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Ultraviolet Break of Day by Marcus Wendt

Ultraviolet Break of Day by Marcus Wendt

Ultraviolet Break of Day by Marcus Wendt

Ultraviolet Break of Day by Marcus Wendt

Ultraviolet Break of Day by Marcus Wendt

Ultraviolet Break of Day by Marcus Wendt

With a case of jet-lag induced insomnia, London-based photographer Marcus Wendt found himself photographing the streets of Hong Kong, Shenzen, and Seoul at the strangest hours. From the Kowloon area of Hong Kong, to Shenzhen’s Huaqiangbei “The World’s Greatest Electronics Market,” the images evoke a quiet and equally chaotic dimension most of us will only have the surreal pleasure of seeing in photographs.

More at: Marcus Wendt

Arc Zero by James Tapscott

Arc Zero by James Tapscott

Arc Zero by James Tapscott

Arc Zero by James Tapscott

Arc Zero by James Tapscott

Arc Zero by James Tapscott

As part of the recent Japan Alps Art Festival in the northwestern Nagano prefecture of Japan, Australian artist James Tapscott was commissioned to install a site-specific work, which he titled Arc Zero – Nimbus, a ring of mist that encircles a bridge leading guests to the grounds of Hotokizaki Kanon-ji, a local Buddhist Temple.

With mist sourced from the local river water, the installation explores the journey of melting snow to water, down the mountain, processed by the land, and back up again as evaporated mist.

The steel ring includes LED strips and is clad in laser-cut acrylic mirror, to better camouflage into the environment. At day, the mist produces produces rainbows and refracts the natural light, and as it gets darker, illumination lends an otherworldly mood to the piece.

More at: Japan Alps Art Festival
Photos: James Tapscott

Ceal Floyer at 303 Gallery / New York

Ceal Floyer at 303 Gallery NYC

Ceal Floyer at 303 Gallery NYC

Ceal Floyer at 303 Gallery NYC

Ceal Floyer at 303 Gallery NYC

A key figure in post-conceptualism from the ‘90s to today, Ceal Floyer was born in 1968 and is based in Berlin. For her current exhibition at 303 Gallery in New York City, the artist presents works in the format of video, photography, and sculpture. Throughout her career, Floyer has explored a visually simple approach to conjuring puzzle and thought through her work; in this exhibition, a collection of pieces extend on the unseen or unthought aspects of the everyday.

One of the exhibition’s key pieces, Plughole, features a video from the perspective of looking at a sink drain, water being redirected to fill each hole, as described by the gallery: “the drain’s function as a receptacle for water becomes a kind of short-circuit, as water itself becomes the material that plugs its own pathway.” Seemingly mundane actions are presented to elicit thoughts about sub-patterns or activity that exists in what sometimes feels like another dimension. Contacts is a series of 128 digital drawings, each geometric form created by tracing the paths between phone numbers on Floyer’s keypad. Works like Domino Effect, a long row of too-tightly arranged dominoes, and Newton’s Cradle, the classic metal ball pendulum, this time tangled and motionless, incur thoughts about what these objects stand for in terms of form or purpose, and if they even have one. Within all of these minimalist queries, there is a direct wit and humor, which can’t always be said for this genre of visual art.

Through July 14, 303 Gallery (555 W. 21st St.).

More at: 303 Gallery

Tool Roots by Mike Abelson at Maison Hermès

Tool Roots at Hermès Ginza

Tool Roots at Hermès Ginza

Tool Roots at Hermès Ginza

Tool Roots at Hermès Ginza

Tool Roots at Hermès Ginza

Postalco co-founder and designer Mike Abelson is the latest to oversee the window design at Hermès’ Ginza store in Tokyo. The display, titled Tool Roots, features a variety of tools and work objects arranged and broken down by their primary elements; Tool Roots is Ableson’s response to the Hermès 2017 theme of “Object Sense,” with 3-dimensional charts of daily objects mixed with drawings. The presentation is interwoven with Hermès products, and spans across two large display cases, as well as smaller feature boxes.

“Maybe tools are like colors? Perhaps they can be blended together, the way colors are, to form new objects with completely different roles?” says Abelson.

Tool Roots runs through July 11, 2017.

More at: Maison Hermès, Postalco
Photos: Mike Abelson

The Arctic Melt: Images of a Disappearing Landscape by Diane Tuft

The Arctic Melt: Images of a Disappearing Landscape

The Arctic Melt: Images of a Disappearing Landscape

The Arctic Melt: Images of a Disappearing Landscape

The Arctic Melt: Images of a Disappearing Landscape

The Arctic Melt: Images of a Disappearing Landscape

The Arctic Melt: Images of a Disappearing Landscape

Photographed by acclaimed environmental fine art photographer Diane Tuft, The Arctic Melt: Images of a Disappearing Landscape (published by Assouline) is a collection of images illustrating the alarming melt of the Arctic Circle. Tuft’s work is a direct look at climate change’s radical effect on a once pristine frozen landscape, now both haunting and unavoidably beautiful, from the North Pole, to mountain glaciers of Svalbard, Norway (an archipelago located 600 miles north of Norway’s northernmost point, where mountain glaciers would be undisturbed by humans), to the awe-inspiring icebergs and ice sheet of Greenland.

