Croatian-Austrian design studio Numen/For Use has built a large string supported jungle gym that is described as a “prototype of a self supporting inhabitable social sculpture.” Known for their large-scale tape and netting installations, “String Prototype” represents the studio’s first “large geometric inflatable object” installation. Thin ropes are tied on opposite sides of the form’s volume, keeping them parallel. When the object is inflated, the ropes are pulled and tightened into a structure that can support multiple human bodies. “Bodies entrapped in 3D grid, flying in unnatural positions throughout superficial white space, resemble Dadaist collages. Impossibility of perception of scale and direction results in simultaneous feeling of immenseness and absence of space.” (via my modern met)
The project is currently installed in the Viennese countryside, where it is still in development.
American artist Jim Hodges has always had an innate ability to impress ideas of time into commonplace objects, whether using napkins for drawings, silk flowers pinned to walls or collections of broken mirrors. In his work, Untitled (2011), metaphors for nature are again followed by human involvement, allowing for reflection from the smallest material interactions.
Comprised of four boulders which are capped with stainless steel veneers in gold, pink, lavender and blue, Untitled finds each stone arranged into a circular environment that directly invokes the viewer’s sense of space. Light and reflection play a role in the viewing, as colors meld and give the stones a surprising airy and weightless quality. Untitled’s colorswere inspired by Hodges’ travels to India, where Hodges was enamored by the intense use of color, as he describes, “this layering, layering, layering of material, to the point where what’s being covered, its identity, seemed to start being erased by the accumulation of color.”
Scale is equally important to Untitled, and speaks to themes of change and impermanence. The works are quite massive, with each boulder measuring close to six feet in height and collectively weighing almost 90,000 pounds. Collected in Massachusetts, before being brought to a fabricators in Upstate New York, the boulders were chosen specifically because they were carved and moved centuries ago by the glaciers which covered the North American continent. While the weightless quality is provided by the translucent hues, and the permanence of the heavy rocks is insinuated, Hodges deftly reminds us that nothing is immovable or permanent.
First displayed indoors at theGladstone Gallery in New York City, the work was then moved to the Walker Art Center’s outdoor grounds to coincide with the Sculpture Garden’s anniversary, as well as an upcoming retrospective exhibition. Hodges retrospective, Give More Than You Take, is currently on view at the Dallas Museum of Art and extends through January 12th, 2014. The exhibition will then travel to join Untitled (2011) at the Walker Art Center. (via walker art center)
Florentijn Hofman, mostly known for her interactive, cutsey and giant sculptures of children’s toys (ie. Rubber Duck, Max), has created Sunbathing Hare, another eye-catching and adorable installation for everyone to find their inner child with, yet again. It was taken down yesterday Oct.13th, 2013 as it was part of the Netherlands Bilateral Year and the Russian public arts program and was only allowed to be on site for a few months.
With outstretched arms, the over-sized lazy creature suggests a lazy, happy pose, as it lays on the green grass of Hare Island near the St. Peter and St. Paul Fortress in St. Petersburg, Russia. It has contagious vibe; people lie and sit next to it with intentions to relax and forget about their problems for a moment.
Sunbathing Hare measured 15 meters long by 8 meters wide and 2.5 meters high. It was made out of plywood boards, a pink painted nose, eyes, and smile with a touch of charm and humorousness. (via designboom)
“My sculptures cause an uproar, astonishment and put a smile on your face. They give people a break from their daily routines. Passers-by stop in front of them, get off their bicycle and enter into conversation with other spectators. People are making contact with each other again. That is the effect of my sculptures in the public domain.”
From setting hipster traps to designing tourist lanes on sidewalks, Jeff Greenspan’s work consistently employs a certain playful cleverness that questions our social norms in relation to spaces, New York City in particular. The Statue Experiment (pictured above) is no exception. Examining our own reality as far as engaging with art and its contextual expectations is concerned, Greenspan adds a little bowl of change in front of Frank Benson’s statue for a whole new effect. In fact, it just might be the best street performance art performed by an actual object . . . or maybe it’s the audience members who are the real performers? Click on the video after the jump to see what we mean.
The site specific installations Reconnected 1 and Reconnected 2 by artist Philippe Handford can be found on England’s Pendle Sculpture Trail. The pieces are a sort of memorial to the area’s gruesome past. In 1612 Pendle Hill was the site of a witch trail that ended with the execution of ten people. Handford began his work with illegally felled tree. He reconnects the trunk each tree to the stump supported by metal hardware. The trees, though fallen, don’t seem entirely dead or gone. They strangely bend to the toward the earth as if resting.
Christopher Lavery’s sculptures and installations work as poetic monuments– stretching beyond one particular brand or medium, and focusing, instead, on the art of humanity in relation to our natural state of dreaming.
For instance, Cloudscape (top image above), a collection of representational clouds, stands as tall as 42 feet and hovers alongside Pena Blvd. in Denver, Colorado. Each piece, made of steel, solar panels, polygal, and LED lighting, allows us to reconsider our own relationship with the sky– how a cloud is a talisman or connector: nature’s billboard, ephemerally reminding us to look up and inward.
Big Gold Word Bubble (plan and model, 2nd and 3rd image above), his latest endeavor, after completion, will stand 14’ tall and examine this idea of how, parallel to the clouds, language is both concrete and abstract: a beautifully harmonized collective word bubble and diversely individualized journey of interpretation. To help support its construction and transit to Art in the Park at Elm Park in Worcester, MA, click here. To view more Cloudscape installation shots, scroll down after the jump.
We interrupt this broadcast to bring you an important message from your environment courtesy of Jung Lee, master translator, whose photographs place neon signage in unconventional places, working as emotive subtitles.
Each piece reminds us– it’s not necessarily the people we are searching for in relation to love, but the lingering romanticism of time and space: the feeling of earth cradling our fall.
Ballroom Luminoso is a wonderfully different kind of ballroom. A series of six chandeliers by artists Joe O’Connell and Blessing Hancock hang under an overpass in San Antonio, Texas. The chandeliers are constructed from recycled bicycle parts, structural steel, and custom LED fixtures. Shadow patterns of bicycle sprockets paint the surrounding area alongside colorful light. Accompanying the bicycle parts are carefully carved imagery referencing the areas Hispanic, agricultural, and ecological heritage. The artist statement goes on to say:
“The medallions are a play on the iconography of La Loteria, which has become a touchstone of Hispanic culture. Utilizing traditional tropes like La Escalera (the Ladder), La Rosa (the Rose), and La Sandía (the Watermelon), the piece alludes to the neighborhood’s farming roots and horticultural achievements.” [via]