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Art

Geronimo Fills Lincoln Center with a Massive Balloon Installation for the New York City Ballet

February 2, 2018

Laura Staugaitis

Photo by Erin Baiano for NYCB

Jihan Zencirli is not your average balloon artist. Based in Los Angeles and working under the moniker Geronimo, Zencirli builds sprawling conglomerations of perfectly spherical balloons in carefully selected color palettes. With vibrant colors and organically-inspired shapes, the balloons draw a contrast to the geometric and neutral toned buildings they are affixed to. The artist frequently installs her work outside, to emphasize its ephemeral nature and to allow as many people to encounter the work as possible.

Zencirli’s latest creation has been produced in collaboration with the New York City Ballet, as part of their Art Series. The annual series invites a contemporary artist to install a site-specific artwork in the heart of Manhattan at Lincoln Center, where the ballet has been based since 1964. This is the series’ sixth year and Zencirli is the first female artist to be selected. In anticipation of the event, an appropriately-over-the-top video introduces audiences to Geronimo, directed by Andy Bruntel.

The artwork was unveiled on January 26, and remains up until February 24th, during which time the Ballet has two special performances. There are also public viewing hours every day of the week from February 17 – 25. More information about performance times and viewing hours are available on NYCB’s website. Zencirli shares updates of her work on Instagram, and you can also find examples of some previous installations below.

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Erin Baiano for NYCB

Photo by Timothy Simons of Echo Market, Los Angeles

Squarespace Headquarters for Pride Parade, NYC

Noisebridge Hackerspace, San Francisco

 

 



Art

Serpentine Coiled Sculptures of Found British Bird Feathers by Kate MccGwire

January 26, 2018

Laura Staugaitis

Turmoil, 2016. Mixed media with pheasant feathers in antique dome. 58 x 43 x 60 cm. All photos by JP Bland

Kate MccGwire‘s roiling feather sculptures juxtapose the beautiful, delicate material with discomfiting shapes. Whereas her earlier work tended toward sprawling installations that oozed and slid toward the viewer, MccGwire’s more recent pieces are tightly wound and displayed within the confines of frames, cabinets, and bell jars.

Although at first glance the feathers’ incredible colors and patterns seem exotic, the British MccGwire sources all of her materials from dropped feathers provided by farmers, gamekeepers, and pigeon racers. She was originally inspired to begin working with feathers after discovering a local pigeon colony that dropped feathers near her rural art studio. Magpie and mallard feathers gleam an iridescent inky blue, and pheasant feathers sport detailed patterns.

In an interview with Artnews, MccGwire describes her work: “I’m thinking of it as being like an umbilical cord. I want to seduce by what I do—but revolt in equal measure. It’s really important to me that you’ve got that rejection of things you think you know for sure.”

MccGwire is represented by La Galerie Particuliere and Mark Sanders Art Consultancy and exhibits widely; she currently has works in three shows. The artist also shares updates on Facebook and Instagram.

Spill, 2016. Mixed media with magpie feathers. 53 x 93 x 9.5 cm

Spill (detail), 2016. Mixed media with magpie feathers. 53 x 93 x 9.5 cm

Sentient, 2016. Mixed media with goose feathers in bespoke cabinet. 56.5 x 40 x 40 cm

Spate, 2015. Mixed media with pheasant feathers. 127 x 155 x 10 cm

Conundrum, 2017. Mixed media with rooster feathers in bespoke brass vitrine. 100 x 60 x 30 cm

Swathe, 2014. Pigeon tail feathers on archival board. 69 x 69 x 17 cm

Swathe (detail), 2014. Pigeon tail feathers on archival board. 69 x 69 x 17 cm

Sissure: Breach, 2016. Mixed media with goose down and pigeon quills. 55 x 29 x 6 cm

 

 



Art

Writhing Organic Sculptures Formed from Nails by John Bisbee

January 24, 2018

Laura Staugaitis

Viper, Welded Spikes, “Out of the Garden.” Fuller Craft Museum, Brockton, MA, Dimensions Variable, 2016. Photo: Nick Benfey.

