Carsten Nicolai, Anti, 2004.
Regular geometric forms represent systematic thinking and the interrelationship between mathematics, optics, art and philosophy. anti is a geometrical form, a distorted cube, truncated on top and bottom to obtain rhombic and triangular faces. It reacts to the magnetic field of bodies, enabling an interaction with the visitor while its mechanism remains hidden. anti refuses instant recognition. Its black, light-absorbent surface and monolith-like crystalline shape, that derives from Albrecht Dürer’s engraving Melancholia I (1514), confronts the viewer, trying both to mask its form and to disguise its function and thereby absorbing information.(via carsten nicolai)
(via darksilenceinsuburbia)
Source: carstennicolai.de
Toward the end of his life Matisse was often bed ridden in his apartment in Nice. However, he continued to draw on the wall and ceiling around him. These drawings can still be seen.
Source: williswillkillus
Source: penandink
Top 25 places to see art in the city:
I am so glad to be working for two of these places! Hopefully I’ll make it to all of these this summer!
For those who missed it, I posted nine new paintings on my website. Here are the details for all nine:
Calvin Ross Carl
Dropcloth Crop (1 through 9)
Acrylic, enamel, canvas
11 x 14 inches
2012
Source: calvinrosscarl
By Antony Gormley, just some of the 40,000 clay figures from part of the ‘Field for the British Isles’ on loan from Arts Council Collection, it’s being shown in three of the National Trust’s Barrington Court rooms currently in Ilminster, England. The sheer scale of this work is staggering, I love the crude construction of each figure and how it becomes irrelevant on this awe-inspiring scale.
Source: news.nationalpost.com
Frank Gehry
Cross Check Chair, 1992
MapleFrank Gehry once wrote that designing a new chair was like being asked “to find the meaning of life while standing on one foot. It’s like a Talmudic question.” In 1989, when Knoll approached him with that same challenge, the only way Gehry would consider it was if Knoll would set him up in a workshop similar to that of Charles and Ray Eames, which he fondly recalls visiting in his youth. Two years after receiving the Pritzker Prize — “the Nobel of architecture” – the designer released the Gehry Collection (1990) for Knoll. Paying homage to his Canadian roots, he named the pieces after ice hockey terms; the wafer-thin strips of laminated maple are bent, woven and curled into featherweight yet sturdy forms, evoking the simple strength of hockey sticks themselves. MOMA unveiled a window display of early production samples — three months before their scheduled debut at the American Craft Museum across the street. (source)
Source: etceterablog
Source: unaguanabana
