Just a few weeks ago we covered the amazing 3D-printed portraits created by artist Heather Dewey-Hagborg, who uses genetic clues from found DNA to determine an estimation of what that person might look like. In this short documentary filmed by TED’s Kari Mulholland, we learn a lot more about what goes on behind the scenes as Dewey-Hagborg utilizes the facilities at Genspace in New York to create each of her DNA portraits.
Artist Amy Casey (previously) just unveiled a new collection of work at Zg Gallery here in Chicago. Titled Putting Down Roots the paintings continue an ongoing fictional saga of characters living in Casey’s artwork who often face great adversity from killer plants, collapsing structures, and other desperate means to keep their cities afloat or intact. From the looks of it things have improved dramatically for these little painted inhabitants who appear to have weathered the storm and are now thriving within Casey’s bizarre, suspended worlds. From the artist:
After any pendulum swing of chaos grinds to a slow halt, there will come a time when you will have to decide if you are going to wallow in the rubble or take what remains and create a new empire. Building upon recent work, I have been in search of a solid ground. A bit less kinetic than past work, I have been trying to take what was left of the world in my paintings and create a stability of sorts, thinking about community ties and the security (or illusion of security) needed to nurture growth. Cities are fascinating creatures that I am just beginning to scratch the surface of.
In the video above from Cleveland Arts Prize she talks at length about her process and the continuing narrative that weaves through years of her art. Interestingly, every building or house in each of her paintings is based on actual source materials. Casey will take photographs of some 500 individual houses, office buildings, and water towers which she then uses as reference for every small small structure you see in her artwork.
Putting Down Roots will be up through July 6th, with a smaller selection of work on view through August. All images copyright Amy Casey, courtesy Zg Gallery.
Installed by artist Jacob Hashimoto (previously) last fall at Rhona Hoffman Gallery, Gas Giant is a site-specific installation created from myriad paper kite structures. Known for his complex and seemingly weightless installations, Hashimoto’s artworks frequently involve numerous suspended components imprinted with or otherwise suggesting elements of nature, such as clouds, wind and water. This particular piece was just one of several artworks on view as part of his show “super-elastic collisions (origins, and distant derivations).” You can explore more photos here (use the scrolling gallery on top). All imagery courtesy the artist and Rhona Hoffman Gallery. (via juxtapoz)
Masterplan is a installation by designer and artist Chad Wright inspired by his own experiences growing up in a sprawling suburb of Southern California. The piece is meant to juxtapose the playful childhood experience of building sand castles on the beach with his brother, versus the grim, modern-day reality of our current real estate collapse. Learn more over on his website. Photographed by Lynn Kloythanomsup of Architectural Black. (via this isn’t happiness)
In one of his most ambitious suspended installations to date, artist Tomás Saraceno (previously) launches visitors at the K21 Staendehaus museum in Düsseldorf more than 65 feet (20 meters) above the main piazza with a taut, multi-level web of netting. Titled In Orbit the giant interactive piece is constructed from three separate levels of safety nets accessible from various points in the museum separated by enormous PVC balls measuring almost 30 feet (8.5 meters) in diameter. The resulting aerial landscape is an interesting hybrid between science fiction, spider webs, neural pathways and cloud formations.
Known for breaking the boundaries between art and science, Saraceno often refers to his interactive pieces as living organisms. In fact, over a period of three years Saraceno consulted with arachnologists (experts in the study of spiders), as well as architects and engineers to achieve the final design for In Orbit. Via the museum:
This floating spatial configuration becomes an oscillating network of relationships, resonances, and synchronous communication. When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able – not unlike spiders in a web – to perceive space through the medium of vibration. Saraceno himself speaks of a new hybrid form of communication.
The installation opened to the public starting today. To enter In Orbit patrons must be at least 12 years old and are asked to wear special grip-soled footwear while traversing the webbing. You can read much more over on Art Daily. All imagery courtesy K21 Staendehaus.
Although this image by Bela Borsodi (nsfw) appears to be four separate images, it’s actually a single photograph, with all of the objects perfectly aligned to create an optical illusion. The shot was used as cover art for an album titled Terrain by VLP. See it all come together in the video above.
The Reading Nest is a new site-specific installation by artist Mark Reigelman outside the Cleveland Public Library. Reigelman obtained 10,000 reclaimed boards from various Cleveland industrial and manufacturing sites and worked with a team of people over 10 days to construct the nest which was completed earlier this month. From his statement regarding the project:
For centuries objects in nature have been associated with knowledge and wisdom. Trees of enlightenment and scholarly owls have been particularly prominent in this history of mythological objects of knowledge. The Reading Nest is a visual intermediary between forest and fowl. It symbolizes growth, community and knowledge while continuing to embody mythical roots.