the role of shifting photographic technologies in contemporary culture and their abilities to capture a mysterious and unseen world.”