Echo Yang explores the current popularity of generative design processes, where computer software iterates endless variations, by turning old school analog devices like tin windup toys, a Walkman, an alarm clock and other machines into instruments of self-generated output.
Archive for the ‘Paint/Illust./Mix-Media’ Category
Stefan Sagmeister’s ‘The Happy Show’ is centered around the well known designer’s ten year exploration of happiness. Having gathered the social data of Harvard psychologists Daniel Gilbert and Steven Pinker, psychologist Jonathan Haidt, anthropologist Donald Symons, and several prominent historians, ‘The Happy Show’ also includes a personal narrative, underlinig Sagmeisters individual experience. Furthermore he has focused on social data detailing the role of age, gender, race, money, and other factors that determine happiness. According to him: ‘The Happy Show offers visitors the experience of walking into Stefan Sagmeister’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.’
In a presentation made at Nvidia’s NVISION show, Adam and Jamie, hosts of the known mythbusters show compared a CPU vs a GPU to explain parallel processing and the GPU blasted a mona lisa painting in 80 milliseconds using a 1100 barrel paintball gun.
C-MOULD, the world’s largest collection of microorganisms for use in the arts, with over 50 different kinds of microorganism. We have bacteria and fungi that glow in ethereal shades of green and blue light, bacteria that make gold and electrically conductive nanowires, and bacteria that produce biotextiles. We also possess the largest collection of pigmented bacteria. Here is the palette of living colours that is available through C-MOULD. Behind the obvious colour, each bacterium has its own unique personality and history (see below) and when used in paintings each one adds it own character to the work. Text and image via Exploring The Invisible. Continue THERE for more info.
The French Impressionists disdained laborious academic sketches and tastefully muted paintings in favor of stunning colors and textures that conveyed the immediacy of life pulsating around them. Yet the breakthroughs of Monet, Pissarro, Renoir and others would not have been possible if it hadn’t been for an ingenious but little-known American portrait painter, John G. Rand.
Like many artists, Rand, a Charleston native living in London in 1841, struggled to keep his oil paints from drying out before he could use them. At the time, the best paint storage was a pig’s bladder sealed with string; an artist would prick the bladder with a tack to get at the paint. But there was no way to completely plug the hole afterward. And bladders didn’t travel well, frequently bursting open.
Excerpt from an article written by Perry Hurt at The Smithsonian. Continue HERE
The worlds of architecture and scientific illustration collided when Macoto Murayama was studying at Miyagi University in Japan. The two have a great deal in common, as far as the artist’s eye could see; both architectural plans and scientific illustrations are, as he puts it, “explanatory figures” with meticulous attention paid to detail. “An image of a thing presented with massive and various information is not just visually beautiful, it is also possible to catch an elaborate operation involved in the process of construction of this thing,” Murayama once said in an interview.
Continue at The Smithsonian HERE
“You know, this explains a lot. Because all my life, I’ve had this unaccountable feeling in my bones that something sinister was happening in the universe and that no one would tell me what it was.” Arthur Dent.
Via Crispian Jago
A recompilation of US Patent illustrations. US Patent Illustrations: The Past when it was still the Future.
Comic artist Matteo Farinella will collaborate with neuroscientist Dr. Hana Ros of University College London to create Neurocomic.
Neurocomic will be a graphic novel that takes the reader on an exciting and visually captivating adventure through the brain, populated by quirky creatures and famous neuroscientists. Giant squid, talking sea slugs, mysterious trap doors, submarines, parachutes and underwater battles transport the reader on a fantasy journey that fascinates and helps them to understand how the brain works.
Neuroscience is receiving increasing public attention, as our society faces the complex problems of ageing diseases and mental disorders.
The medium of comics has repeatedly proved incredibly efficient as education material, for its clear yet informal approach. The authors aim to combine the two, to create a visually captivating adventure that shows how cells use electricity to communicate, how drugs work, and what happens during brain disorders. The graphic novel will be released in the UK in 2013, together with a short documentary by director Richard Wyllie, who is following the process of collaboration behind the book, in order to explore the interaction between science and drawing. The project is fully supported by a Wellcome Trust People Award.
Text and Images via Neurocomic.
18 years old Mads Madsen retouches historical photos (sepia and b&w.) Until now he has chosen mostly well known male figures in politics, literature, humanities, and entertainment.
Looking forward to find an expanded palette soon, both in gender and color. See More HERE
A selection of front covers of various editions of On the Road. See more HERE
Explaining and Ordering the Heavens is an online exhibition from The Library of Congress, examining evolving views of the universe over 8 centuries.
Benjamin Betts’ Geometrical Psychology, from 1887, contains a sequence of delicately toned geometric figures intended to represent no less than ‘the evolution of human consciousness from the animal, zero, or starting point, through to the culmination of human possibilities – the transcendental’. Originally educated as an architect, Bett’s resolved to to end his career determined to visualize the internal through his idiosyncratic topological models.
Text and Images via PDR
OWEN SCHUH: “Through research and experimentation I choose mathematical functions that model the interactions and structure of living systems. Cellular Automata, circle packing, fractals and other topics in discrete mathematics form the basis of my work. These functions bear the structure of life, but operate in the parallel world of the mind: a world of simulacra inhabited by numbers and abstract relationships. The mathematical formula is a virus that depends on a host to carry out its peculiar kind of life until it terminates or the medium or the artist is exhausted. In the end the painting is really only the physical trace of this activity – a shell left behind on the beach.”
