The object of this project was to produce an automatan that was inspired by the work of Reuben Margolin. All components were handmade the aim was to recreate the reaction of droplet as it impacts a body of water.
The machine was made by Dean O’Callaghan.
above> remembered landscape | acrylic on canvas | 20″ x 24″ | in 2011
Architecture is how Michael Graves made his name, and he continues to work with his firm Michael Graves & Associates designing buildings and complexes around the world. Studio Vendome aims to call attention to the accomplishments of architects who have elevated their constructions to “habitable sculpture.” The studio will be a space where the public can learn about and experience architecture as “inspiration-by-the-square-foot” and design as “functional fine art.” It is fitting for this new gallery space devoted to architecture and design to open with the works of designer, architect, and painter, Michael Graves. Curated by Jane Adlin, formerly of The Metropolitan Museum of Art, the inaugural exhibit will present over 60 paintings of landscapes and still lifes, remembered forms from other times and places in the artist’s life.
still life | acrylic on canvas | 12″ x 12″ | 2009
Michael Graves has always been a painter. Graves color and form choices can be seen the buildings he has designed for over 40 years. One wonders if the arrangement of forms in Graves buildings and design work can be summed up in this statement about his own painting from NYT article. “I thought it would be interesting for me to arrange my buildings in a landscape that would be not unlike Morandi rearranging his bottles every week to paint them,” he said.
There is a mix of classicism in the colors and memories that show his love of Italian art and landscape; terracotta, warm oranges and browns may be “remembered landscapes” that he first encountered in 1960- when he became a fellow at the American Academy in Rome. There Michael Graves spent two years immersed in renaissance art practices- pencil drawings and sepia ink sketches of the rich classical architecture of the city. Mixed with this classical recall, there is an expression of movement in the paintings. The paintings come alive and the geometric forms do not sit still, just like the artist.
event> michael graves paintings: landscapes and still lifes
venue> studio vendome | 330 spring street new york city | 646.650.2466
date> 6 october > 31 december 2014
1> arabesque | acrylic on gesso board | 11″ x 14″ unframed | 12.5″ x 15.5″ framed | in 2008
2> shaker barn | acrylic on canvas|14”x18” | in 2009
3> still life | acrylic on canvas | 16″ x 16″ | in 2010
4> imagined landscape | acrylic on canvas | 12″ x 12″ | in 2010
5> sketch | graphite on paper | image is 7″ x 10″ | in 2011
6> remembered landscape | acrylic on canvas | 8″ x 10” | in 2014
‘There is enough plastic in the sea to circle the world three times’, says Studio Swine. They wish to embark on a voyage into the North Atlantic Gyre with a solar 3D printer, turning ocean plastic into bespoke furniture – made at sea from the sea.
Studioswine works across many disciplines from interiors to branding. Central to their practice is the notion of research led design as a tool for placemaking in a globalizing world. Swine is founded by Azusa Murakami and Alexander Groves. This project will be funded on Friday 10 Oct 2014 1:01 AM CDT on [ kickstarter ]. There’s still seven days to contribute.
On 6 August 1882 this printing press produced copies of Le Chaleur Solaire (Solar Heat) by Augustin Mouchot, a newspaper that he created in the Tuileries Gardens, Paris, for the festival of L’Union Francaises de la Jeuenesse. It printed 500 copies an hour, using solar thermal technology.
Solar power and the electric car are not new. Designers and engineers, as early as 1870, were creating working prototypes from Cairo to Boston. Over 500 electric cars were registered in Boston in 1902. In Paris in 1870, a solar powered printing press printed over 500 newspapers an hour.
What stopped this innovation? At that time, new technology driven by oil and war. Large ships, planes, and tanks were developed to be powered by oil. According to author David Thorpe, “around 1900 there were three types of powered vehicles on the street, each with a third of the market: steam-powered, electric and gasoline.” In 1900, early champions of the electric car argued that it was safer (gasoline engines at the time risked explosion) cleaner, noiseless, and unlikely to cause environmental problems. Much has changed in the past 100 years, and this storyline has sustained.
