Jesús Rafael Soto (1923-2005, Venezuela/France) - Vibration. Formwork Plexiglas screen, 1 x 16½ in. (1967)
posts tagged "sculpture"
Esfera virtual amarilla. 500 x 500 x 500 cm (1983)
Sphère bleue de Paris. 250 x 200 x 200 cm (photo Béatrice Hatala) (2000)
Shotopop - Vivid Memories (2012)
Réalisée en collaboration avec l’agence Ogilvy & Mather de Düsseldorf pour la maladie d’Alzheimer qui a remporté un award d’argent aux European Design Awards à Helsinki et un award de bronze aux ADC Awards en Allemagne.
Teamed up with Ogilvy & Mather in Düsseldorf for an Alzheimers awareness campaign which won us a Silver Award at the 2012 European Design Awards in Helsinki and a Bronze for Graphic Design at the ADC Awards in Germany.
[via valerieoualid]
Joana Vasconcelos - Coração Independente Vermelho [Coeur Indépendant Rouge] (2005) / Marilyn (2011)
Photomontage © Château de Versailles / DMF, Lisbon / Courtesy Atelier Joana Vasconcelos
[via Gonzalo Bénard]
Do Ho Suh - Cause & Effect. Acrylic and stainless stell and aluminum frame, 362.9x1016x1168.4cm (2007)
Daniel Arsham - Pixel Cloud. Plastic, paint (2010)
Daniel Arsham - Sheet. EPS, Plaster, Paint, Fabric, Rubber (2007) / Corner Knot. EPS, plaster, paint, joint compound (2008)
Batoul S’himi (b.1974, Morocco) - Le monde sous pression. Pressure-cookers, metal gaz tanks (2007-2012)
Intense proximité @ Palais de Tokyo / photo by Palais de Tokyo / photo by Rery
Monica Bonvicini (b.1965, Italy) - Deflated. Mirror on wood panels, steels chains (2009)
Intense proximité @ Palais de Tokyo / photo by def image / photo by Rery
I actually find my photo quite hilarious
Chris Jordan - Running the Numbers, Gyre (2009)
“…2.4 million plastic bottles, equal to the estimated number of pounds of plastic pollution that enter the world’s oceans every hour.
All of the plastic used to compose this work was collected from the Pacific Ocean.”
[via alecshao]
(Source: likeafieldmouse)
![Ricky Sears. The Lines are Drawn, 2008. Thread, nails, Velcro, pins.
Site-specific installation in Bergamot Station inspired by the Expositon Lightrail Corridor in Santa Monica, CA. A house, juxtaposed with a fence and track image, are outlined in nails on the gallery walls. Thread connects the nails to pins in Velcro on the floor. An interior and exterior area are created in the space to reflect the public/private debate mass transit has on the area’s communities. Installed in Tarryn Teresa Gallery, Santa Monica, CA. Photos courtesy Claressinka Anderson
[artist recommended by Steven Bindernagel]](http://24.media.tumblr.com/tumblr_lvdkcdrqw81qb9cz3o1_r1_500.png)
Ricky Sears. The Lines are Drawn, 2008. Thread, nails, Velcro, pins.
Site-specific installation in Bergamot Station inspired by the Expositon Lightrail Corridor in Santa Monica, CA. A house, juxtaposed with a fence and track image, are outlined in nails on the gallery walls. Thread connects the nails to pins in Velcro on the floor. An interior and exterior area are created in the space to reflect the public/private debate mass transit has on the area’s communities. Installed in Tarryn Teresa Gallery, Santa Monica, CA. Photos courtesy Claressinka Anderson
[artist recommended by Steven Bindernagel]
Janet Echelman. Tsunami 1.26, 2011. Sydney, Australia
Tsunami 1.26, an aerial lace installation, was inspired by the 2010 Chile earthquake’s ensuing tsunami and the 1.26-microsecond shortening of the day that resulted from the earthquake’s redistribution of the Earth’s mass. By meditating on these epiphenomena, the work underscores the interdependence of Earth systems and the global community. It asks the viewer to pause and consider the larger fabric of which they are a part.
My studio generated a 3D model of the tsunami using data from NASA’s Jet Propulsion Laboratory and the NOAA Center for Tsunami Research. I then used software to transform an outline of the model’s higher amplitude area into a sculptural form. My studio created hand-knotted models to achieve the complex shaping of the piece.
This artwork utilizes Spectra®, a material 15 times stronger than steel by weight. The mesh is knotted by machine in order to withstand winds, but is engineered to reflect the intricacy of handmade lace.
