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(Click on the image to enlarge)
Sun Boxes in Rhyolite Nevada is a twenty speaker installation powered by the sun via solar panels. There is a different loop set to play a guitar note in each box continuously. These guitar notes collectively make a Bb chord. Because the loops are different in length, once the piece begins they continually overlap and the piece slowly evolves over time. View video
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Forest Floor Still Life by Otto Marseus Van Schrieck. Otto was a Dutch painter best known for mysterious dark close-ups of the live undergrowth of forest floors that give detailed views of
wild flowers, weeds, thistles, and mushrooms, lives of insects.
Even though it is not really a still-life, I think this painting is particularly amazing because of how still it is.
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Signe Parsegel land art.
Forest Art Wisconsin.
Michel de Broin “Superficial”
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Irina paints on old wood boards, closet and wardrobe doors, metal pieces or simply on rocks she finds. Irina’s paintings remind of Russian Orthodox icons, Avant-garde 1910-1920 and Russian folk art. She paints portraits of Russian writers, happy couples, books, subjects and objects from villages and dacha life. Irina says: The objects I paint on are just means of expression but their past affects my paintings. I find them in the garbage ...or they find me.
Fyodor Dostoyevsky, portrait. 2004. Oil on reclaimed wood. From “Russian Writers” series.
Requiem. Series of portraits. 2000-2001. Oil on wood
Nikolai Semyonovish Leskov, portrait. 2004 from “Russian Writers” series.
Sugar. 2002. Oil on found metal.
Beloved vegetable garden. 1995. Oil on wood.
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Sculpture by Michel de Broin made from discarded batteries.
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“Biopsy” photograph series by Yedda Morrison
This work takes as its starting point the human desire for permanence, a desire made acute by the inevitability of our passing. If photography itself is a manifestation of this desire, our attempt to arrest or “still life,” plastic plants and flowers are a low-rent corollary. Suspended mid bloom and scattered throughout graveyards and empty parlors, they offer the promise of perennial youth, an eternal flowering, life ever after. Fake flowers both immortalize and render static the natural world. As such, they articulate a crisis between beauty and horror, desire and loss, artificiality and “the natural.” In our fall from the “pre” or “no” time of Eden, we have landed squarely in the artificial garden, the stilled remains of paradise. These sights of frozen or no time and the scale, duration and technology that make them possible, work to articulate a world where boundaries between the real and the artificial are increasingly blurred. If, in our contemporary moment, we are experiencing a gradual substitution of the machine for the body/mind, the image for the thing, and the simulation of the environment for the environment itself, then perhaps we are realizing Robert Smithson’s “frozen actuality,” the hallucinatory disjunction where “nothing is known but the impenetrable surfaces,” where “the artificial ingenuity of time allows no return to nature.”
“I have been trying to visually find a means to express the turbulence, sadness and strange beauty that comes with personal struggles, relationships and dealing with one’s own personal history in a more poetic way. Whenever something arises in my life that is profound, I find that nature always mimics it, and some of the shots I take grow into more rich personal symbols as time advances. I am interested in this use of image as a sort of personal time-capsule of my own struggles with anxiety, self-doubt and frustration” - Allison
November Meteors
Mare Humorum. From Study made in 1875.
Sun as Revealed by Telescope and Spectroscope
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White Wolf in Mossland, chromogenic print
Canadian artist Adam Makarenko creates series of dioramas which are then photographed with altered perspective. Influenced by science and nature, Adam creates photographs concerned with human manipulation of nature.
Pursuit, chromogenic print
Cessna, archival pigment print
HWY Drive, chromogenic print
There is a raven on our way down the northern highway
Adam grew up in Atikokan, Northern Ontario, where the caribou once roamed. “When Adam was growing up there, Atikokan was coated in red ore dust, and boasted two of the largest ore mines in the world. It was nestled in the heart of the Northern Ontario wilderness, isolated from the rest of the world. In 1980 the mines shut down, and it was at that point when Adam began to nurture his artistic ideas by exploring fields of endless moss, muddy swamps, thick boreal forests, and abandoned open pit mines” - from website.