Over the past three decades, artist John Bisbee (previously) has dedicated his creative work to the medium of nails. Recent artwork includes several large installations that transform the stiff, architectural material into writhing organic shapes. “Out of the Garden” seems to reference the Biblical tale, with an enormous snake piercing the Fuller Craft Museum‘s wall with its fangs and a fruit-laden tree nearby. “Infinity Pool,” a circular wall installation, features larger spikes at the outer circumference that shrink to smaller nails toward the center, lending a dramatic sense of depth to the two dimensional work. Bisbee, who is based in Maine, has displayed his work across the northeastern US, and his upcoming 2018 show will be at the Center for Maine Contemporary Art in Rockland, Maine.

Viper, detail.

Viper, detail.

Infinity Pool, Forged, Welded, 8, 6, 4, 2 and 1-inch Spikes, “The Needle and The Milkmaid”, SAPAR Contemporary, New York, New York, 58” x 58” x 3”, 2016, Photo: Nick Benfey.

Infinity Pool, detail.

Infinity Pool, detail.

Infinity Pool, detail.

Pods, Welded Spikes and Weld, “The Needle and The Milkmaid”, SAPAR Contemporary, New York, New York, Dimensions Variable, 2016, Photo: Nick Benfey.

Murmur, Welded, Hammered, 8, 6, 4, and 2-inch Spikes, “The Needle and The Milkmaid”, SAPAR Contemporary, New York, New York, Dimensions Variable, 2016, Photo: Nick Benfey.

Murmur, detail.

Murmur, detail.

Brittlestars, Forged, Welded, 12­inch Bright Common Spikes, Harvard Business School, Boston, MA, 113”x 241”x 1”. 2016, Photo: Nick Benfey.

 

 



Art Illustration

Paul Saari’s Mysterious Dreamworlds Set in Melancholy Landscapes

January 24, 2018

Laura Staugaitis

Canadian oil painter Paul Saari imagines mesmerizing worlds, which he renders in pastel tones. In some works, the softness of his painting style and the candy-like colors add to the mystical, dreamlike quality of the feathery forests and twinkling skies. In others, the soft colors and brushstrokes are jarred by ominous swirling weather patterns and dark, melancholy shadows. Saari shares his work on Instagram. If you like Saari’s work, also check out Julie Heffernan. (via CrossConnect Magazine)

 

 



Photography

The Winter Migration of Siberian Seagulls in Delhi Photographed by Navin Vatsa

January 16, 2018

Christopher Jobson

Every winter, flocks of Siberian seagulls migrate through Delhi making a temporary home in the Ganga and Yamuna, two of India’s most holy rivers. Photographer Navin Vatsa camps out in the early morning light as the birds flock in the thousands, often fed by devotees who arrive to bathe in the river and feed them. The birds fly over 6,000 miles to escape the harsh Siberian winters between October and March. You can see many more photos on Vatsa’s Instagram feed.

 

 



Art Photography

Everyday Objects Obsessively Organized into Patterns by Adam Hillman

December 11, 2017

Christopher Jobson

New Jersey-based “object arranger” Adam Hillman has really stepped up his organization efforts the last few months, pushing his precisely organized patterns of everyday objects into increasingly more complicated designs. Everything from breakfast cereal to office supplies finds its place in these tightly controlled symmetrical layouts that take hours to measure, cut, and arrange. Hillman now shares some of his best work as prints and you can follow him on Instagram.

 

 



Art

Collaborative Acrylic Paintings That Aim to Visually Map the Perceptual Experiences of Synesthesia

October 9, 2017

Kate Sierzputowski

American artist and filmmaker Lucy Engelman has a far different experience of the world than most. Engelman has a phenomenon called Synesthesia, which crosses her perceptual pathways to allow her to taste colors, smell sounds, and even experience verbal data as a spectrum of vibrant colors. Engelman’s husband, Scottish painter Daniel Mullen, decided to translate her complex sensory world in a way that might be easier to understand for those of us who don’t see days and numbers as pockets of color.

The collaboration exists as a set of paintings titled A Different Kind of Time: Sequencing Spatial Temporal Synesthesia. The works each contain a sequence of flat rectangular shapes arranged in a variety of arches and lines. The angle of the shapes is switched in each work, some aligned with only one side facing the audience, while others seem to project right through the canvas or retreat back into the painting’s rotated plane. Engelman explains the works are the closest visual approximation to what she experiences, especially in relation to her mind’s translation of letters, numbers, and time.

You can view more of the paintings based on Engelman’s unique view of the world on Daniel Mullen’s website. (via Colossal Submissions)