By the end of this century, it is predicted that the ocean will rise eight feet, causing the displacement of millions of people throughout the Earth. Ocean rise will be due to three factors: the melting of mountain glaciers, the thermal expansion of the ocean, and the melting of the Greenland ice sheet. Tuft’s visual record of this ruinous environment serves as a reminder to respect and understand the science of our ever-changing planet.

Diane Tuft specializes in infrared and ultraviolet photography, creating striking images that record what the naked eye cannot always see. Her travels to destinations where ultraviolet light is in excess result in otherworldly, vivid colors that are made possible by the surplus of this light, but also directly reflect the serious environmental imbalance.

More at: Assouline, Diane Tuft

“Beauty is whatever anyone thinks is beautiful.”

– Rei Kawakubo, founder of Comme de Garçons, who is being honored at The Met Costume Institute’s exhibition Rei Kawakubo/Comme de Garçons: Art of the In-Between, May 4 – September 4.

Forms in Space… by Light (in Time) by Cerith Wyn Evans

Forms in Space... by Light (in Time) by Cerith Wyn Evans

Forms in Space... by Light (in Time) by Cerith Wyn Evans

Forms in Space... by Light (in Time) by Cerith Wyn Evans

Cerith Wyn Evans’ installation, Forms in Space… by Light (in Time), at the Tate Britain’s Duveen Galleries, is an exploration of form and perspective via more than a mile of neon lighting; strict lines and graphic shapes of light are suspended from the ceiling, referencing physical and kinetic gestures.

At first glance, the almost chaotic nature of the installation is similar in visual style to “light writing,” a popular trend in art photography, however, as the viewer moves along the installation and perspective shifts, the uniform arrangement appears to be in motion. Structured in three parts that emerge from a single neon ring and develop into three disc forms, Wyn Evan’s implemented choreology – the practice of translating movement into notational form, and was influenced by the precise work of Japanese Noh theater, a gesture-based, highly-crafted performance art. The artist describes the three forms as “occulist witnesses,” a reference to artist Marcel Duchamp’s sculpture The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), which was donated to the Tate’s collection in 1975.

Best known for his use of neon lighting, the work of Welsh conceptual artist Cerith Wyn Evans ranges from experimental film, to installation, sculpture, photography, and text. Other light installations by Wyn Evans include E=V=E=N=T (2015), a sculpture commissioned for Malmo Live, and Arr/Dep (imaginary landscape for the birds) (2006), at Lufthansa’s Frankfurt headquarters.

Forms in Space… by Light (in Time) by Cerith Wyn Evans runs until August, 20 at Tate Britain, London.

More at: Tate Britain
Photos: Joe Humphreys © Tate

Visible Distance / Second Sight by Jennifer Bolande

Visible Distance / Second Sight by Jennifer Bolande

As part of Desert X, the exhibition of site-specific works by various artists (from which you’ve probably seen images of the very popular Mirage, the mirror-covered house by Doug Aitken) in the Coachella Valley of California, Jennifer Bolande’s contribution Visible Distance / Second Sight, is a clever commentary on advertising and distraction. A series of standard, full-size billboards along the Gene Autry Trail, meant to be experienced from a moving car, feature photographs of the surrounding mountains, positioned in a way that at approach, can appear to align with the natural horizon. The Visible Distance / Second Sight series references the advertising technique referred to as “Burma-Shave,” named after the shaving company of the same name that used sequential placement of signs to create messaging intended to be read from a moving vehicle. If you’ve traveled this route near Palm Springs, you are familiar with the very-present billboard advertising, which can easily distract from the scenery in which it is placed, Bolande uses this opportunity to point to the striking landscape itself. 

(Desert X runs through April 30, 2017.)

More at: Desert X
Photos: Lance Gerber

As Close As You Can For As Long As It Lasts by Gordon & Tschiember

 As Close As You Can For As Long As It Lasts by Gordon and Tschiember

 As Close As You Can For As Long As It Lasts by Gordon and Tschiember

 As Close As You Can For As Long As It Lasts by Gordon and Tschiember

 As Close As You Can For As Long As It Lasts by Gordon and Tschiember

In the picturesque, serene Swiss Alps, Douglas Gordon and Morgane Tschiember’s As close as you can for as long as it lasts is a temporary art installation produced for the biennial event Elevation 1049, supported by the LUMA Foundation. Using fire, smoke, and sound, the piece is a call-and-response between two artists, a vague allusion to the regional tradition of yodeling. Tschiember’s circular fire works with Gordon’s installed sound piece, which is based on our primal fears of unforeseen animals and the dark, under the narrative of a lonely traveler being lured through the woods surrounding Gstaad, by the reassuring smoke and warm fire, as well as the potential of companionship in this setting.

As close as you can for as long as it lasts is on view as a part of Elevation 1049 through March 19, 2017.

More at: Elevation 1049
Photos:  Stefan Altenburger

UV by TJOKEEFE

UV by TJOKEEFE

UV by TJOKEEFE

UV by TJOKEEFE

UV by TJOKEEFE  

UV by TJOKEEFE is a light sculpture composed of ultraviolet LEDs, a powder-coated aluminum bar, and woven nylon thread. The piece is designed to be suspended by its thread flat on the wall, or in a corner; the thread reacts to the UV light projected from below, becoming its own light source, emitting a soft orange glow.

TJOKEEFE, the studio of Michigan-born designer TJ O’Keefe, was established in 2010. With a mission of exploring design and creating powerful objects through compelling minimalism, TJOKEEFE has produced furniture and objects guided by geometry and graphic presence.

More at: TJOKEEFE









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