Merging mathematical concepts of the Universe with poetry of drawing and light, Carol Prusa creates spherical and hemispherical sculptures. Filled with fiber-optic light and covered in silver-point drawing, the feminine forms of Prusa’s sculptures explore the nature of our reality, order and chaos, logic and spirituality. At the exhibition opening at the Alan Avery Art Company, the interplanetary space of Prusa’s sculptures was gently invaded by the always superb choreography of Lauri Stallings, as performed by Glo Atlanta. The exhibition is on view until November 7 at http://www.alanaveryartcompany.com/exhibitions/.
Photo by Bojana Ginn
Biomimicry 3.8 Global Conference, at the University of Massachusetts in Boston, brought us Generous Cities, silkworms sculptures, and a future of bio-robots. Read more HERE.
Alinta Krauth is a multidisciplinary digital artist who focuses on projection art, interactive art, sound art, art games, generative art, and physical computing, and is interested in experimenting with links between these fields. She is also interested in ways to tie education and social relevance into interactive pieces – particularly with regards to sustainability, ecology, and physics. Her recently exhibited works explore poetry games, interactive sound art, interactive Net art/literature, projection mapping onto sculpture, 360° projections, projection as performance, and live light painting. She has seen her works exhibited globally from Brisbane to New York, Virginia to Vienna, Paris to Melbourne.
Alinta’s distant background is in cultural theory and creative writing, and she likes to use these understandings to help her create historically and culturally considered works. She has worked as a mammal surveyor, and collaborates with conservation organisations and her university’s biology department to create data and learn about endangered species and ecosystems under threat. But most of all Alinta is simply curious about the world and all its creatures – real and imagined. www.alintakrauth.com
Colonisesmall: an image of ‘Colonise’ hanging in Scots’ Church, Melbourne, for White Night Melbourne.
This is a fascinating lecture by Dr. Leonard Shlain explaining the neurology behind artistic expression and alphabetic literacy, and the surprising consequences that the imbalance of these two have on the political status of women. This lecture is a summary of Dr. Leonard Shlain’s best seller, Alphabet vs. The Goddess. Dr. Shlain is also an author of Art & Physics and Sex, Time, and Power.
Please read the article @: BURNAWAY Magazine!
Anne Percoco, “Indra’s Cloud,” post-consumer plastic bottles, 2008. Percoco sewed together more than 1,000 plastic bottles found in India’s Yamuna River to create this mobile public sculpture. For the “Gyre” exhibition, Percoco created a new site-specific, large-scale installation made from recycled plastic. The exhibition also includes photographic documentation of the “Indra’s Cloud” project. Image credit: Courtesy of the artist and the Anchorage Museum
I met Meredith Kooi at the Mammal gallery on a cold winter day. She gave me a tour of Solar Heresies, the eclectic exhibition she curated. Organized around the idea of what lies in the space between physics and metaphysics, the exhibition contains sculpture, video, photography, transmission art, works on paper, and performance.
Ian Cone, Heliocentric Revolution #1-42 (2014)
On her interest in sciences and technology, Meredith says: “My interests in the relationship between technology and art coalesce in the history and philosophy of science – both modern and pre-modern/ancient. My previous work focused on the human sciences and was concerned mostly with the understanding and representation of autoimmune disorders. I was really interested in how immunology’s categorization of self and non-self is a reflection of historically metaphysical categories. Part of the work I was doing was an examination of the metaphoricity of biology and physiology. However, the work was also deeply rooted in the “actual” scientific research of these conditions/diseases. However, over time, my interests in biological life has broadened – I am now considering the generation of life writ large and look to ancient cosmologies and modern Continental philosophy’s explanations of Being, how Being came to be, and our relation to the world. A lot of my attention is paid to the notion of “ether,” in terms of its modern connotations of radio and Wifi, its previous scientific explanations concerning matter, and its metaphysical significations – a multifarious and amorphous term that Joe Milutis expounds in his 2006 book Ether: The Nothing That Connects Everything. Some of the works can more specifically coincide with art + tech – for example, Brett Ian Balogh’s All That Is Solid Melts Into Air (2010) and Ian Cone’s Solar Synthesis (2014) and Heliocentric Revolution #1-42 (2014). However, many of the other works align with the history of science and scientific processes as well.
Brett Ian Balogh‘s All That Is Solid Melts Into Air (2010), (Both Images)
Andrew Boatright’s sculptures are very much historically linked to Andreas Vesalius’ 16th century anatomy book De Corporis Fabrica, while Ian Cone’s Martyr to Science is an homage to the scientist Giordano Bruno who was burned at the stake as a heretic in 1600 and Corkey Sinks’ Reformed Sacred Geometry (Solar Heresies edition) (2014) examines science and mathematics as historically privileged knowledges amongst particular communities, cults, and sects. Laura Bell’s work is influenced by biological processes and her installation for Solar Heresies, installed along the windows, forms a membrane that contains the show, while Morgan Alexander’s Where have they gone? Where are we going? (2014) concerns the problem and phenomenon of bee colony collapse. Nikita Gale’s video Disco Clouds (2013) is an exercise in observation and Stephanie Dowda’s photographs involve an experimental and idiosyncratic interrelation between the photographer (Dowda), the camera, and the subject being photographed (generally a landscape). Michael E. Stasny’s A Practice: Danny Bailey Reminds Everyone of What It Might Feel Like to Own the Solar System (2014) is reminiscent of prototyping and modeling, a quasi-sci-fi theater of how life is ordered.
