EVOL: Repeat Offender Jonathan LeVine Gallery 529 West 20th Street, 9th floor New York Through May 5 While his artwork might be hanging on the walls of a gallery in Chelsea, Berlin-based street artist Evol adds a distinct element of urban grit to his used-cardboard and spray-paint stencil works now on display as part of his Repeat Offender exhibition. The incredibly detailed views capture the abandonment of low-income German neighborhoods, using the texture of the cardboard base to enhance the paintings' architectural qualities. “Clean surfaces don’t speak to me, so recording these marks is a process of visually remembering the charm of a place that will soon be painted over,” Evol said in a statement. Besides his cardboard paintings, Evol is also showing paintings on metal and photographs on his 2009 installation from a slaughterhouse in Dresden, Germany. [h/t Colossal.]
Posts tagged with "Art":
The 12th annual IESNYC Student Lighting Competition, “Fraction/Refraction”, was held Wednesday night at the appropriately well-lit Helen Mills Event Space in Chelsea. The competition was open to all interested students in New York City and included entries from designers at Pratt Institute, Parsons/New School, Fashion Institute of Technology, Fordham, and New York School of Interior Design. Over 100 entries created a luminous one-night exhibition of over 100 light-sourced objects, each with a different take on this year’s theme of “how light plays with textures, flows through materials and creates layers of contrast.” There were many different takes on the theme at different scales. Some entries were more traditional light-emitting objects, others used multiple lights and materials to create layered effects, while some obscured the line between object and environment by projecting designs onto the walls of the gallery. Many were interactive, and there were even some architectural models, which doubled as lamps that night. A keynote address came from Dietrich Neumann, author of Structure of Light: Richard Kelly and the Illumination of Modern Architecture, about Kelly’s work as "the first modern lighting designer" including his close collaborations with Philip Johnson and Mies Van Der Rohe. Kelly even convinced Mies to use the white travertine in the Seagrams Building rather than dark green marble. Grand Prize went to Pratt's Sejung Oh, whose project titled "Dal Beat" was inspired by Oh's pondering of the moon and how its light reflected off of water. It was an interactive piece, inviting participants to hit the moon-like drumskin, sending vibrations through water which reflected the light into radial patterns. When asked what he was going to do next, Oh responded, "Im excited to go home and sleep. I didn't sleep last night." Well, Sejung, it paid off. The Grand Prize is $2,000 and a trip to Paris to visit L'atelier and La Machine. Second Place was Ivre, by Sang Yoon-Lee also of Pratt. His well-constructed wine bottle projectors got the judges' attention with interactive cork screws which allowed users to play with the focus of light on the wall via lenses in the bottles. In Third Place was Farnaz Hamedanchian, of New York School of Interior Design. Her peaceful composition of natural elements used refracted light to make artful shadows on the wall behind them. The simple, organic feel of the piece set it apart from most of the other projects which used an assortment of lighting technologies and synthetic materials. An honorable mention went to Pratt's Andrew An and his "Quasar" project. The simple setup utilized a directed light source in its base which was refracted through a suspended glass ball, making an animated projection on the ceiling. The piece directly referenced Achille Castiglioni's Arco Lamp, and was one of many examples of projects that served as both object and environmental element, an interesting take on the theme of refraction.
The New Museum has been transformed into a real-life game of chutes and ladders, or perhaps a Fun Palace a la Cedric Price, for its new exhibition Carsten Höller: Experience that opened this week and is running through January 15, 2012. The centerpiece of the show is a spiraling stainless steel slide traversing the fourth through second floors and providing what certainly must be the most rapid vertical circulation in the entire city short of a plummeting elevator . We stopped by to check out the slide and, after signing our lives away on a waiver, took a couple rides ourselves. Carsten Höller, originally a scientist, is known for experimenting on others' perceptions of the world around them, and upon entering the New Museum and being confronted by a series of ten-foot-tall mushrooms lined up against the back wall, it was clear Experience would be unlike a typical museum visit. On the fourth floor, the sleek stainless steel of Höller's slide emerges from a concrete floor, offering no insight to where you might end up. Sandwiched between an unusually slow, mirrored carousel and a mobile made of bird cages (and singing live birds), the slide clearly steels the show. Once saddling up on a canvas sheet to speed your descent, the plunge down the rabbit hole only lasts a couple seconds. You don't notice others gawking at you through plastic windows as you fly through what the museum has likened to "a giant 102-foot-long pneumatic mailing system." The spiral deposits viewers on the second floor largely no worse for wear (but watch your elbows on that last turn!) and uncontrollably grinning, perhaps wondering if they had indeed just slid through three levels of an art museum. While many made a bee-line for the elevator back upstairs, we suggest taking the spiral staircase to beat the others back to the line.
