Posted by erika rae
| 5 Dec 2013
Sipho Mabona does beautiful things with paper. Not only does he have an awesome job title—Professional Origami Artist—he also has big plans for his hobby-turned-profession. Using a 2,500 sq. ft. sheet of paper, Mabona is looking to create a life-size origami pachyderm, cleverly known as the "White Elephant."
And he'll even record himself doing it, for those of you video-or-it-didn't-happen skeptics—two cameras will be streaming a live feed of the project in progress. The entire project will be completed in a room at the Art Museum in Beromünster, Switzerland with help from three assistants. The team will take on treacherous creases and potential for some major paper cuts to craft an elephant that stands over ten feet tall (with the help of a support structure and white acrylic sealant). Mabona explains:
With dual degrees from RISD in both Fine Arts and Architecture, Phillip K. Smith has a good grasp of both expression and structure. Along with technical acumen in lighting design, these skills served him well for his "Lucid Stead" project, whereby he transformed a 70-year-old Joshua Tree homestead from weatherbeaten shack to web-friendly spectacle.
By replacing every other siding board and all of the building's apertures with mirrored glass, Smith has created a brilliantly striking structure that blends into the desert without disappearing or denying its true roots. (For you fans of '80s X-Men comics, it looks like something the character Forge would have built.)
And "Lucid Stead" fits in with the desert in more ways than one. Deserts offer more contrast that your average environment, what with blazing hot days and freezing cold nights. And as the sun goes down on Smith's structure, so too does the building shift into something entirely different: A semi-transparent structure where LEDs within reveal cracks and seams, allowing one to glimpse the cross-bracing within.
It went live on Friday, and quite deservedly went viral over the weekend: "Limitless," a brilliantly-shot-and-edited video from filmmaker Selina Miles, decides to have some fun with a warehouse in Brisbane that's on the demolition list. Street artists Sofles, Fintan Magee, Treas and Quench were given what appears to be an unlimited amount of Ironlak paint and set loose on the structure's interior. Despite the painters' talents this could easily have been boring, but under Miles' expert shooting, directing and editing techniques, it's pretty riveting:
You can see more of Adelaide-based Miles' work here.
And for us non-Aussies that have never heard of Ironlak, it's an Australian company started in '02 that produces spraypaint, graphic markers and even nozzles for "writers," i.e. graffiti artists. I'm digging their package design.
Posted by Kat Bauman
| 22 Nov 2013
The "Weird Faces Vending Machine" doesn't muck around with commentary on the nature of the work of art, commodification of "culture," or unpacking the universal human condition. This small installation is by Matthias Dorfelt, or Mokafolio. It charges your credit card $3, tells you that it "[LIKES] THE WAY YOU WAIT" among other digital burbles, and eventually produces a unique print of computer generated faces, which would appear to be hand drawn and which are in fact adorable. In short, it does a tidy job questioning the value of the work of art and the commodification of cultural artifacts. (The universal human condition may be hinted at vis a vis the array of odd faces? Jury's out.)
Posted by erika rae
| 15 Nov 2013
Many of us don't think of the dollar bill as more than a means of getting the things we want. Mark Wagner has the same thought, but he wants to make beautiful pieces of art out of of them. His collages, made completely out of dollar bills, are a more complicated take on the currency we toss around every day.
The video below from Avant Garde Diaries explores some of his creations and the reputation cutting up money has given him:
Posted by erika rae
| 16 Oct 2013
Beijing-based artists/married couple Song Dong and Yin Xiuzhen have embarked on a his-and-hers exhibition that truly sets them apart. With insight from their 11-year-old daughter, Song ErRui, the installation The Way of Chopsticks pulls the differences of their artless childhood memories in Communist China to their daughter's contemporary upbringing.
By taking everyday households items and splitting them in half—literally—Dong and Xiuzhen each take a side and adorn it with inspiration from their childhood memories and today's world. A refrigerator becomes half-covered in salvaged windows and half-draped in pantyhose and concrete powder. A bathroom is transformed into a gender-fueled art exhibit.
Dong's take on the bathroom.