CATEGORIES:Spring Beauty
1943
Found on EMPIRICISM, new blog aimed at keeping track of all things beautiful, innovative or interesting.
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I actually do not remember where I found this post card or who made it but I really love it.
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Ivan Shishkin. Winter. 1890. Oil on canvas.
(Winter, detail with bird)
Ivan Ivanovich Shishkin born in 1832, was a Russian painter who is known for his realistic forest landscapes, paintings of wildlife, grasses and especially pine trees. I like the tiny details in his paintings. Click on the images to see in full resolution.
Ivan Shishkin. The Rye Field, 1878. Oil on Canvas,
(The Rye Field, detail with grasses)
(The Rye Field, detail with birds)
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Victorial from Tel Aviv, Israel and originally from Kiev, Ukraine makes these beautiful, delicate mesmerizing photographs of the natural world with different vintage film cameras.
“And he retraced his wanderings in those deep old lanes that began from the common road and went away towards the unknown, climbing steep hills, and piercing the woods of shadows, and dipping down into valleys that seemed virgin, unexplored, secret for the foot of man. He entered such a lane not knowing where it might bring him, hoping he had found the way to fairyland, to the woods beyond the world, to that vague territory that haunts all the dreams of a boy.”
Arthur Machen
Flower illustrations from ” Plants - 2400 copyright-Free Illustrations of flowers, Fruits and Vegetables”
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TREE
Graphite on panel, 2007
18” x 24”
WINTER TREE
Graphite on panel, 2007
18” x 24”
- By Anastasia Ugorskaya
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Listen by Hanna Konola woodblock prints.
CATEGORIES:One of my favorite posters by Charley Harper - The Rocky Mountains.
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Images from the book Heavenly Visions:Shaker Gift Drawings and Gift Songs.
Walton Ford
Borodino, 2009
watercolor, gouache, pencil, and ink on paper
Walton Ford
The Island, 2009
watercolor, gouache, pencil, and ink on paper
New paintings by Walton Ford at Paul Kasmin Gallery.
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Lichen, 600 Years
Deborah Feilier: “Silently watching bees amongst lavender, snowflakes fall against the sky, lines eroded by water over mud or stalactites formed below foot are, for me, moments of awe.“Silence gives us the opportunity to experience a new kind of sensibility, it gives us another, better, opportunity for contemplation: experience itself.” Herman de vries(1)In making visual equivalents for this elusive experience of silent watching, I appropriate lines from the outside world - something in opposition to myself - to create a still and contemplative personal space. I am driven by my interests in the interface of different disciplines - science, art, psychology, language and thought, geology - and I am conscious of their various strands looping in and out of my work “
River Crossing
” Whilst the repetition of line is governed by underlying structures, such as the shadows cast by the arc of the sun, or the growth rate of lichen, the painting is more to do with the experience of looking, rather than a literal representation. [....] I am interested in connections with traditional Chinese landscape painting and the romantic works of Casper David Friedrich in expressing ideas of experience and the central role of nature in our lives. Shirazeh Houshiary, Michael Landy’s “Nourishment” series and Agnes Martin use the fragile line to create stillness in work that is both intensely personal whilst speaking of collective experience. Edwina Leapman’s paintings are of particular interest – for her programmatic application of paint, as well as her shared interest in Taoist themes of discovery and respect for the natural world”
Frozen Time
Involuntary Parks by Caitlin Parker.
“The continent’s imperiled rims therefore become a new kind of landscape, the Involuntary Parks. They are not representations of untouched nature, but of vengeful nature, of natural processes reasserting themselves in areas of political and technological collapse. An embarrassment during the twentieth century, Involuntary Parks could become a somber necessity during the twenty-first.” —Bruce Sterling
Laurie Sermos’ photographs deal with the visible intersection of natural and created environments. Within these modern landscape images, nature or constructed environments of nature are represented as places to be considered and looked at. The environments photographed are often places built with an intended functionality. However through the act of photography, we are able to pause and engage with these environments in a way that allows for a different kind of reflection.
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