Walking the line. Watch artist Simon Faithfull travel both built and unbuilt environments along "the exact longitude of the Greenwich Meridian," using a GPS device in his documentary project "0˚00 Navigation." Above is an excerpt through London, but you can also watch the whole thing here. (h/t Polis.) At the city gates. In this short article at the Sustainable Cities Collective, Chuck Wolfe muses over what a "city gate" would be in a modern city, contending that Google streetview is one form of a modern gate incarnation. Is a physical gate just an ornament of memories, or do we need the architectural drama only a physical threshold can provide? Art heals blight. As Elizabeth Currid-Halkett notes in the NY Times, art as a revitalization tool works, but not always. It takes more than just cheap rent and abandoned factory lofts to cultivate the next Soho. Take the case of Red Hook's art scene from the Brooklyn Daily Eagle: art, given its mercurial nature, may be best left alone, like the somewhat-isolated Brooklyn neighborhood. A map for Captain Planet. SkyTruth, a nonprofit environmental monitoring group, recently launched a real-time, interactive alert system that digitally maps domestic pollution events, such as toxic spills and air & water pollution. More at the LA Times blog.
Jorge Pardo Armory Center for the Arts 145 North Raymond Ave. Pasadena, California Through November 6 MacArthur-winner Jorge Pardo gained his reputation by blurring the boundaries between art, architecture, and design. In his temporary exhibit in the courtyard of the Armory Center, Pardo engages the surroundings, deploying four pepper trees to act as three-dimensional framing devices for groups of translucent hanging globes. What at first seems to be a festive environment becomes a contemplative one, as visitors sit on benches surrounding the base of the trees and take a closer look at the spheres. Each reveals an ethereal universe inside: delicate reflective materials sit protected from the surrounding activity, casting shimmering, changing light onto the world around them.
Last week, we came across illustrator James Gilliver Hancock's series of playful block elevations titled "All the Buildings in New York." It turns out this impulse to sketch block upon block of New York's architecture has been around for quite some time. In 1899, the Mail & Express newspaper company published a graphic journey down Manhattan's Broadway in a book called A Pictorial description of Broadway now archived at the New York Public Library. The stroll down Broadway 112 years ago reveals just how much New York has evolved over the past century. As the NYPL says, "The result, as you can see here, is a 19th century version of Google's Street View, allowing us to flip through the images block by block, passing parks, churches, novelty stores, furriers, glaziers, and other businesses of the city's past." Two of the most dramatic plates in the series show Times Square, above. Quite a striking difference to the neon canyon we know today. Below, you can see the lush Madison Square, also with significantly fewer high rises, and below that is a stunningly underdeveloped 59th Street showing vacant lots and buildings of only a few floors. Click on the thumbnails below to launch a gallery.
Ever hit a WiFi dead spot when moving about the city? A new visualization project called Immaterials: Light painting WiFi by Timo Arnall, Jørn Knutsen and Einar Sneve Martinussen reveals the hidden landscape of digital signals though long-exposure photography and a stick equiped with a WiFi sensor and LED lights. Here's more from YOUrban.no:
The city is filled with an invisible landscape of networks that is becoming an interwoven part of daily life. WiFi networks and increasingly sophisticated mobile phones are starting to influence how urban environments are experienced and understood. We want to explore and reveal what the immaterial terrain of WiFi looks like and how it relates to the city.Looks like this project could feel right at home with the upcoming MoMA exhibition, Talk to Me, exploring the feedback of our environments. (Via information aesthetics.) Check out more photos over here.
