Things tagged art:
Long interview with Damon Lindelof by Stephen Galloway, covers lots of ground, and gets to some intresting places:
LINDELOF: I had a dream in terms of what I wanted to achieve in my life, and when I got that call, it was so above and beyond anything that I had ever dreamed, that I felt I didn’t deserve it. And I was like, “I don’t deserve this, I’m not entitled to it, I haven’t earned it. What am I supposed to do with this?” And my wife and I would go out for breakfast on the weekends, even though I would go into the office afterwards, and we’d be sitting there, eating, and the people at the table next to us were talking about Lost. And I was like, this is not a normal thing that should be happening right now. And Heidi my wife was smiling, like, isn’t this the greatest thing in the world? And it was the worst thing in the world. And the fact that everybody was telling me that it should be great, made me feel like there was something wrong with me.
GALLOWAY: Thank you for talking about that, too. Because I think it’s important for people to know. Everybody thinks, “Oh, when I have success, my life is going to be perfect,” and that’s just not what life is.
LINDELOF: I’ll be honest with you, and I’m glad that you said that because there was a part of me prior to this happening where whenever someone who had achieved their dream, like an actor, was complaining, saying like “This isn’t easy,” I’d be like, “Oh come on.” You know, “Boo-hoo, Russell Crowe.”
LINDELOF: But if I can be completely and totally precious about it for a second, we are artsy folk, you know? I mean, we all fancy ourselves artists and we are wired as artists and part of being a good artist is tapping into some sort of emotional reality and trying to communicate it to others, through our art. And that requires a certain amount of vulnerability, and nakedness. And that’s hard. You know, if you’re doing it well, it’s really scary, and in order to do it well you have to make a lot of mistakes, and when you make mistakes you get scared. And it’s very hard for me to say I’m scared right now, or I’m sad, and fear and depression can sometimes manifest themselves as anger. Anger is not a real feeling. Every time in my life I’ve ever been angry, it’s because I was scared, or because I was sad and I didn’t know it. Like, anger doesn’t just come out of a vacuum.
Penelope Green in the NYT:
While the number of women entering religious life has been in a steep decline since the mid-1960s, it is notable and even startling that a contemplative order like the Dominican Nuns of Summit — where the sisters live in cloister and practice a life of prayer — would be able to attract young, college-educated millennials.
Amazing photos from Toni Greaves:
Minimum Wage Machine (Work in Progress) (2008-2010)
Custom electronics, change sorter, wood, plexiglas, motor, misc. hardware, pennies. (approx. 15 x 19 x 72 inches)
The minimum wage machine allows anybody to work for minimum wage. Turning the crank will yield one penny every 4.5 seconds, for $8.00 an hour, or NY state minimum wage (2014). If the participant stops turning the crank, they stop receiving money. The machine’s mechanism and electronics are powered by the hand crank, and pennies are stored in a plexiglas box. The MWM can be reprogrammed as minimum wage changes, or for different wages in different locations.
In NYC, at the Film Forum.
American identical twins working in London, stop motion animators Stephen and Timothy Quay (born 1947 in Norristown, Pennsylvania) find their inspiration in Eastern European literature and classical music and art, their work distinguished by its dark humor and an uncanny feeling for color and texture. Masters of miniaturization, they turn their tiny sets into unforgettable worlds suggestive of long-repressed childhood dreams.
The Tree of 40 Fruit is an ongoing series of hybridized fruit trees by contemporary artist Sam Van Aken. Each unique Tree of 40 Fruit grows over forty different types of stone fruit including peaches, plums, apricots, nectarines, cherries, and almonds. Sculpted through the process of grafting, the Tree of 40 Fruit blossom in variegated tones of pink, crimson and white in spring, and in summer bear a multitude of fruit.
Eric Grundhauser at Atlas Obscura:
Blue Man Group is a theatrical performance that defies easy categorization—part drumming, part acting, part Tobias Fünke—known for an audition process that competes with Manhattan preschools for difficulty of acceptance. But what’s it like to be behind all that blue paint? We spoke to a recently-retired Blue Man named Isaac Eddy. For over 12 years, Eddy lived and performed behind the thick blue veneer and anonymous black garb of the Blue Men. From Las Vegas to New York to London, Eddy portrayed one of the wordless azure elementals first developed by performance artists Chris Wink, Matt Goldman, and Phil Stanton in 1991.
In our conversation with Eddy, we found that he was far from silent about his experience as a Blue Man. From the struggles of learning drumming for the audition, to how the behavior of dogs informed his performance, to his portentous final show, Eddy let us in on just about every aspect of his time under the Blue, and why he decided to be a human again.
The art director-turned-photographer Nick Frank has spent the last five years traveling the world by subway, spending his Sunday mornings documenting the stations he has seen rather than the cities that hold them.
Dillon Markey, an animator for Robot Chicken and PES, modifies a Nintendo Power Glove as the most awesome animation tool ever.
Two things; no this is not an Onion link. And how great is it that there is a news outlet called “modern farmer”, that reports on wonderful things like this?
Artist Sven Sachsalber has accomplished much in his career as a conceptual artist, from surviving a performance in which he ate poisonous mushrooms to spending 24 hours with a cow. But his latest is a non-metaphoric metaphoric triumph: he has found a needle in a haystack.
Winner of Golden Nica at Ars Electronica 2014
Referencing the utopian visions of 1960’s architecture practice Archigram, Walking City is a slowly evolving video sculpture. The language of materials and patterns seen in radical architecture transform as the nomadic city walks endlessly, adapting to the environments she encounters.
All of the English dialogue in “Star Wars”, split into words, and sorted alphabetically.
On the weekend of October 12th in Joshua Tree, California, artist Phillip K Smith III revealed his light based project, Lucid Stead.
Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape. Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience. Like the enveloping vista that changes hue as time passes, Lucid Stead transforms. In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.