Here & There are a fascinating set of prints from London-based design firm BERG that depict speculative projections of Manhattan by completely removing the horizon and skewing the entire urban landscape upward. These particular views are of uptown from 3rd and 7th street, and downtown from 3rd and 35th street. Last year the prints found their way into MOMA’s permanent collection, and have just been reprinted using offset litho on 170 gsm paper from sustainable sources. Pick ‘em up now, shipping starts tomorrow.
Update: Because people are asking, these were designed a year or two before Inception. Just sayin’.
Many painters working from photographic source material employ a wide variety of techniques to arrive at a final image. This will involve anything from loose sketching beforehand to complex grids, where a photograph is translated into paint box by box. Such is not the case with British painter Nathan Walsh who instead relies on elaborate drawings reminiscent of architectural blueprints before every committing paint to canvas. This deep reverence for the underpinning geometry and perspective gives each work a sense of life that might otherwise not be present in something created with the mechanical aid of a camera or software.
Walsh tells me his primary source materials are not photographs but pencil sketches drawn on-site, for example the Chicago pieces above began from over 100 drawings he then references in his studio. In this way he can easily alter the position and size of any particular element, a process he likens to “building a world from scratch”. Personally I think the process is more akin to building the entire world in his mind so he can better represent it later in his paintings, each of which takes up to 3-4 months to complete. Via his website:
I deal exclusively with the urban landscape and aim to present a painted world which in some ways resembles the world we live in. I am fascinated by the city, it’s visual complexity and constant state of flux. The act of painting is an attempt fix this information and give vision to our experience of living within it. [...] The work aims to create credible and convincing space which whilst making reference to our world displays it’s own distinct logic. This space is created through drawing, which I see as fundamental in establishing a world the viewer can engage with. Drawing allows me to make human pictorial decisions instead of relying on the mechanical eye of a camera or software package. This process is open ended and changes from one painting to the next. Whilst I employ a variety of perspectival strategies, these methods are not fixed or rigid in their application. Working with a box of pencils and an eraser I will start by establishing an horizon line on which I will place vanishing points to construct simple linear shapes which become subdivided into more complex arrangements.
You can see numerous final works at a much higher resolution, as well as initial drawings over on his website. Walsh will have work at the Changing Perspectives technology conference in Paris later this month, and is working on a solo show at Bernarducci Meisel Gallery in November.
In 2007 Chicago 26-year-old real estate agent (and president of the Jefferson Park Historical Society) John Maloof walked into an auction house and placed a $380 bid on a box of 30,000 prints and negatives from an unknown photographer. Realizing the street photographs of 1950s/60s era Chicago and New York were of unusually high quality he purchased another lot of photographer’s work totaling some 100,000 photographic negatives, thousands of prints, 700 rolls of undeveloped color film, home movies, audio tape interviews, and original cameras.
Over time it became clear the photos belonged to a Chicago nanny named Vivian Maier who had photographed prolifically for nearly 40 years, but who never shared her work during her lifetime. Since the discovery Maier’s photographs have received international attention with collections touring in cities around the world as well as the publication of a book. Now, a documentary called Finding Vivian Maier directed by Maloof and Charlie Siskel is nearing completion and the trailer above is a tantalizing preview of what promises to me a fascinating film. Can’t wait. (via gapers block)
It is one of my great regrets that I didn’t head up to New York over the last few weeks to catch Ann Hamilton’s groundbreaking installation, The Event of a Thread, at the Park Avenue Armory. Perhaps the only saving grace of not seeing it in person, or having not covered it on Colossal as coverage bounced around the web, is this gorgeous new video by my friend Paul Octavious who managed to catch a final glimpse of the installation before it closed last weekend. As visually stunning as it appears, I’m certainly left asking… “So what does it all mean!?” A field of swings suspended 70 feet in the air, a gargantuan white curtain attached to a network of ropes and pulleys, readers sitting at giant wooden tables reading to nearby pigeons. Via the Armory:
Visual artist Ann Hamilton combines the ephemeral presence of time with the material tactility for which she is best known to create a new large-scale installation for the Wade Thompson Drill Hall. Commissioned by the Armory, the event of a thread references the building’s architecture, as well as the individual encounters and congregational gatherings that have animated its rich social history. A multisensory affair, the work draws together readings, sound, and live events within a field of swings that together invite visitors to connect to the action of each other and the work itself, illuminating the experience of the singular and collective body, the relationship between the animal and the human. The address of the readers to the pigeons shifts at the end of each day, when a vocalist on the drill hall’s balcony serenades their release to flight. Each day’s song is cut with a record lathe, and the resulting recording is played back the next day.
To read more about the artists intent and purpose you can read her artist statement (PDF). Thanks to Paul for letting me use his imagery here, you can see more photos he shot by following him on Instagram.
Using a rotring pen on white paper, Cornwall-based artist Mark Lascelles Thornton has embarked on a massive architectural drawing project called the The Happiness Machine. Each panel represents a stylized red and grayscale representation of architectural highlights from eight locations, so far including Chicago, New York, London and what appears to be a mix of Asian skyscrapers (Taipei, Kuala Lumpur, etc.). In addition to the meticulous detail of the buildings and clouds, the piece is all the more incredible considering its scale: the final piece will include eight panels spanning 8 ft. by 5 ft. (2.4 m. x 1.5 m.). The images here are great but you can see everything in much more detail over on his Tumblr. (via devid sketchbook)
This gorgeous time-lapse by filmmaker Jamie Scott starts off like any other video capturing the change of the seasons with the movement of the sun, but then around :30 something pretty remarkable happens. To create the effect Scott filmed in 15 locations around New York City’s Central Park, two times a week, for six months using the exact same tripod and camera lens settings resulting in the footage you see here. (via jason sondhi)
There are so many stories of despair, struggle, hope and survival coming out of New York, New Jersey and the rest of the eastern seaboard impacted by hurricane Sandy it’s almost overwhelming to determine how to help. From what I’m hearing many places are slowly returning to life as normal and yet it’s clear that entire towns and neighborhoods have been completely devastated. Casey Neistat’s video of Staten Island is a sober reminder of this. Luckily there are kabillions of ways to help and in case you need just a little more incentive, these artists are making it easy for you by donating 100% of the proceeds generated from the purchase of prints and shirts to Sandy recovery.
New York Lights Out is a limited edition print of the blackout in lower Manhattan by NYC-based stencil artist Logan Hicks with 100% of proceeds being donated to the Red Cross.
Our friends over at 20×200 are offering this stunning, limited edition Blue Marble print shot by NASA’s GOES-13 satellite capturing Hurricane Sandy just off the eastern seaboard.
NYC-artist Molly Dilworth partnered with ArtWeLove to offer this limited edition print of her famous 2010 site-specific poured paint installation in Times Square, Cool Water, Hot Island. All proceeds will benefit the American Red Cross.
New York based artist Sebastian Errazuriz is offering this thoughtfully designed cotton shirt titled I Still Love NY through Grey Area. Photo courtesy Jordan Doner.