The performance by myself with the band Outer Gods was by far the most metaphorical though extremely indebted to technology and the history of electronic music. The evening-length piece, Movement for a Dying Sun, comprised four musicians playing both synthesizers and modular synthesizers arranged around the space, two musicians in the center using no input mixers with effects, and me, the dancer, who traveled around the space among the musicians and the artworks.”
The show ran at the Mammal Gallery from December 13 to December 28, 2014.
Taney Roniger, Inscape Series (Scape #1), 2014. Punctures and iridescent stainless steel paint on paper lit from the sides, 53″ x 40″
Taney Roniger is an artist and writer based in Brooklyn, NY. Her work has been exhibited nationally and internationally in a number of venues, including The Pera Museum in Istanbul, Turkey, The Contemporary Arts Center in New Orleans, LA, The Dumbo Arts Festival in Brooklyn, NY; and StandPipe Gallery in New York City. She is the recipient of a number of honors and awards, including a grant from the Pollock-Krasner Foundation and several Yaddo fellowships. Roniger is currently a contributing art critic for The Brooklyn Rail, and her essays and reviews have appeared in a number of other publications. She is also Editor-in-Chief of Caldaria, an online forum for exploring the nexus of art, science, and the sublime. Since 2007 she has been on the faculty at the School of Visual Arts in New York, where she earned her BFA in 1992. She holds an MFA from Yale University.
Taney Roniger, Bifurcations Series 2012/2014, Punctures and copper paint on wood panel, 30″ x 30″
Taney says about her creative process: “While I find the source of my inspiration in science and technology, my work is emphatically neither. It is art, and as such, it traffics in ambiguity and polysemy rather than in facts and declarative statements. In working with cellular automata, my process always begins with a period of close observation, of prolonged looking. After immersing myself in an image I am drawn to for some time, I begin a series of rough drawings in which I explore selected features of the original image – abstracting, altering, simplifying, and distilling as I go along. During the rough drawing phase, I am primarily trying to discover what it is about the chosen image that so captivates me and draws me to it. It is a period of intense physical activity coupled with acute concentration. Hand, eye, and mind deeply engaged, this phase of the process is a kind of exploratory thinking unlike any other. Eventually an “answer” is arrived at in the form of a visual idea, a schematic, though the verbal center in my brain would be at pains to articulate its question.
After the drawing process is complete, I begin translating the marks on the drawing into whatever mark-language I have chosen for a given piece. In the paintings, the mark is always an empty circle – a zero or cipher – which ranges in scale but never changes its shape. In other works (such as the works on paper and wood panels), the mark is constituted by a literal void – either a hole that pierces all the way through the paper, a deep puncture that penetrates into the surface of the wood, or a dark shadow produced by a protruding steel nail head. In all cases, the same mark is repeated dozens or hundreds of times, forming patterns and configurations that echo those in the image that inspired the piece. Often, the compositions that result bear little formal resemblance to the original image, but something essential of the latter always remains. Typically, this process of marking-by-voiding yields compositions that are so delicate as to be “barely there”; if one is to see anything at all, close looking and sustained attention are required.”
Sculpture: Nathalie Miebach, Photo: Bojana Ginn
Visualizing complex scientific ideas and systems, six contemporary artists create sculptures, installations, videos, and drawings. For the Laboratory exhibition at the Zuckerman Museum of Art their work is paired with carefully picked historical scientific texts or illustrations that investigate similar concepts. Some texts, like the one of the image below are true gems found in books from centuries ago. The exhibition is free and open to the public from November 14th 2014 to February 21st 2015.
Flower and Wood Installation: Hannah Israel. Photo: Bojana Ginn
Installation (detail): Karen Rich Beal. Photo: Bojana Ginn
Invented by Jason Martin and his team at Community Guilds, STE(A)M Truck™ is a 21st century build-mobile where students solve authentic problems and build grit, self-reliance, ingenuity, teamwork and artisanship.
STE(A)M Truck™ inspires youth to learn Science, Technology, Engineering, Arts and Math by bringing the coolest tools, equipment and mentors directly to their schools. Working in collaboration with our partners, including WonderRoot, STE(A)M Truck™ will be engaging and transformational.
As Atlanta’s mobile maker space, STE(A)M Truck™ will travel from school to school with all the tools (from 3D printers to hand tools) and supplies necessary for students to make and build with their hands.