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When the mothership descends on Wyoming, in the climactic scene of Stephen Spielberg’s 1977 film Close Encounters of the Third Kind, the usual trappings of invasion are conspicuously absent. There are no laser guns, no pronouncements of interstellar warfare. The aliens don’t unravel some cosmic decree, claiming the Earth. Instead, they make first contact with a melody—one that, with the help of an
Watching a piece of leather transition through a rainbow spectrum of color before your eyes would sound, to most, like the opening premise of a blockbuster sci-fi flick. But this is no optical illusion. It is a garment coated in ink that responds to the slightest environmental change, more closely mimicking the gradients of infrared thermography than the meager, stilted efforts of a dime store
Los Angeles native and New York based visual artist, Kehinde Wiley has firmly situated himself within art history’s portrait painting tradition. As a contemporary descendent of a long line of portraitists, including Reynolds, Gainsborough, Titian, Ingres, among others, Wiley, engages the signs and visual rhetoric of the heroic, powerful, majestic and the sublime in his representation of urban, black and brown men found throughout
Korakrit Arunanondchai (he likes to be called Krit for short), is a bright young Thai artist, working ceaselessly on projects that tantalize and challenge the senses. Since graduating from Columbia’s MFA program in 2012, Krit has produced a dizzying body of work, from electrifying collaborations with Spencer Sweeney and Brian Close creating party decorations at epic late-night revelries at Santos Party House to the
Susan Stockwell’s work takes many forms from small studies to large scale installations, sculpture, drawings and collage. It is concerned with issues of ecology, geo-politics, mapping, trade and history. The materials used are the everyday, domestic and industrial disposable products that pervade our lives. These materials are manipulated and transformed into works of art that are extraordinary. One of Stockwell’s recent exhibition ‘Flood’ in York
For the first time the hippocampus — a brain structure crucial for creating long-lasting memories — has been observed to be active in response to recurring musical phrases while listening to music. Thus, the hippocampal involvement in long-term memory may be less specific than previously thought, indicating that short and long-term memory processes may depend on each other after all. The study was
Susan Cutts: I work as a sculptor, handmade paper is my material, and our relationship with clothing, my inspiration. The empty shoe is a familiar image so I work in multiples to emphasize the dialogue each piece suggests. Our feet shape the shoe – by the way we walk the way we stand – making it as individual as a thumbprint and like a thumbprint
For The ADA Project, four renowned female musicians created works in response to the movements of an industrial robot that has been hacked and programmed by the artist Conrad Shawcross to create four unique choreographies. In this first-of-its-kind collaborative artwork, Shawcross takes a new approach to commissioning music, reversing the traditional process, so that the robot’s dance provides the inspiration and parameters for the
A concern for statuary and the desire to use it to represent mankind form the backbones running through the work of Aurora Cañero, who has been able to modulate her postulates without being absorbed by contextual tendencies that either fall into crude academicism or give themselves over thoughtlessly to experimentation in a quest that seems to find its sole justification in that it is
Objecthood doesn’t have a place in the world if there’s not an individual person making use of that object… I of course don’t think my work is about my work. I think my work is about you. (Olafur Eliasson, 2007) Artist Olafur Eliasson is by no means the first person to emphasize the importance of one’s own senses as they engage with an artwork or
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