Rich McCor’s photographs with inserted silhouette cut-outs inspire thoughts about scale and composition. His Instagram profile is composed of images that take recognizable artifacts from our environment and transform them through simple superimposition. The final product tends to be humorous and refreshing—take a look!
The Materials Lab fabricated an installation for this year’s Fusebox Festival, taking place this Wednesday through Sunday (04/12-04/16). The piece, called Neo-Neon, incorporates a variety of materials to manipulate light in unique ways. This is an opportunity for UTSOA’s visibility to grow in Austin’s art community and for UTSOA students to become immersed in Austin’s vibrant art scene.
Typeface Comic Sans—created in 1994—has generated more controversy than perhaps any other typeface. Vincent Connare, who developed the typeface while working for Microsoft’s typography team, explains the origins of Comic Sans in a new interview. Connare was attempting to develop a typeface suitable for Microsoft Bob, a software meant to help children learn computer skills. Microsoft Bob’s speech was written in Times New Roman, which Connare found inappropriate for a children’s software. Although he has only used Comic Sans once, Connare finds the backlash to the font “…just amazing—and quite frankly funny.” Read the full interview at The Guardian.
Source: The Guardian
Treehugger: Wahoma is a new installation that combines data visualization and virtual reality to allow viewers to explore the nervous system of a 3,500 year old redwood tree. The installation, by creative studio Marshmallow Laser Feast, was on display at London’s Southbank Centre in December. Participants donned VR headsets after entering the space, allowing the data visualization of the sequioa’s nervous system to come to life. Marshmallow Laser Feast creative director Ersinhan Ersin claims that the installation is “…trying to give people a new perception of trees as creatures just a vibrant and alive as we are.”
Source: Visual News
Artist Refik Anadol has created an immersive light-filled installation that alters visitors’ perception of space and time. The mirrored chamber, which was showcased at the 2017 SXSW festival, surrounds participants with a programmed light show that features psychedelic patterns and disorienting shapes. Anadol describes the project as something that “…facilitates a temporary release from our habitual perceptions and culturally biased assumptions about being in the world, to enable us—however momentarily—to perceive ourselves and the world around us freshly.”
As part of Desert X, a showcase of site-specific artwork taking place in the Coachella Valley, artist Will Boone has buried a larger-than-life sculpture of John F. Kennedy in the same kind of underground bunker he would have used in case of a nuclear attack. Boone’s work was influenced by his emotional connection to Kennedy’s assassination as a native Texan. He hopes that the installation ‘speaks not just to all those things that have been driven underground since the extinguished optimism of the sixties but to those same fears – nuclear attack at the invasion of the other – that have been so vividly resurrected in recent times.’
A homemade camera created by placing 32,000 straws in a wooden box results in beautifully abstract, pixelated photographic images. The camera, which was first created in 2007 by Michael Farrell and Cliff Haynes, turns each straw into a miniature camera that projects an image onto photo-sensitive paper. The image formed by each straw comes together to create large, intricate photographs. Because each straw is slightly different, the resulting images have an ethereal, disorienting atmospheric quality.
Japanese embroidery artist ipnot spends hours combining the right colors of thread to create intricate, realistic depictions of food. The completed pieces are stunningly lifelike; although the pieces are embroidered on a flat plane, the texture and color of the works produces convincing three-dimensional images. Ipnot’s creations include miniature matcha tea, a tiny bowl of ramen with thread for noodles, and a textured, multicolored roll of embroidered sushi. View ipnot’s creations on her Instagram
It’s hard to imagine a time when the peace symbol wasn’t widely recognized as a sign of the counterculture and anti-war movements. The familiar three-pronged glyph was first created in 1958 by artist Gerald Holtom as a symbol for a series of anti-nuclear weapon demonstrations. Holtom used the visual language of flag semaphores for the design, combining the letters “N” and “D” for “nuclear disarmament.” Visitors will be able to view Holtom’s fragile original sketches of the symbol at the Imperial War Museum in London from March 23 to August 28, 2017.
Source: This is Colossal
Italian artist Grégoire Dupond’s has stitched together sixteen Piranesi etchings in a dynamic animation. The eleven minute long video projects Piranesi’s etchings on a three-dimensional plane, taking the viewer on a trip through the fictional prisons in the “Carceri” series. The original prints, first published in 1750, portray a fictional labyrinth prison that evoke a dream world created in Piranesi’s mind. The animation presents the surreal etchings in a startlingly realistic light; as the video progresses, the viewer feels as though they are a visitor in Piranesi’s world.
Source: Gregoire Dupond
O N E E V E R Y O N E, a new photographic series by artist Ann Hamilton commission by Landmarks, will adorn the halls of the Dell Medical School in Austin. O N E E V E R Y O N E explores the relationship between human touch and caring, using frosted plastic to obscure parts of the subject that aren’t directly touching the material. More than 530 Austin-area participants were photographed for the project, which opens on January 26. Opening celebrations run from January 26-28.
Source: University of Texas Landmarks
One of artist Walead Beshty’s projects consists of shipping FedEx boxes containing glass boxes across the country. Upon arriving at their destination, the FedEx boxes are opened to reveal the glass boxes with shatter patterns that serve as documentation of the trip. The two boxes—cardboard and glass—are displayed in a gallery in the receiving city. These pieces are compelling in that they beg the age-old question: what happens when the artist has very little hand in creating the art itself?
Source: This is Colossal