ART NOW

Exploring the theme of experience in Art with a focus in interactive installations.

[iwantmyartnow]

www.vanessagstudios.com

[iwantmyartnow]

www.vanessagstudios.com

Vanessa Garcia is a Los Angeles based multimedia artist whose work goes beyond the notion of traditional classifications of painting, sculpture, and photography. Her interest, in blurring the lines between these mediums, first began as an undergrad while attending California State University, Los Angeles. Her paintings where sculpturally textured and her photography took on a third dimension that sometimes resulted in sculptures.

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Lumières – the Play of Brilliants DGT Architects & izumi okayasu lighting design

[razorshapes]

Peter Kogler

[homeandart]

Fabian Buergy

[sculpture-center]

FEATURED ARTIST: Mahony

The artist collective Mahony was founded 2002 by Stephan Kobatsch (b. 1975, Vienna), Jenny Wolka (b. 1978, Cologne) and Clemens Leuschner (b.1976, Göttingen). All live and work in Berlin. 

The works of Mahony deal with the representation and interpretation of space and culture, and the translation of social phenomena. The multidisciplinary projects draw from historical as well as contemporary narratives, where the group emphasizes a process-oriented practice in order to question what knowledge is, how it is acquired, and the possible extent to which a given subject or entity can be known.

Recent solo shows include The excluded third, included, Galerie Emanuel Layr (2014), The many happenings, Künstlerhaus Bethanien, Berlin (2013), Slow Season, La Criée Centre d´art contemporain, Rennes (2013), Mahony, The Artists Institute, New York (2012).

Mahony, Untitled (the many happenings), 2013. Cork granules. Size variable (145 x 110 x 3 centimeters). Courtesy the artists and Galerie Emanuel Layr, Vienna.

www.sculpture-center.org

[iwantmyartnow]

Antony Gormley, Cloud in a Box

[funkystarfishy]

Daniel Arsham

[ceciliacecilia1-blog]

Norimichi Hirakawa - the irreversible

[VIDEO installation] 1024 sequences of 2 seconds video of irreversible change is rewinding. recorded reverse time ticks forward on audience mind in realtime.

[sculpture-center]

FEATURED ARTIST: Karyn Olivier, Doubleslide, 2006. Installation view, The Studio Museum in Harlem, New York. Steel. 7 x 25 x 22 feet.

Courtesy the artist and The Studio Museum Harlem.

[iwantmyartnow]

Katrín Sigurdardóttir is a New York–based Icelandic artist whose sculptures and installations explore entanglements of body, perception, and memory.

In her on-going “High Plane” series, visitors climb a ladder to find their head in the clouds.

The visitors’ heads became part of the landscape and invaded the panorama of uninhabited nature.

- See more at: http://www.wetheurban.com/post/80741683413/spotlight-interactive-art-installations-by-katrin#sthash.oxowmtcV.dpuf

[iwantmyartnow]

Martin Creed, Half the Air in a Given Space

[prostheticknowledge]

Angles Mirror by Daniel Rozin

Interactive installation using a triangular method of representation with a motorized array:

The “Angles Mirror” rejects the idea of building a picture based on relative lightness and darkness. Instead, it explores a system of linear rotation that indicates the direction of an object’s contour. A wall-mounted sculpture, the “Angles Mirror” is a sharp triangular block of steel, dotted with yellow indicator arms that pivot. Based on the isometric grid, its structure favors the patterns and angles found in an equilateral triangle. The arms, which do not have the ability to change brightness or luminosity, use input from a camera and reconstruct the view with areas of varying angles. The negative space surrounding a viewer is translated into horizontal lines on the picture plane. Rather than creating a photorealistic image, the three-dimensional movement of a figure is represented, visualizing optical flow as viewer’s proximity to the sculpture changes. A nuanced contour results, as the viewer shifts back and forth, altering how the structure of space is perceived. Similar to “Fan Mirror”, in the “Angles Mirror”, the sequence of movement across the picture plane is directed in part by its audience. When the viewer walks away from the work, or chooses to view the sculpture from a distance, a series of predefined images and transitions cover the object’s surface.

There are more examples of Daniel’s interactive and alternative ‘mirrors’ at the Bitform Gallery’s Vimeo page here

[razorshapes]

“White” by Studio 400

A team of twenty students from a fifth-year architectural design studio at California Polytechnic State University, San Luis Obispo (cal poly), developed the large-scale, interactive sculpture to showcase each student’s research book. The piece integrates both the introduction of the students’ investigative publications and their collective installation by creating a previously unseen environment. “White” is an actualised representation of the relationship between environment, user, material and space. The 4,500 square foot space has been transformed by a climbable sculpture constructed from 80,000 square feet of plastic sheeting arranged in cylindrical and tapered weaves. The material was first sliced, then loomed, woven, stapled, taped and tied by the collective in order to create a supportive surface in which gallery goers could rest and examine their architectural studies. 

[iwantmyartnow]

Bea Camacho, Enclose. 2005

Single-channel video 

11 hours

These pictures are from a video documentation  which deals with ideas of isolation, security, shelter and of shaping one’s own environment. The video documents an eleven-hour performance during which Camacho crocheted herself into a cocoon using red yarn. She crocheted continuously without breaks and the video shows the entire performance in real-time.

[iwantmyartnow]

Bea Camacho, Efface 2008

Single-channel video 11 hours 2008

These pics are from a video documentation of an eleven-hour performance during which Bea Camach crocheted herself into a white carpet with white yarn. This project builds on the themes explored in an earlier video performance, “Enclose”, but puts more emphasis on the space around the body, which becomes an integral part of the work as her body slowly disappears into the architecture.

[iheartmyart]

Jeppe Hein, Smoking Bench, 2002

Exhibition There Are No Ordinary Moments at the Amos Anderson Art Museum, August 11 - January 13, 2014