Walking past the Storefront for Art and Architecture in New York City, you might catch a glimpse of a bright pink, floor-to-ceiling, perforated, amoeba-like shape. Don’t be alarmed. “Situation Room”, a collaborative project, is a self-supported interactive structure by architect Marc Fornes / TheVeryMany paired with Oslo-based artist Jana Winderen’s engineered sounds. Visitors are invited to move within the installation, triggering the responsive sound. The passageways, apertures and tunnels are composed of 2000 parts designed by Fornes and fabricated by bengal.fierro. Patterns punched in the structure create patterns of shadow and light in the darkened room. Access to additional storefront projects is available through provided tablets.
“Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting visitors to question the properties of matter and the built environment surrounding us.”(Source)
This site-specific work is immersive, enveloping visitors in a multi-sensory experience that enhances the tie between physical space and sound. The idea that human presence affects built environments is made clear by the integration of responsive audio. Winderen’s website explains, “She is concerned with finding and revealing sounds from hidden sources, both inaudible for the human senses and sounds from places and creatures difficult to access.”
“The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form. Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract, spatial, formal and acoustic variations and compositions, Situation NY raises questions about context, sensorial readings, estrangement and the uncanny tangentially resonating with contemporary debates around the ontology of objects.” (Source)
The “Situation Room” was created with the support of Robert Rauschenberg Foundation and is on display through November 1, 2014.Photos by Miguel de Guzmán. (via Hi-Fructose)
Micah Ganske’s paintings will give you a headache….in a good way. The unbelievable amount of detail that goes into his often large-scale paintings is absolutely a testament to his passion and dedication to the subjects he addresses. Detail doesn’t even seem to describe the amount of disciplined attention that goes into each piece. In his paintings, which can measure up to 120” x 150”, Ganske will draw in every window on every building and every car. In another painting, a giant tripod supporting a tiny digital camera in the foreground has such smooth gradation on the metal, you know exactly how it would feel if you could reach into the image. The result is something that demands attention.
Once you get over the amazement of how much visual information he provides the viewer, (a process that takes a fair amount of time) the signification of the layered symbolism begins to appear. Ganske explains that he wants “the world that [his] work exists in to be a streamlined synthesis of all visual stimulation [he] has ever taken in; nothing sacred, all sources brought down to the same level.” Once all on the same playing field, Ganske imprints his opinions about the way people interact with the natural world and the technological world. Most recently, Ganske is currently pursing a body of work titled, Tomorrow Land, which combines both a disappointment in the broken promises of mid-century technology, and a hopefulness borne from knowing that certain individuals are still devoted to exploring new frontiers and changing the way we think about the world.
For over two years Mark Addison Smith has been keeping a visual catalogue of strange, funny, awkward, and quirky conversations he’s overheard. Each day he writes down things he hears and at the end of the day creates simple yet effective text based illustrations based on the one liners. What started Mr.Smith on this epic project? Here’s what started it all in the artists own words- ” The idea for this on-going series came about in 2008 during an evening walk to the train. A girl approached me in the Chicago Loop and asked me for a cigarette. I don’t smoke. She replied, “ahh, you look like the right type” and ran off. I ran home and illustrated her words, and have been drawing dialogue ever since.”
Brittany Zagoria‘s deeply personal and emotional paintings do battle with her inner demons.
“My paintings reflect my subconscious need to demonstrate the existence of evil in others. I grew up with a mentally ill mother, whose physically and verbally abusive actions towards me were relentless, cruel, and, most crucially, without reason. The arbitrary nature of her attacks left me feeling scared, insecure, and especially perceptive of the inherent capacity for monstrosity in all individuals. Through painting portraits of people I have known, I have become aware that my perceptions of others and my relationships with them have been greatly skewed by emotional tumult from my past. A finished portrait is evidence of my raw, childlike way of perceiving each subject. Judgmental and distorted, they are artifacts of my disturbed perception of the world that render tangible my personal, psychological confrontations; the process of painting turns a critical eye toward subject and painter alike. Often grotesque, monstrous and condemning, the final product constitutes my ultimate judgment of human relations.”
Initially inspired by an accidental discovery of Marilyn Monroe’s image embedded within the frames of Shinobi—a classic SEGA console game from 1987 Japan—Atlanta-based artist Ashley Anderson‘s multi-media exploration of the icon’s 8-bit image skims across the realm of painting, drawing, collage and animated gifs. The glitchy, pixelled-out nature of the images is indicative of Anderson’s 8-bit aesthetic, but this new body of work somehow begins to morph, to twist, and to move into something more obscure. Loaded with fragments of late 1980’s digital culture, some pieces only offer the faintest recollection of the image, requiring a bit more visual extraction to pull out the digitally reduced visage of Warhol’s Marilyn. As a whole, the investigation is an intriguing peek into the nature of digital reproduction and image appropriation.
“日々の音色 (Hibi no neiro)” is the name of this new music video for the band SOUR, directed by Japanese designer/art director/video guy Masashi Kawamura. The amount of choreography involved in this video, which is comprised of clips of fans shot on their webcams, is so staggering I don’t know how they possibly could have done it…but I also don’t know how they could have faked it. After the jump, more work from Kawamura, who’s done a lot of other cool, clever stuff in various mediums.
Freelance illustrator Sam Brester pulls humor into social commentary, and sometimes criticism with his work, which is cut even more effectively through his odd perspectives and quirky characters. His illustrations can be found accompanying many a newspaper article both in the states and abroad. His personal project Hand of Man Publishing should not be missed… particularly if you’re in the market to purchase, publish, or peruse some zines.