LA starchitect Thom Mayne recently took some time to share his art/sculpture with our friends at Form magazine. The three-dimensional pieces reveal his love for investigating hard-edged metallic shards, architectural movement, faceted surfaces, hovering forms and general chaos; all major forces in his architecture. It makes us think of the other architects who are also sculptors, and just what the difference is between architecture and sculpture these days anyway? (Since software does so much of the heavy lifting now, many would say there isn't any difference.) Here are a few of our other favorites, whose art often informs, and sometimes mirrors, their architecture: Santiago Calatrava Zaha Hadid Frank Gehry Maya Lin Oscar Niemeyer
Buffalo-based architect Dennis Maher has devised his own version of adaptive reuse - he's remaking abandoned buildings into sculptures. Inspired by the shrinking Rust Belt city where he lives and works, his sculptures "honor the former lives of these raw materials" in a way that is striking and thought-provoking. The large works of art in Undone-Redone City are complex, and offer us a new way of seeing buildings, or at least their elements. In Maher's creations, a door and some flooring and a window frame might all mesh together to form a new shape and a new function that the original builders probably never imagined.
It's official. The multi-decade restoration of the historic Eldridge Street Synagogue is now truly complete with the recent installation of the new rose window that we told you about last February. Designed by architect Deborah Gans and artist Kiki Smith, this contemporary update of the Gothic staple employs cutting-edge lamination techniques, using silicone to fuse the colorful shards of glass. The result is stunning - the window appears to float above the sanctuary - and is a wonderful capstone to the award-winning restoration of a structure that has literally stood the test of time.
Upon first stumbling across this massive array of 2,000 LED lights encased in standard light bulbs in Madison Square Park a few weeks ago, I thought holiday decoration had come a little early to the Flatiron's front yard, but as shadowed figures began moving across the field of light, it became apparent that this installation by artist Jim Campbell was something special. Situated on Madison Square Park's Oval Lawn, Scattered Light consists of a three-dimensional grid of light spanning roughly 80 feet by 16 feet and standing 20 feet tall. When viewing the installation from the front, programmed LED lights flicker in sequence to create the illusion of shadows walking through the park. Moving around the artwork causes the image to blue and abstract as the grid moves in and out of focus. Scattered Light video by specialkrb / YT: Scattered Light video by Craig Dorety / Vimeo: The installation is one of three public art projects by Jim Campbell on display in Madison Square Park. Here's more information about the other two from the Madison Square Park Conservancy:
Broken Window, the second installation, will be situated near the main entrance to Madison Square Park at 23rd Street and Fifth Avenue. An array of LEDs encased in a glass-brick wall (70”h x 70”w x 10”d) will create illuminated images that appear to glide across the glass plane, reflecting the movements of the city around them and echoing the aesthetic poetry of the Scattered Lightinstallation. Situated on the eastern lawn adjacent to Madison Avenue between 24th and 25th street, Voices in the Subway Station, the third installation, will feature LEDs encased in two dozen glass tablets (14” x 18” each) arrayed across the lawn at ground level. The light pulses emanating from each tablet will be rhythmically modulated to represent the voices of individual travelers as recorded in conversation on a subway platform, combining to create a visual symphony rendered in light.Each of the three installations offers an abstracted experience drawn from the urban environment that's at once distant but right at home and it's worth an evening stroll through the park to experience them for yourself. The installations will be on display through February 2011. Interview with Jim Campbell from Switched: Voices in the Subway video by Craig Dorety / Vimeo: Broken Window video by lessthanrita / YT:
The cult of decay is an enthralling topic. This inevitability of time serves as the inspiration of Italian artist Daniele Del Nero's new project "After Effects" consisting of a series of model houses in advanced states of decay. Del Nero covered the models in flour and mold which then grew to nearly consume the models. These eerie miniatures appear strangely similar to plant-strewn ruins of many ailing rustbelt cities that have captivated public imagination as cities continue to wrestle with abandonment and revitalization. [ Via designboom. ]