Posted by Ray
| 11 Oct 2013
I've been a fan of sculptor Do Ho Suh since I saw his work at a 2011 solo exhibition at Lehmann Maupin; curious to learn more, I arrived at the profile of the Korean artist, who is currently based in New York and London, on PBS's Art21. The son of a well-known painter, Suh traveled to the States to study at RISD and Yale, where he earned an MFA in Sculpture a decade after he completed a masters in Oriental Painting at Seoul National University (the hiatus was due to compulsory military service).
Suh's work generally addresses his sense of displacement, rife with cultural references to his native Korea, including sentimental notions of home and community, as well as identity, independence and conformity. Yet his work is consistently beautiful and is broadly concerned with space—architectural, public, private, shared, personal—whether it's a formal study executed in unconventional materials or a playful visual pun, or (as is often the case) both.
His forthcoming solo show at Lehmann Maupin's Hong Kong gallery features a new series of his iconic translucent polyester sculptures: "specimens" of household appliances and fixtures (no permalink but it's listed in the 'Upcoming' section of the Exhibitions page). By 'rendering' full-size replicas of entirely banal objects in gauzy drapery, Suh elevates the mundane into the magical, transcending kitsch by faithfully reproducing details such as crisper drawers, the heating coils of the stove, the innards of the toilet tank, and all variety of detail on the radiator.
Posted by erika rae
| 9 Oct 2013
In January, Chinese artist Ai Weiwei stacked 760 bicycles at the Galleria Continua in Italy. His most recent installation, on display until October 27 in Toronto's Nathan Phillips Square, tops his previous one with 3,144 bikes, illuminated by blue and pink lights. A similar exhibit (with the same name, but using 1,200 bikes without the lights) was shown at the Taipei Fine Arts Museum in early 2012.
The lights reflect the bikes' chrome, giving it an eerie, almost blurry look. Weiwei is known for his social design and this sentiment isn't lost on this project. The sound variation of "Forever Bikes" was created as a labyrinth-like monument to the rapid social change China—and the rest of the world—is constantly experiencing. Never before has a pile of chrome looked so good.
The installation was an exhibit at Toronto's Scotiabank Nuit Blanche, which took place on October 5th. Scotiabank Nuit Blanche is a one-night contemporary arts and culture festival that features artists from around the world.
Hat tip to Design Taxi
Tim Zaman is doing a PhD in "photothermal tomography" (hi-tech imaging, to nutshell it) at Delft, presumably because his background in biorobotics and mechanical engineering was not challenging enough. And his work is insane. Not only has he X-rayed a Rembrandt to discover ghost figures that were painted over and altered for the "final cut..."
...but he's worked out an extraordinarily detailed 3D scanning technique. Using two Nikons, a projector, and his proprietary blend of herbs and spices, Zaman is able to scan paintings with such detail that he can accurately map brushstrokes down to the micron level.
As if that wasn't enough, he is then able to render the resultant scan--and use an Oce printer that combines graphics and 3D printing to duplicate the painting precisely:
Nope, those aren't 3D-printed; they're handmade. Ex-chemistry teacher Bobby Jaber—the giveaway to his old profession is that he refers to PVC as polyvinyl chloride—"wanted to combine art and science," and now that he's retired, has thrown himself wholeheartedly into clay.
Buckyballs, icosahedrons, octahedrals and other complex geometrics might not be as lucrative as fictional colleague Walter White's "Blue Sky" product, but they seem to bring a good deal more spiritual peace. Additionally, California-based Jaber has been invited to show (and sell) from as far afield as the Netherlands.
In the following mini-doc, we get to see Jaber doing what I think many of us secretly crave: To create our own things in our own studios, absent market pressures and briefs from higher-ups. (Be sure to stick around until after the credits, when there is an outtake of what appears to be Jaber seeing an iPad for the first time!)
Posted by Ray
| 5 Jun 2013
You couldn't make it up—or could you? The fact that a London-based artist/designer is turning to a popular crowdfunding platform to launch her latest project is hardly newsworthy, but it turns out that Ilona Gaynor is looking to plan an extremely elaborate bank robbery (a somewhat ironic twist on a certain topical New Yorker cartoon).
Gaynor has been plotting "Under Black Carpets" for some two years now, waiting for the perfect opportunity to strike her hitlist of five major banks at One Wilshire in downtown Los Angeles. What originated as an architectural observation—she notes that "particular events or moments could be hidden from view behind protruding floors, light refractions from the mirrored glass and thick palm tree heads"—has now evolved into an obsession: to get away with the perfect heist.
