A journal by artist and designer John Coulthart.
Sculpture
Asian Longhorn Beetle.
More at Fleming’s Glassartists.org page and his website.
Previously on { feuilleton }
• The art of Lucio Bubacco
• The sculpture of Christopher Conte
• The art of Sergei Aparin
• Insect Lab
• The glass menagerie
• The art of Jessica Joslin
New York-based Mao Mag seems to have a predilection for a particular brand of psychedelic imagery if recent issues are anything to go by. Peter Max was on the cover of #8 earlier this year and appeared inside together with a feature on the equally eye-popping work of Kenny Scharf.
For #9 it’s the turn of AVAF aka Assume Vivid Astro Focus, a Brazilian artist also based in NYC whose paintings and installations combine a psychedelic vibrancy with frequent gay themes. The work in the magazine looks considerably more interesting than the show I saw at Tate Liverpool in 2005 which seemed to suffer from bad lighting and being separated from the Summer of Love exhibition it was intended to complement.
Elsewhere on { feuilleton }
• The gay artists archive
Previously on { feuilleton }
• Heinz Edelmann
• Verner Panton’s Visiona II
Not an album cover design by Storm Thorgerson but an artwork of 10,000 lights by Giancarlo Neri which filled the grounds of the Circus Maximus in Rome earlier this week. Neri’s earlier work, The Writer, a huge table and chair, was also shown in Rome as well as appearing on Hampstead Heath in London. What the photo above doesn’t show is the lights gradually changing colour but you can see that via YouTube.
Previously on { feuilleton }
• The art of Yayoi Kusama
• Atomix by Nike Savvas
Your mobile expectations: BMW H2R project (2007).
A busy time for the artist this month with his design for BMW’s Art Car series (above) going on display for the first time in San Francisco. All the previous artists involved in this series have been content with merely painting on the body of the car. Eliasson’s creation is a considerable departure in that respect.
The new artwork was created on the hydrogen-powered H2R race car, after the artist replaced the body with a combination of steel mesh and reflective panels. The car was then sprayed with 530 gallons of water over the course of several days to create layers of ice.
It was constructed in situ at the San Francisco Museum of Modern Art, where it will remain in a display case with a special cooling unit from 8 September until 13 January next year, as part of the exhibition, Your Tempo: Olafur Eliasson.
According to BMW, the aim of this latest project was to transform an object of advanced industrial design into a work of art that reflects on the relationship between global warming and the car industry.
Continues here.
Previously on { feuilleton }
• Olafur Eliasson’s Serpentine Pavilion
• The London Oasis
• New Olafur Eliasson
• The art of Cai Guo-Qiang
Laocoön and His Sons attributed to Agesander, Athenodoros
and Polydorus of Rhodes (c. 160–20 BCE).
No jokes about snakes in a frame, please. Bram Dijkstra’s Idols of Perversity: Fantasies of Feminine Evil in Fin de Siècle Culture (1986) is a wide-ranging study of the “iconography of misogyny” in 19th century painting. Dijkstra examines the numerous ways that women were depicted in late Victorian and Symbolist art, with one chapter, “Connoisseurs and Bestiality and Serpentine Delights”, being devoted to representations of women with animals, especially snakes. The story of Eve and the Serpent prompts many of these latter images, of course, while scenes with other creatures seem intended to demonstrate the Victorian attitude that woman was closer to the brute beasts than man and could often be found conspiring with them to bring down her masculine masters. Continue reading “Men with snakes”