Lately I’ve been neglecting new posts to FWGE due to a couple of other projects. You can catch one of those this weekend. My photo collaboration with Heidi Smith–which I’m calling “_” for lack of a better title just now–will be on display at the seventh annual Fun-A-Day art show.
An all-inclusive art project by the Artclash Collective, Fun-A-Day encourages and exhibits works made one piece at a time over the month of January. The many varied results of that directive will be on display together at Studio 34 in West Philadelphia on Friday, February 11, and Saturday, February 12, from 7-11 pm. An open mic reading for literary entries is scheduled for 5-7 pm on Saturday.
Alexander Chen is working on a neat project that he’s tentatively titled “Conductor”. In short, he is using the lines of the New York City subway (or at least Massimo Vignelli’s 1972 map of it) to build a musical instrument.
Above: A demonstration of the sounds as determined by passing subway cars. Below: Chen breaks it down by plucking the strings with his cursor. The aim is to create a more “user-driven instrument” for your iPad.
(via The Map Room)
Photographer J. Henry Fair’s aerial views of Earth are beautiful, if heart-rending. Fair focuses his lens on the wondrous forms created amidst ecological horrors–from the overwrought Deepwater Horizon spill to the more secretive (yet casual) destruction only viewable from above.
powerHouse Books will release a monograph of Fair’s photography next month. Entitled The Day After Tomorrow: Images of Our Earth in Crisis, it will join his work with essays by Roger Hodge and Jack Hitt among others.
New Yorkers have two opportunities to see Fair’s work up close. “Abstraction of Destruction” runs until February 11 at Gerald Peters Gallery. An exhibit at Cooper Union’s Houghton Gallery–with the oddly reminiscent title, “Landscapes of Extraction”–opens on Thursday and ends February 26.
The New York Times has a slideshow of images included in the Gerald Peters exhibit. The January 13 article by art critic Roberta Smith makes it abundantly clear that she would hate this blog:
Too often — minus the telltale details that provide a sense of scale and also implicate human actions — the images read first and foremost as slick jokes about painting. They evoke the work that usually falls on what might be generously called art’s lightweight side, from Bouguereau’s academic nudes to Dale Chihuly glass sculptures.
(above: “Herbicide”, J. Henry Fair/Gerald Peters Gallery)
Photographer Shinchi Maruyama sees water a little differently than most. His liquid sculptures are all beautiful and unique, but I felt a special connection with the one above. Check out the gallery and interview that The Morning News has put together for the full scope.
These images—or sculptures—are so exciting, fleeting, and unique. How do you determine or control the shape of the water or ink?
Just keep throwing the liquids for the sake of it.
Here’s how it’s done:
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