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As part of an exhibition exploring the changing perceptions of creepy-crawlies in art and science through the ages, the national museum of the Netherlands has been allowing its crevices and corners to go wild for the last three months.
Julia Kantelberg, assistant curator, said they had been encouraged by Tomás Saraceno, an Argentinian artist based in Berlin, whose work is appearing in the show, to treasure the accumulation of spider webs wherever they may emerge.
The webs are being treated, she said, as pieces of art, to be venerated – for now, at least – as if they were The Night Watch by Rembrandt or The Milkmaid by Vermeer, two of the museum’s headline masterpieces.
“Saraceno challenged us to acknowledge the spider webs that we are already cohabiting with in the Rijksmuseum,” she said. “This meant that we had to change our procedures and broaden our perspectives: not removing spiders and their webs from public areas. Three months before the exhibition opening, cleaners were asked not to remove spiders and their webs. I’ve been going around weekly ever since to spot where webs started to appear – a very different way of looking around the building that I know so well.”
Those braving the museum for the exhibition opening on 30 September will explore how attitudes have changed over time, and will also be asked to reconsider their own feelings about bugs of all shapes and sizes. In the middle ages, lizards, insects and spiders were associated with death and the devil in European culture, it is suggested, but the exhibition notes that in the 16th and 17th centuries there was a reimagining after the microscope allowed artists and scientists to appreciate a beauty that had not been always obvious.
Among the works on show is Albrecht Dürer’s 1505 painting of a stag beetle, its pincers raised. Describing the exhibition, Kantelberg said: “You enter into a room of the middle ages, and then you go through the early modern period where, with the invention of the microscope, this whole world opens up.
“Scientists and artists get fascinated by the beauty and ingenuity of these small animals. And then, by the end of the exhibition, you walk into this very beautiful, almost entirely dark room with a big artwork by Tomás. So it’s really the centrepiece of that room.”
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redshift-13 · 4 months
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Rainbow Church, by Tokujin Yoshioka
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sheltiechicago · 1 year
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“Marble Chesapeake & Delaware Bay” (2022), glass marbles and adhesive. Image courtesy of the artist and Pace Gallery.
The Precious Nature of Water Ripples Through Maya Lin’s Sprawling Art Installations -  A Study of Water
All photos by Echard Wheeler
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Detail of “Marble Chesapeake & Delaware Bay” (2022), glass marbles and adhesive
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“Flow” (2009), FSC-certified spruce, pine and fir 2 x 4s. Image courtesy of the artist and Pace Gallery
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Installation view of Maya Lin: A Study of Water
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urbansoulfarmer · 2 years
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Enjoying how art is making community think about their relationship with soil, culture and resilience.
1) “Soil Incarnations” by R. Zoe Blaq @ Propellor Gallery in Santa Monica, 2022
2) “4 Agents of Change” R. Zoe Blaq & Maru Garcia @ Self Help Graphics, in Boyle Heights, 2022
3) “Abolitionist Garden Pod” Group exhibition with R. Zoe Blaq @ Museum of Contemporary Art in Los Angeles, 2021
4) “Migration of African Indigenous Foods to South LA “ by R. Zoe Blaq @ Afrolatin Festival in South LA, 2021
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myobt · 1 year
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The Flower Artist
Azuma Makoto (more…) “”
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sprig-of-rosemary · 2 years
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acrylic paintings on trees by Eugeniya Dudnikova via Behance.
from left to right, top to bottom:
Spring. acrylic paint, tree. 2016. Russia. | The Flood in the Cherry Garden. acrylic paint, tree. 2016. Russia. | Liberated. acrylic paint, tree. 2017. Russia. | Skewed House. acrylic paint, tree. 2017. Russia. | A Knight of Memory. acrylic paint, tree. 2018. Russia.
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uwmadarchives · 2 years
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Installing Taj Matumbi's Solo Show: A Visual Story
By Sophia Abrams, UW Archives Student Historian
Currently on display at the School of Education Gallery is Taj Matumbi’s solo show, Camouflage and Cologne, which will be on display until May 12, 2022. On April 12, I met with Matumbi in-person for the first time to install his work. Also, integral to the installation team was Elyza Parker, Madison-based videographer.
We began our installation process at 1:00 p.m. Elyza drove her four-wheeler and I sat in the passenger seat, going over last-minute logistics. When we picked up Matumbi from his house, the interaction of meeting someone in-person who you have previously only talked with virtually occurred. It is a familiar interaction that challenges the pre-2020 world’s implications for knowing and working with someone. An interaction that proves that you can get to know someone through virtual communication. In January 2021, I interviewed Matumbi for my oral history project. At that time, he was deep in creating his MFA Show. Since then, we have been in contact about my project and the greater art community.
Almost a year and a half later, the interviews and exhibition came to fruition. The first step was to install Matumbi’s solo show. 
