Archive for the 'Sights' Category

See: Chris Engman’s mirror/tint/landscape photos

February 23, 2012

Filter + filter + mirror + mirror = blue-r skies, cooler landscape. Ingenious!

Chris Engman, Permeation, 2012, archival inkjet print, 38 x 48 in, edition of 6, Courtesy of Luis De Jesus Los Angeles. Source: re-title.com.

Chris Engman, Permeation, 2012, archival inkjet print, 38 x 48 in, edition of 6, Courtesy of Luis De Jesus Los Angeles. Source: re-title.com.

March 3 – April 7, 2012
Dualities, Omissions, Loops, and Ruptures: Chris Engman, Cody Trepte, Samantha Roth, and John Houck
LUIS DE JESUS Los Angeles
2685 S. La Cienega Boulevard, Los Angeles, CA 90034
Hours: Tuesday-Saturday, 10am-6pm
Artists’ Reception: Saturday, March 3rd, 6-9 PM

see: Laura Buckley’s Fata Morgana at Cell Project Space, London.

January 19, 2012

Via Re-title

Laura Buckley, Fata Morgana, 2012, mixed media, (l.480 x h.290 x w.242 cm)

Laura Buckley, Fata Morgana, 2012, mixed media, (l.480 x h.290 x w.242 cm)

Laura Buckley
Fata Morgana
20th January – 26th February, 2012
CELL PROJECT SPACE
258 Cambridge Heath Road, London E2 9DA

For Fata Morgana, Buckley has initiated an ambitious single screen installation commissioned specifically for the CYcLORAMA series and produced with the assistance of Cell, The Arts Council and The Irish Arts Council.

The title Fata Morgana refers to a highly complex superior mirage where inverted and erect images are stacked one on top of another causing an object on the horizon to be distorted beyond recognition. The name also refers to Morgan le Fay, mythical figure from the Arthurian legends at once a villain, seductress, witch, healer or goddess, her unquestionable power is dictated by her ability to shape-shift throughout the myths and legends in which she appears.

Where previously mechanical movement of objects has made up an important part of her installations, in Fata Morgana both the film and the sculpture are static. This allows the fast paced edit of the film and surface of the sculpture to interact with the body and perception of the entering viewer, including and absorbing them into the kaleidoscopic installation.

Read more at Re-title.

Visit the outdated, but interesting, artist’s site.

see: hanna Sandin

December 14, 2011

Via Sculpture Center’s new Tumbler:

Hanna Sandin, No-good cell phone supply the coop, blocked broad well, 2010, steel, nylon coated steel cable, barrel swivels, chimney brush, squirrel barrier, birdfeeder grill, crab trap, rubber gasket, bird deterrent, steel shelving, 6’ x 12’ x 13’, installation view. Source: Sculpture Center's Tumblr.

Hanna Sandin, No-good cell phone supply the coop, blocked broad well, 2010, steel, nylon coated steel cable, barrel swivels, chimney brush, squirrel barrier, birdfeeder grill, crab trap, rubber gasket, bird deterrent, steel shelving, 6’ x 12’ x 13’, installation view. Source: Sculpture Center's Tumblr.

Hanna Sandin’s sculptures: So simple, so witty. Mobiles of mundane objects take on (typo)graphic elegance in photographed form.

More works at Sandin’s website. There’s one with a Moebius strip! And one that references plants!

See: James Yamada’s installation at Parasol Unit, London

December 9, 2011
James Yamada, "The summer shelter retreats darkly among the trees," 2011. Parasol unit installation view. Photo: Stephen White. Source: Parasol Unit.

James Yamada, The summer shelter retreats darkly among the trees, 2011. Parasol unit installation view. Photo: Stephen White. Source: Parasol Unit.

According to Parasol Unit’s website, this is perhaps my dream programme:

On 22 November 2011, Parasol unit will unveil the first artwork in its Parasolstice – Winter Light series of outdoor projects to be realised by various international artists, each of whom creates sculptural works that address the phenomenon of light.

This past outdoor light sculpture by Yamada floats my boat too:

James Yamada, Our Starry Night, 2008. Photo by Seong Kwon, courtesy of the Public Art Fund.

James Yamada, Our Starry Night, 2008. Photo by Seong Kwon, courtesy of the Public Art Fund.

Allan Sekula’s School is a Factory

December 3, 2011
Allan Sekula, School is a Factory (1978-80). Courtesy of the artist. Photograph by Matthew Booth. Source: Gasworks' All I Can See is the Management exhibition page, gasworks.org.uk

Allan Sekula, School is a Factory (1978-80). Courtesy of the artist. Photograph by Matthew Booth. Source: Gasworks' All I Can See is the Management exhibition page, gasworks.org.uk

See: Sigmar Polke’s windows at Grossmüster, Zürich

November 9, 2011
Agate window by Sigmar Polke, 2009, Grossmuenster Cathedral, Zurich

Agate window by Sigmar Polke, 2009, Grossmuenster Cathedral, Zurich.

In 2006, Sigmar Polke won the invited competition to design church windows for the Grossmünster in Zürich. It has taken three years to complete this ambitious project. Seven windows in the western part of the nave consist of sliced agate, creating brightly luminous walls of stone. The five windows to the east depict five figures from the Old Testament in stained glass. They can be interpreted as precursors of Jesus and thus relate to the Christ child in the choir windows by Augusto Giacometti. Sigmar Polke has intertwined various axes and levels of time, ranging from geological and biblical times to Romanesque art and the present day.

Press release from the Grossmünster website.

This one’s for the bucket list.

Follow

Get every new post delivered to your Inbox.