Danny Quirk on his Resumolio: “Being a witty individual, knowledgeable in the sciences and a talented artist, I wanted to make something that showed the level of work I was capable of with a conceptual twist. I wanted to make something that would catch the eye, and leave the viewer impressed. In the past, it seems that resumes put an artist at a disadvantage. All their color was to be deduced to black and white, 12 point font, lacking the one thing that they were trying to show—their artwork. SO, having made a bunch of pieces for Dr. Frank Scali’s manuscripts, thought it could be kind of cool to make a resume based off a medical textbook, that would also show off the portfolio, thus giving rise to the ‘Resumolio’ . All the images used in this are hand made, and done in watercolor. The type was laid on in Photoshop.”
“Clark is adept at taking the theoretical concepts of modernism and minimalism and reapplying them to conditions that are not ideal. With a laboratory full of objects culled from thrift stores he sets about reconsidering modernist painting and minimalist sculpture. While Jared’s use of rescued objects may liken him to those artists classified as making found-art, it is his affinity for the flatness of painting that imbues his work with a sense of newness. Jared’s sense of surface and texture serves to pull these pieces together, flattening and overriding their natural objectness in favor a privileged plane, a new painted image.
Given the extent of Jared’s materials it is easy to first consider his work a series of unrelated arrangements, a sprawling mess of objects. Certainly his choice of materials, which for the moment includes: cutting boards, luggage, soap, craft paintings, ceramic figurines, map pins, painted rocks, and Styrofoam, are chosen for the express purpose of challenging his connections to painting as associated with abstraction and modernism. Often with minimal intervention Jared succeeds in addressing major considerations of abstract painting, especially mark making and color. However I find his engagement with format and the consideration of the artist’s hand his greatest concerns. How these objects find themselves arranged is strictly through Jared’s manipulation. Yet it is the prompt of their form, either through color, scale, or character, that informs Jared as to what he is to make of them, creating an odd relationship between artist and object, disguising who exactly manipulates who.”
Excerpt from a text written by Andrew Kozlowski, 2011 at Jared Clark’s website
Eye-drawings, «Augenzeichnungen», are drawings done directly with the eyes, without the slightest interference of the hands – the organ of perception being turned into the organ of expression. By means of technical aids (infrared-, video-, and computer- techniques) human eye movements are traced and digitized during the visual process of looking at something, so as to be able to do an ink-jet print out of these movements eventually. The body of works called Eye-drawings not only investigates the process of looking at everyday objects in the form of photographs or real three dimensional items, but primarily circles around issues of research and the visualization of abstract motives and processes e.g., time, reading, writing, drawing, light, and afterimage, culminating in the denial of the gaze: nothingness – the invisible is made visible by means of a trace.
Text and Image via Media Art Net
From an exhibition called GARDEN OF UNCERTAINTY
Gallery 2 presents Dongi Lee’s solo show Garden of Uncertainty. Lee has spearheaded pop art in Korea and is well known for the character, Atomaus. The exhibition brings 13 paintings he produced from 2007 up to the present together, focusing on showcasing the broad spectrum of his world through diverse pieces we have never met under the same roof.
Mixture of seemingly inharmonious elements
Lee has attempted to combine the medium of acrylic painting with diverse subject matter and expressive methods. He created the Atomaus character through the combination of two celebrity cartoon characters, Atom (Astro Boy) and Mickey Mouse. Since 1993 when Lee first conceived Atomaus, he had no intention of lending any identity to the character. Likewise, he would not give any identity to this exhibition. In the show jolly, familiar works like Atomaus Eating Noodles and Flower Garden are harmonious with pieces that address profound, gloomy themes such as death and violence. His pieces on display vary in medium: animation images, SF images, and abstract images. In the Double Vision series produced in 2008, Lee fused heterogeneous genres into one scene.
Diverse references of K-drama, K-pop, art history, and philosophy
His work refers to pre-existing images rather than creating ones. Lee referred to Robert Morris’ conceptual work for I-Box; appropriated Caravaggio’s painting for A with the Head of A; and reinterpreted Freud’s portraits and religious themes. Works addressing his recent concern for K-Pop, or the Korean wave (Hanryu, the increase in popularity of South Korean entertainment and popular culture) is dominant. (In the art scene the term K-Pop is used to refer to different meanings, pop art that was pervasive since the late 1990s in Korea.) One example is a work that portrays Super Junior, an idol group. Lee took the motif of a Woman with a Mobile Phone from the image repetitively appearing in Korean dramas. He views drama characters perfectly manipulated as imaginary images similar to animation and game characters. Lee points out that contemporary people gradually become accustomed and desire to identify themselves with such images. These images have ambivalent features, sublimity and abstractness despite their superficial existence.
Garden of Uncertainty
Through this show we can review Lee’s art world and his view of art as a whole. Exploiting the Oriental concept of the garden, the artist denotes that the show is to present a middle position between his world and the external world, which is the state that is neither completely his nor others.
Text and Image via Daum