Posted by Ray
| 30 May 2013
I suspect that one of the reasons "Tumbler" from the recent Batman films quickly achieved instant classic status is because of its unambiguous resemblance to the iconic F-117 Nighthawk, arguably the most advanced fighter jet of the 20th-century. My hypothesis is largely based on the fact that (like myself) the target audience for the films—or at least the vehicle design and visual style of Christopher Nolan's trilogy—recognizes the affinity between the two conveyances from our youthful obsession over such things.
Photo by Peter Cox
Which is probably why artist Paul Segers' latest project, "Stealth Pavilion," piqued my interest. The Eindhoven-based mixed media sculptor is known for large-scale installations, as well as "[organizing] projects in the Netherlands and around the world under the auspices of his 'New Brabant Front,' a network of like-minded artists from various fields in the creative industry." His new piece references the aeronautical and architectural aspects of his previous work even as it speaks to the timely issue of surveillance.
The Stealth Pavillion was created for KAAP, an annual exhibition at one of the fortresses of the old Dutch defense line 'de Hollandse Waterlinie.' The 'theme' of the exhibition was inspired by Dutch artist Constant Nieuwenhuys' Utopian 'New Babylon' project (1959-74).
Well folks, every time you bite into a Gummy Bear, that there is what you're crushing and grinding up with your teeth. I hope you're happy.
And maybe you'll think twice about letting your child toss their toys about the room so casually, once you consider the fragility of those toys' innards.
These hand-sculpted objects are the work of artist Jason Freeny, who graduated from Pratt in Industrial Design. On his Facebook page he's even got some process shots:
"Believe it or not, a synthetic paintbrush proves to be one of the best sculpting tools."
Okay, does anyone want to guess how artist Bradley Hart made these portraits? Any clue what those pixels are, arranged in that neat hexagonal pattern you've clearly seen before?
Even if you puzzle out that Hart can buy some of the raw materials for his work at the UPS store, you'll probably not guess how he added the color. Hit the jump to see.
For many of you, landing an auto design gig would be the end-all be-all. But imagine having that job, with all of its demands, and still having enough creativity left over to do your own art on the side.
Craig Metros is a Ford designer from Detroit, now transferred to Australia. In his new home base of Melbourne, Metros has rented a garage-studio with five other guys, and in his off hours, creates art (primarly car-based, you can check his pieces out here) and works on machines. Watch the video below and decide which of his lives you envy more.
Posted by Ray
| 5 Feb 2013
Photo by Ozier Muhammad for The New York Times
Cliché though it may be, it's hard not to describe it as anything less than a gift that keeps on giving: still from the devastation of Superstorm Sandy, a Long Island waterfront community has united to upcycle some 3,000 Christmas trees as an ad hoc solution in the interest of rebuilding protective sand dunes. Several Long Beach residents proposed the solution, which was approved by city officials and implemented by volunteers last weekend. Per the New York Times:
Healthy sand dunes are the first line of defense for coastal towns during storms because they keep the ocean from invading backyards and basements. But sand alone is not enough. An anchor, often naturally growing grasses, is needed to prevent the sand from blowing or washing away.
But the grasses cannot grow without a significant accumulation of sand, and in Long Beach these days there simply is not enough. That is where the Christmas trees come in.
"The trees act in place of natural plant growth," said Charlie Peek, a spokesman for the parks service in North Carolina, which has been using Christmas trees to spur dune revival for years. "It gives it a little head start, a little bit of a helping hand. In an ideal situation, the plant growth comes in after it and starts building a natural dune."
The method is not uncommon, particularly in areas like the Carolinas and Florida that are prone to hurricanes. It can take two to three years for dunes to become fully re-established after a major storm.
The commendable community effort is an uncanny echo of an art installation from almost exactly a year ago to date, Klara Lidén's widely acclaimed Pretty Vacant at Reena Spaulings, a second-floor gallery space that happens to be above one of my regular dim sum spots. The main attraction of the solo exhibition, "S.A.D." (after the mood disorder), consisted of a medium-sized room filled with a faux forest of some 80 discarded but otherwise intact Christmas trees. New York Magazine's Jerry Saltz nicely captured the redolent sentiment of the installation.
