Photo from Animal Architecture
Zhong Huang recently took third place in the Animal Architecture awards with plans for a BirdScraper in New York City. The massive structure designed to house birds should address the problems faced by our feathered friends. “Over 90,000 birds die every year by crashing into skyscrapers because lights inside the buildings attract birds flying right into their windows. (more…)
I make surf paintings. My pictures are inspired by the act of surfing. The feeling of the wave, the ride between solid ground and sea, Hawaiian wave rituals, surfers, surf magazines, explorers, flecks of history, personal writings, physical feats of endurance, and liquid cinematography.
—Michael Miller, a Brooklyn-based painter who’s transforming five paintings into faceted glass windows that will be installed at the Beach 90 subway stop in Far Rockaway this summer.
While some of us on the East Coast are running from the storm, surfers from Miami to Montauk are heading for the beach this weekend for what’s promised to be an epic swell.
Beach Birds For Camera, 1992 (a 35mm film directed by Elliot Caplan)
First Performed: New York, New York; Dec 1991
Music: John Cage
Design: Marsha Skinner
Dancers: Merce Cunningham Dance Company
Tacita Dean, The Green Ray, 2001, still from color film in 16mm silent, 2 1/2 minutes.
TD: In America they call it the green flash. When the sun sets, in a very clear horizon, with no land mass for many hundreds of miles, and no moisture or atmospheric pressure, you have a good chance of seeing it. The slowest ray is the blue ray, which comes across as green when the sun sets in perfect atmospheric conditions. It’s the last ray as the sun recedes with the curvature of the earth. Like a pulse on the horizon. It’s totally fractional, though it can last longer.
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Click to open slideshow. Photos by Lisa Elmaleh, reprinted with permission of the artist.
As a native of South Florida, the Everglades is an ecosystem that has shaped my own history. Inspired by the early photographers of the American west, I have documented the flora and fauna of the Everglades and the surrounding natural areas using my large format 8″x10″ camera and the wet collodion process, a nineteenth century process requiring the image be exposed and developed on site. The collodion process renders light slowly and reveals the passing of time, a quality which is essential to my work.
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Eames House interior, Los Angeles, 1944 (photograph by Timothy Street-Porter, © Eames Office, LLC)
A photograph of the living room of the Eames house in the Pacific Palisades neighborhood of Los Angeles has proven rather puzzling to historians of design. It depicts the famous Case Study House as full of exotic collectibles. Hopi kachina dolls, seashells, craft objects, silk textiles from Nepal and Thailand, and elaborately patterned rugs from Mexico and India all crowd and assault their modernist frame. Beatriz Colomina has commented on this “kaleidoscopic excess of objects†in the Eames house, and attributed it to Ray in particular, described elsewhere as a “sublime pack rat†who saved and collected everything.
—Saloni Mathur’s excellent article in Art Journal.
Yayoi Kusama, The Atlantic Ocean, 1978. Spray paint on calligraphy paperboard, 10 3/4 x 9 1/2"
MIDORI: Do you dream these landscapes?
YAYOI:Â I always see these landscapes in my dreams, and feel happy. I desperately try to transform these dreams into artwork, so that even while napping, I construct and reconstruct various images.
—Yayoi Kusama in Index, 1998.
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