1900 columbia electric omnibus
cat fight | 2014 | polished patinated bronze, hand blown glass, hand painting, led light fittings, limited edition of 8 + 3 ap | h65 / l80 x w40 (cm)
h25.59 x l31.5 / W 15.75 (inches)
Dutch artists, Job Smeets and Nynke Tynagel of Studio Job have created a new universe made of their own cats. Product design becomes a fulcrum for sculpture in these limited edition art pieces which serve as artistic form and literal function.
the ‘pussy cat’ collection of lamps are available in four positions: ‘cat fight’, ‘cat attack’, ‘cat hiss’ and ‘cat swipe’
Taking joy in creating a myth out of the everyday, these cats remind one of the Greek statues fighting over ancient battles, but here that back story is not needed or wanted. Studio Job commands a studio of artisans that work with traditional craft at the highest level, utilizing materials such a bronze to achieve a level that goes beyond and above Koons. By blowing up to high-art status the everyday ordinary world, the objects alone express the intensity. The day is coming when a single original carrot will give birth to a revolution. Cezanne*. Or a cat…
cat swipe | 2014 | limited edition of 8 + 3 ap | h35 x l70 x w30 (cm) h13.78 x l27.56 x w11.81 (inches)
cat hiss | 2014 | limited edition of 8 + 3 ap | h35 x l80 x w25 (cm) h13.78 x l31.5 x w9.84 (inches)
cat attack | 2014 | limited edition of 8 + 3 ap | h65 / l40 x w30 (cm) h25.59 x l15.75 x w11.81 (inches)
[ designapplause interview with job smeets ]Nynke and I love our cats Paula & Jambe Blanche. Paula is an orphan from a a village call Echt in the southern part of Limburg. Jambe Blanche is a ‘bell dame’, 17 years old. She was born in the cellar of our first studio… Jambe Blanche has four white legs, both spotted with black like little Dutch cows. In fact, we only allow black & white spotted cats in our house in the forest.
Last but not least: They are female, in Dutch slang this can be pronounced as ‘poesje’. Which is equivalent for ‘vagina’.
Cats can be quite ruthless. I believe cats are, as we say, autistic to a certain extent as in they can’t really connect tint others’ emotions.
Let’s be hones: Cats kill birds, butterflies, mice and sometimes a mole. Yet at the same time they sleep in our bed. Some say cats are more closely related to humans than we assume.
They have a point? Bien-sur que non!” Job Smeets, Summer 2014
dates: 5 sept > 3 october 2014
venue: carpenters workshop gallery london | 3 Aalbermarle street W1S4HE
| +44 (0)20 3051 5939
opening hours: monday > friday from 10a > 6p / saturday by appointment only
(*)‘What I know or have seen of his life’, in Cezanne – a Memoir with Conversations (1897 > 1906) by Joachim Gasquet, Thames and Hudson, London 1991 p. 68
Function is no object for RO/LU, the St. Paul based studio. According to their website, “RO/LU continues to explore ‘art history as a material’ by starting with very literal information from existing works and reinventing through intuitive connections to others: Superstudio’s Quaderna line, environmental installations by Ettore Sottsass, Scott Burton and James Lee Byars’ utilization of man as a symbol object…
“Surfaces On Which Your Setting and Sitting Will Be Uncertain” is a group of sculptural furniture objects by RO/LU with matching clothing by Various Projects. The objects, made from welded wire mesh, seem to change when one moves in their presence, in some way becoming different with each step taken around them.” The objects, although not “sit worthy,” form an interesting tension between the handmade yet industrial strength of welded steel. The work is on view as the inaugural show at Patrick Parrish Gallery in New York from September 4th through October 4th. Contributors/Team> Matt Olson, Mike Brady with Various Projects.
event> surfaces on which your setting and sitting will be uncertain.
venue> Patrick Parrish Gallery | 50 lispenard street new york | 212 219 9244 info@patrickparrish.com
date> 4 september > 4 october 2014
A picture is worth a thousand words and then some at The Noun Project. The project has a simple platform and a straightforward revenue model: symbols are free to use if the author is credited. If the user wants an uncredited symbol, then the user pays a fee. It is an idea that has taken off and has expanded.
“The audience applies to anyone that needs to visually communicate,” said Sofya Polyakov, co-founder and CEO. The Noun Project knew their initial target market would be designers. But, that market customer has expanded in surprising ways; from teachers and designers to FEMA and the New York Times.
amputee by christ- opher anderson from the noun project
code by buzzy- robot from the noun project
With a brief concept presentation and modest goal of $1,500, the concept was funded at Kickstarter 2011, The Noun Project has built a unique niche for itself: creating, capturing and selling licenses for the world’s symbols. Headquartered in Chicago, The Noun Project is part of a Chicago design exhibit [ CHGODSGN ] thru 2 November 2014.
magnifying glass by jakob vogel from the noun project
twitter by factor[e] design initiative from the noun project
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