Immediately inside, you're confronted with the startling sight of a space filled with discarded Christmas trees, all scooped up from the sidewalks of New York by Liden and her cohorts. A disruption of the senses comes, thoughts of the Brothers Grimm, the foreboding of forests, inchoate uneasiness. You see only a few feet in front of you. Still, there's space enough between the trees to proceed. Make your own way in, push trees aside, slide through...
Unlike almost all artists who fill a gallery with one thing, be it glass jars, wooden beams, or cotton bales—a trope so worn-out it should be banned—Liden places a leather couch in the center of the room. It churns up everything, getting you to stop, look, listen, smell, and maybe shudder.
Photo by Michelle Feffer for NY Mag
We've seen the insanely complicated things people can do with paper by painstakingly folding it (Matthew Shlian) or cutting it by hand (Bianca Chang). It was just a matter of time before another OCD paper artist/engineer got his hands on a laser cutter and made things really complicated.
Artist Eric Standley, a SCAD grad and now associate professor at SVA's Virginia Tech branch, painstakingly assembles hundreds of sheets of differently-colored laser-cut paper. The intricate shapes evoke stained glass windows or something you would carve if you were imprisoned for 30 years. This man has the focus and patience of a sniper on Adderall.
See more of Standley's stuff here.
Posted by Carly Ayres
| 3 Jan 2013
Frumpy Chairs, "Poly" and "Mary-Kate" (left to right)
Toronto born and raised, Jamie Wolfond is currently a senior at the Rhode Island School of Design in Providence, Rhode Island. We first profiled his Extraterrestrial Seating earlier this November and are excited to share his newest endeavor in seating design. A proponent of big messes, loud noises, and hard work, Wolfond epitomizes that in his latest project, which is no exception.
Frumpy Chairs are one-of-a-kind plastic seating, where the experimental process behind each piece results in a series of totally individual chairs, none alike. With Frumpy Chairs, Wolfond brings together the seemingly disparate worlds of 'hand-crafted' and 'plastic-molded' to create completely unique plastic chairs.
The entire Frumpy Chair Series
The chairs are made from plastic regrind, which are chunks of failed injection-molded parts that would otherwise go to waste. Sourcing the material from factories throughout the country, Wolfond was able to get over 350 pounds of regrind donated for the project.
Following his "#1 most-funded sculpture project in Kickstarter history," Chicago-based multicreative Joshua Harker's on the crowdfunding site once again. Expressing his signature blend of art and design, Harker's not hawking a functional object per se; his beautiful, 3D-printed sculpture, which combines the skull that was so successful the first time around with a new set of articulating wings, was created "In honor of the developing 3rd Industrial Revolution."
Representing the project is a 3-piece sculpture entitled "Anatomica di Revolutis" (loosely intended to mean "Anatomy of the Revolution"). Each component is designed to assemble together to present a larger narrative about the developing 3rd Industrial Revolution. The fully assembled sculpture... symbolizes liberty & prosperity through an empowered participatory populace. It is designed to hang on a wall or other vertical surface.
...The wings are comprised of 75 separate mechanical moving pieces that are printed in their entirety as a single working assembly. They are symbolic of the mythical Phoenix rebirth & spring from the fire theme interpreted by my "tangle" aesthetic.
Man this is trippy. In the beautiful facility you see pictured above, Seattle-based artist Etsuko Ichikawa draws using molten glass and fire. It's one of those things where words doesn't do her process any justice, but luckily there's video of it:
Posted by Ray
| 3 Oct 2012
As "an artist and designer who encourages us to reconsider our ideas of beauty and aesthetic value," Sander Wassink is more concerned with concepts than saleable products. Thus, his statement reads like that of an artist than a designer:
How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished façade of an abandoned building, or the everyday detritus from our over productive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated.
Yet there is a distinctly designerly quality to "State of Transience," a series of large-scale photographs of hypothetical chairs that the Wassink has created in a semi-arbitrary iterative sequence. The chairs themselves are compellingly vibrant yet somewhat grotesque, mutants whose existence is justified by duly non-teleological process of evolution:
The ongoing project, State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. Each new version of this chair, documented in incremental stages, shows evidence of it's past constructions and glimpses into it's future potential. Every new state is a testament to ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both it's past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.
