pure geometry // romanowsky

fiber arts // dana barnes studio

what the fuuuuuuuuuuuck

The images above illustrate the results of an unusual artistic collaboration between the French artist Hubert Duprat and a group of caddis fly larvae. A small winged insect belonging to the order Trichoptera and closely related to the butterfly, caddis flies live near streams and ponds and produce aquatic larvae that protect their developing bodies by manufacturing shea­ths, or cases, spun from silk and incorporating substances—grains of sand, particles of mineral or plant material, bits of fish bone or crustacean shell—readily available in their benthic ecosystem. The larvae are remarkably adaptable: if other suitable materials are introduced into their environment, they will often incorporate those as well.                                                 

just listen

>> unraveling bolero by anne adams

Anne Adams was a brilliant biologist. But when her son Alex was in a bad car accident, she decided to stay home to help him recover. And then, rather suddenly, she decided to quit science altogether and become a full-time artist. After that, her husband Robert Adams tells us, she just painted and painted and painted. First houses and buildings, then a series of paintings involving strawberries, and then ... "Bolero."

At some point, Anne became obsessed with Maurice Ravel's famous composition and decided to put an elaborate visual rendition of the song to canvas. She called it "Unraveling Bolero." But at the time, she had no idea that both she and Ravel would themselves unravel shortly after their experiences with this odd piece of music.Arbie Orenstein tells Jad what happened to Ravel after he wrote "Bolero," and neurologist Bruce Miller and Jonah Lehrer helps us understand how, for both Anne and Ravel, "Bolero" might have been the first symptom of a deadly disease.

Listen to the incredible Radiolab episode about Anne and her work here >>

aches and panes

>> "and a and be and not" folding screen by camilla richter

a folding screen, which while acting as a room partition, offers a range of visual possibilities as a result of its composition of panels which can easily be moved. the overall framework of the furniture object is assembled from hued rectangular-shaped sections which are transparent, the incidence of light continuously changing the environment in which it is positioned, emitting a subtle to dynamic kaleidoscope of color.

>> "solarium" by william lamson at storm king art center

Solarium functions as both an isolated hillside sanctuary and, as Lamson has put it, an "experimental greenhouse." Caramelized sugar is baked into the windows of Solarium, tinting each a unique amber shade. All plants create sugars through photosynthesis; those inside Solarium use light that has been filtered through sugars, a circular process. Weather permitting, Solarium is designed to be viewed from afar, where it appears as a jewel-like object, and from within, for the experience of its unusual plays of light.

>> color/forms by ivelisse jimenez & doreen mccarthy at cuchifritos gallery

This exhibition juxtaposes the work of two artists who are committed to abstraction, and particularly to its exploration in terms of the intersection of color, form, and medium. Working in fabric, plastic, vinyl, Plexiglas and other assorted materials, Ivelisse Jimenez and Doreen McCarthy both approach the solid forms of geometry, the patterning of abstraction and the simplicity of line in related ways.

Hurricane Sandy on Bikes in NYC from Casey Neistat on Vimeo.

still the one

LE BEL ETE from Vanessa Bruno on Vimeo.

the only diamond i've ever loved

recycled metals and conflict free diamonds from melissa joy manning

strata

joy

max hooper schneider // policy

Each drawing presented exists as a polity. Their production is informed by a Spinozan monist/materialist perspective: everything that exists is composed of a single substance, matter, and all matter is ‘alive.’ Bodies, as a plurality of diversely formed matters—plants, animals, minerals, machines, ideas, paintings, buildings, landscapes, and so forth—act and are acted upon, their mutual modulations constituting what is. From this perspective questions of the political and the aesthetic are transformed into physical questions: i.e., knowing what a particular body is capable of and how particular bodies combine in beneficial or destructive mixtures through their positive and negative encounters. In art and politics what matters, the only thing that matters, is how bodies interact with and transform one another. Drawings, museums, cities, are all bodies existing within a universal polity of bodies that mix together either constructively or destructively. As in the original meaning of aesthetics, concerned not with beauty or taste but with how the world strikes the body, a body of art is understood not as good or bad, political or not-political, but in terms of its agential powers: with how it increases or diminishes the powers of the other bodies (human and nonhuman, natural and artifactual) with which it interacts. These drawings, which mass together a multitude of bodies and exist as bodies, perform within these parameters. Their logic is a full-body logic of sense in which color, line, pattern, the site in which they are experienced, the perceivers, participate in constituting a dynamic, morphogenic gathering of bodies—that is, a polity.

images and text via: maxhooperschneider.com

max hooper schneider // monist kingdoms

The Monist Kingdom series adopts the materialist philosophy of Benedict Spinoza (1632-77): everything that exists is composed of a single substance, matter, and all matter is ‘alive.’ Bodies across all kingdoms of classification, as a plurality of diversely formed matters—plants, animals, minerals, machines, buildings, landscapes, and so forth—act and are acted upon, their mutual modulations constituting what is. From this perspective questions of landscape and aesthetics are transformed into physical questions: i.e., knowing what a particular body is capable of and how particular bodies combine in beneficial or destructive mixtures through their positive and negative encounters. In landscape architecture what matters, the only thing that matters, is how bodies interact with and transform one another. As in the original meaning of aesthetics, concerned not with beauty or taste but with how the world strikes the body, a body of organisms or molecules is understood not as good or bad, but in terms of its agential powers: with how it increases or diminishes the powers of the other bodies (human and nonhuman, natural and artifactual) with which it interacts. The submitted collages, which mass together a multitude of bodies and exist as bodies, perform within these parameters. Their logic is a full-body logic of sense in which color temperature, collision of form, pattern of juxtaposition, the site in which they are experienced, the perceivers, participate in constituting a dynamic, morphogenic assemblage of bodies—that is, a Monist Kingdom.

images and text via: maxhooperschneider.com