We started the installation process at Matumbi’s storage unit. The reality of art is that it is large in scale and an artist can only hold onto so many works at a time. It was exciting to follow Matumbi through the warehouse, pushing a creaky cart that challenged every move we made toward his unit. Opening his unit, layers of Matumbi’s career were unearthed for me and Parker to glaze over in sheer awe. Parker and I stood outside of the unit as Matumbi pulled pieces for the show and we served as conduits to load his work onto the cart. Large cardboard boxes carefully protected month or year-long projects. Stacks of prints decadently showcased Matumbi’s evolving style. Perusing through his work, Matumbi selected a survey of paintings that demonstrate the nuance of his work.
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1) Matumbi's work outside of his storage unit; 2) Parker admiring one of Matumbi's pieces; 3) Matumbi and I outside of the storage unit; 4) Matumbi and I at the storage unit loading work into the elevator. Photos 1 & 2 by Sophia Abrams. Photos 3 & 4 by Elyza Parker.
After we battled the squeaky cart prolonging our storage unit exit, we then faced a gusty wind that attempted to make it difficult to load the canvases into the car. Nevertheless, the three of us managed to load up Parker’s car with Matumbi’s art. Parker’s car was a lifesaver—I don’t know how we would have transported Taj’s large work without her four-wheeler. (Important lesson: always ask for help for art transportation and installation — it is way more work than you think!)
Due to Taj’s work taking up the entirety of Parker’s car but the front seats, Taj took a Lyft to the gallery. Separately, Parker and I were en route to the gallery. We stopped at Ace Hardware to pick up some magnets. Then we were off.
Pulling into the School of Education’s parking lot, the anticipation built. Birds shrilled and College Library stood in the background. We carefully pulled out Matumbi’s work from Parker’s trunk. Both of us had never been to the School of Education’s basement, so, for a moment, we carried large canvases into the building, slightly lost as to where to find the elevator. 
Once we were in the gallery, we found that the gallery coordinator left us some installation tools and we could carefully put down Matumbi’s work. Coincidentally, Matumbi arrived at the gallery and helped us finish unloading his art. Carrying the final works of art into the gallery was a dynamic experience. It reiterated the importance of art’s necessity to be seen.
The School of Education’s Gallery is a gallery inside the School of Education with glass walls and onlookers can see the exhibition from great lengths away. Centered on the main level near the cafe, students, faculty, staff, and community members can sit around the gallery and experience the art without directly going into the gallery. For me, it was fun to see students watch us unload the art into the gallery and begin to transform the gallery white walls with Matumbi’s colorful work.
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Taking in the space (left); Deciding on work (right). Photos by Elyza Parker.
Once the work was brought into the gallery, Parker, Matumbi and I played around with the show’s order. We propped the work against the wall and pondered about color. We thought about scale and how we did not want the work to be shown in a “staircase” way. We took turns walking outside of the gallery to see how the work looked from far away. I took pictures on my phone and analyzed them to think about composition.
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Thinking over composition. Photo by Elyza Parker.
Before we could actually install, Parker and I ran back to my house to grab the tools I forgot to pack. While it was a stop we did not anticipate, it was good for all of us to catch our breath and take a break before we installed the show. 
After much deliberation, we began to install. We drilled holes into the wall. We did the annoying math one must do to carefully hang work 60 inches from the floor. We redid it if something looked off. For every piece, we put the leveler on the top of the canvas and waited for the green dot to stay centered. This process was surprisingly fast. We fell into a rhythm like a dancer, helping each other in a choreographic-like manner.
And with that, the show, Camouflage and Cologne, is up! Check it out before Thursday, May 12, 2022, at the School of Education Gallery in Education Hall. The building is open Monday-Friday from 8 a.m. to 5 p.m. Thank you to the University Archives and the UW–Madison Division of the Arts’ Lyman S.V. Judson and Ellen Mackechnie Judson Student Award in the Creative Arts for making this show possible.
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Parker photographing Matumbi, Photo by Sophia Abrams. Matumbi in front of his work, Photo by Elyza Parker. Gallery, Photo by Sophia Abrams.
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happywebdesign · 2 years
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https://www.atelierbontekoevanput.com/
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cultamigurumi · 2 years
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In exchange for looking at this photo of my wonderful Three Headed Puppy Amigurumi, can someone please tag me in any big ol' massive crochet art installations? I want to be wowed, inspired, and so damn jealous! It could be any other fiber art, not only crochet. Thank you in advance
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Chapel at the Dorotheenstädtischer Cemetery in Berlin, Germany has a permanent light installation by artist James Turrell. 
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The altar. 
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You can’t just walk in, but you can visit with a guided tour.
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I guess the family can request whatever color they want.
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Honestly, I was surprised that it was a funeral chapel. 
https://www.sleek-mag.com/article/james-turrell-berlin-cemetery/
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notwiselybuttoowell · 2 years
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…According to moral standards of the Enlightenment, the sophistication of one’s own education and manners should be reflected in the refinement of material possessions. Maintaining a smooth and lush lawn therefore signalled virtue, since it affirmed the essential role that discipline plays in the mastering of life itself.
Beneath the lawn lies a stratification of intricate ideological and ecological problems that over time have become naturalised. In practice, a lawn is hard to maintain. It is perennially thirsty. Fertilisers and weedkillers pollute and poison. Mowers and blowers are costly, noisy and damaging to the environment. And, crucially, lawns are the grave of biodiversity. Wildlife has little to feed on and nowhere to hide.
As climate change provides dramatic proof of our unsustainable relationship with nature, artificial turf has become a popular alternative to grass in countries that now routinely experience severe droughts. However, laying green plastic carpets made of recycled car tires over already compromised ecosystems is far from the kind of solution we need. It is becoming apparent that the lawn is a manifestation of our deep disconnect with nature: the materialisation of our lack of understanding, or care, for the complex relationships woven across plants, soil and our cultural histories.
Just as during the Enlightenment art instilled our love affair with the lawn, today’s artists are determined to untangle the complex aesthetic, ideological and ecological knots that keep our passion for mown grass alive despite mounting evidence that we’d be better off without it.
Martin Roth’s installations of Persian carpets sown with grass seeds question our desire to control nature on the grounds of our cultural conceptions and, ultimately, to disregard the natural ebbs and flows that characterise organic life. In different but related ways, Amsterdam-based artist Diana Scherer grows grass roots into patterned moulds to challenge the nature/culture dichotomy. “What does the term “natural” mean in the Anthropocene?” the artist asks through her installations and photographs. Scherer’s work reveals grasses as complex organisms whose networked existence is defined by time and space in ways that often remain invisible to us.
Pointing to ecological sustainability, in 1997 Lois Weinbergerplanted a meadow of plants that grew freely among disused train tracks in Kassel, Germany. Almost two decades later, Australian artist Linda Tegg grew a meadow of native grasses and other indigenous plants outside the State Library Victoria in Melbourne. Her project attracted wildlife to an otherwise sterile, paved urban area and envisioned a landscape in which ecological and cultural balance are two sides of the same coin.
Artists are also inviting us to rethink our relationship with the lawn from the ground up by prioritising biology over aesthetics. In Revival Field Mel Chin filled a swath of land with grasses and other plants to test their ability to absorb pollutants from soil compromised by industrial activities. In a similar vein, Frances Whitehead’s Slow Cleanup project, which ran between 2008 and 2012 in Chicago, enlisted the help of plants to regenerate the polluted soil around abandoned gas stations. Petroleum and other pollutants can be absorbed by soil microbes attracted to phenols and sugars exuded by the roots of some plants. Rather than simply providing recreational spaces, Whitehead’s new urban gardens actively engaged communities to learn about plants and ecology.
Whether addressing the implicit meaning of lawn aesthetics, foregrounding the complexity of plant life, inviting us to reconsider the importance of biodiversity in our gardens, or educating us about the regenerative properties of plants, artists (often in collaboration with scientists) have sparked our curiosity and, most importantly, demonstrated that our responsibility to care for our gardens extends beyond the wellbeing of our families. The pollinators, the water, the soil, the air, and the invisible networks of fungi and bacteria that support life on this planet matter now more than ever. No garden is too small to make a difference; it’s never too late to rewild.
Thumbnail image of Linda Tegg's Grasslands, more artists are discussed in the link.
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itscolossal · 6 months
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Enchanting Ecosystems Crocheted by Melissa Webb Envelop Interior Spaces with Verdant Fibers
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sheltiechicago · 1 year
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“John Candy,” Houston.
Loose Threads Dangle in Bright, Bold Gradients in HOTTEA’s Kaleidoscopic Installations
Suspended from gallery ceilings or strung across an open courtyard, innumerable lengths of yarn comprise the chromatic installations by artist Eric Rieger, aka HOTTEA (previously). He arranges the soft textiles in concentric circles or wide gradients that stretch from wall to wall, creating vibrant fields of color that shift in composition depending on the perspective
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“Algebra,” SCOPE, Miami
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“Strangers,” Belo Horizonte, Brazil
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“Serape,” Minneapolis
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“Haus,” Minneapolis
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jasonaaronpro · 4 months
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Art and Community: DJ Mary Jane and Boxx The Artist at Art Effect (Dec 10 event)
🎨✨ Don't miss the Art Effect! Join Boxx the Artist and DJ Mary Jane on Dec 10 at the Stutz Building for an unforgettable night of art and music. Local talent, live painting, and more! #ArtEffectIndy #IndyArtScene 🎵��️
In this engaging segment of ‘In The Loop’, we’re thrilled to host two remarkable talents – DJ Mary Jane and Boxx The Artist. They dive into the details of their upcoming event, Art Effect, happening on December 10th at the Stutz Building in Indianapolis. This event is not just a celebration of art and music but a tribute to community spirit and creative entrepreneurship. With 27 vendors, an array…
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lionfloss · 1 year
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Green Love Letter by Masa-San, Fujino, Kanagawa, Japan
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