Over the next few weeks we will be highlighting award-winning projects and ideas from this year's Core77 Design Awards 2012! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com
- Chromatic Typewriter
- Designer: Tyree Callahan
- Location: Bellingham, Washingtion
- Category: Speculative
- Award: Professional Runner-Up
The Chromatic Typewriter is a conceptual art piece consisting of a modified late-1930â€²s Underwood typewriter that types a spectrum of colors, rather than the letters of an alphabet.
How did you learn that you had been recognized by the jury?
I saw the results on the C7712DA website on my lunch break from work. It was a very happy lunch break.
What's the latest news or development with your project?
The Chromatic Typewriter is heading to Grand Rapids, MI for ArtPrize September 19 to October 7, 2012! It will be on exhibition at the Federal Square Building—the SPOT. I'd welcome some votes!
What is one quick anecdote about your project?
My primary medium is painting, and the exposure generated by the typewriter assured that many people assumed my paintings were typewriter-generated; some bloggers went so far as to juxtapose the image of the typewriter with some of my larger five-foot-by-seven-foot paintings!
What was an "a-ha" moment from this project?
Definitely when the project was first conceptualized: I rolled a watercolor into a typewriter carriage to type a poem on it and the idea hit me. The first mock-up of color on the keys was a very exciting 'a-ha!' moment.
Posted by Perrin Drumm
| 2 Aug 2012
No, it's not an unseen CG image from Inception, though it's certainly cool enough to be. These are pictures of BoomBox, an installation made entirely out of cardboard boxes by French architect, Stephane Malka. Created for the 2011 EME3 International Architecture Festival in Barcelona, Boombox somehow escaped everyone's notice, including ours, until now. We think that's a real shame because it's rare to see such an immersive, experiential installation made from such simple materials. By simply projecting various lighting configurations onto a wall of cardboard boxes, Malka completely transforms an everyday object into a powerful environment.
The concept for BoomBox stems from Malka's belief in democratizing architecture. He calls it his "eulogy to cardboard, a cheap material symbolizing nomadism [in] contrast to stone, a noble material representing longevity in all its static weight. Although separate entities, there is nevertheless an exchange between two bodies, a cultural and social fusion between the academic and contemporary, at the crossroads between a work of art and a work of architecture."
I have the utmost respect for anyone who still hand-draws illustrations with a pencil and Rapidograph. French illustrator Ugo Gattoni, inspired by the 2012 London Olympics, spent freaking 723 hours putting together an intricate 16-foot-wide drawing of a bicycle race through a surreal London (see the video after the jump):
Posted by core jr
| 24 Jul 2012
Reporting by Kyana Gordon
Let the graffiti games begin. With the Olympics just mere days away, street artists have been making their presence known around England.Â Even Banksy couldn't resist an opportunity to show his satirical support with these two new pieces. One stencil features a javelin thrower armed with a missile while the second is a portrait of an Olympic pole vaulter in mid-jump landing in the direction of a filthy mattress below.
Equally impressive is other Olympic-themed work that has cropped up all over. This timely McDonald's jab (in case you aren't aware McDonald's will be the only French fries, or 'chips' sold at London Olympic venues) by an unknown artist was photographed by Pogorita outside the Brighton tube station.
Even this piece of a female diver plunges headfirst into an open toilet captured by Tim Callaghan makes quite the provocative statement. And a multi-colored pigeon by Ronzo depicts city birds getting in on the action.
Seeing beautiful street art in London? Leave a comment on where we can see more work below!
Posted by Ray
| 10 Jul 2012
Painter and muralist Josef Kristofoletti is pleased to present his latest project, the "Atlas Detector," commissioned by none other than the ATLAS Experiment at CERN, which is headquartered within the otherwise nondescript building. While we eagerly anticipate confirmation of a certain recent discovery, the Austin TX-based artist has recently completed his eyecatching rendition of the very same.
The three-story tall mural was painted by international artist Josef Kristofoletti on the side of the ATLAS control room directly above the detector, near the Swiss-French border outside of Geneva. This project was inspired by the same questions that the physicists at CERN are trying to answer; where did we come from, what does it mean to be human, and what is our place in the universe. The artist worked closely on location with physicists at CERN over the course of a year to create the mural. It depicts the artist's interpretation of what the Higgs boson might look like.
Time-lapse painting-of video after the jump: