Someone Released 1.5 Million Balloons Into The Sky And Ruined Everything

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If you’ve ever loosed a balloon into the sky, by accident or on purpose, you have probably had that uncanny feeling that you’ve done something simple but irreversible; no matter how high you jump, the balloon will forever be out of your grasp. Now multiply that sensation by 1.5 million; twenty-eight years ago, in a misguided attempt to break the record for most launched balloons in history, the United Way of Cleveland released one and a half million balloons into the sky for a fundraiser known as Balloonfest ’86. As the weather grew grim, the hasty event administrators freed the eager helium-filled balls of color into the sky, and it was all caught on film by the photographer Thom Sheridan.

The images are pretty remarkable; when shot at close range, the balloons look to be raining from above, coloring the skyline and bridges like jimmies over an ice cream sundae. Pink, red, blue, and yellow litter the frame like large-scale confetti. But viewed from further away, the balloons form something resembling an angry plague of locusts that ominously mushroom above the city. They puff up and away, and their colors blur, forming a bloody wound across the sky.

Given the historical context, these photographs are even more theatrical, grim and tragic. Two people died as a result of the event, and a horse was badly spooked and injured. The winds that day caused the balloons to flood together, forming a substantial cloud that obscured the view of aircrafts; helicopters were unable to rescue the victims of a boating accident. In one terrible anecdote, a coast guard member explained searching for the heads of the drowning people and being totally unable to differentiate them from balloons. The entire city remained littered for weeks.

This strange, tragic story reads like a bizarre little fable where excess, pride and even the most well-intentioned aspirations breed disaster and ruin. These photographs, these astounding relics of a city’s hopes and traumas, say it all.  (via Gizmodo and Viral Forest)

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Julie Schenkelberg’s Domestic Object Installations

 Julie Schenkelberg makes installations that look like domestic earthquakes. Her monumental pieces talk to us about the collective memory we share in objects and its inevitable disintegration. As most all domestic objects have some sort of function, their ubiquity–tables, chairs, lamps, plates, etc in every home– is a sign that our experience of the life is much more communal than individual, and likewise our memories. Julie takes the objects of our experience and compiles them into globs of memory, as they are probably situated in our own brains. But, like our own memories, she shows us these objects as broken and decaying in structures that look strong and sound but are, in the grand scheme of things, utterly tenuous. Her work is physical poetry at its best.

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Studio Visit: Leon Reid IV’s Public Art

I stopped by Leon Reid IV‘s studio in Greenpoint to see what he’s been up to lately. He’s been pretty busy. Last month, he installed “100 Story House” a public art piece created in collaboration with Julia Marchesi. And he released a new sculpture series less than two weeks ago. On top of all of that, he’s in the midst of raising funds for “A Spider Lurks in Brooklyn”, his proposed project to put a giant spider between the cables of the Brooklyn Bridge during October of 2014 (you can get involved with the project here). So I was pretty psyched that he was able to make time to show me around. Leon’s been creating public art in some form or another for eighteen years now, and his studio was full of past projects and concept sketches.

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