The photographs of Matthew Monteith‘s series Guardare turn the subject back on to the viewer. His images depict people explaining, gazing at, and otherwise admiring art. When I first heard about the series I was prepared to be annoyed with the pedantic gestures and expressions of people acting smarter than thou. However, the photographs are surprisingly endearing. People are visibly moved, sincerely engaged with the work often just out of frame. Guardare perhaps suggests that the art in a gallery doesn’t happen with the work but between two viewers discussing it.
Artist Mark Reigelman‘s new site-specific installation is aptly titled Reading Nest. The structure was created just outside the Cleveland Public Library using thousands of reclaimed wood boards. Reading Nest acts as an alternative setting for learning and growth. In his statement Reigleman says of the installation’s symbolism:
“For centuries objects in nature have been associated with knowledge and wisdom. Trees of enlightenment and scholarly owls have been particularly prominent in this history of mythological objects of knowledge. The Reading Nest is a visual intermediary between forest and fowl. It symbolizes growth, community and knowledge while continuing to embody mythical roots.” [via]
Grooming is essential to the care of any dog. These images taken by pet photographer Ren Netherland are from a dog grooming competition that take the necessity to a strange place. The fur of these dogs are cut and colored so as to resemble pop-culture characters, scenes, and recognizable images. Given, the creativity that goes into grooming these canines is surprising (but perhaps better redirected). What do you think – is this extreme grooming just silly or inhumane?
Artist Anastassia Elias is perhaps best known for a a simple but intricate style of artwork. She creates tiny dioramas inside toilet paper rolls that come to life upon shining a light through it. Elias delicately cuts each scene from paper and places it inside the roll. Though each diorama contains a great amount of detail, Elias has been able to create an extensive amount of work in the series. In fact, she recently released a book documenting her paper roll work between 2009 and 2012. [via]
The Tumblog’s premise is simple and title explains it well: Great Art in Ugly Rooms. Masterpieces are brought out of the museums and galleries then digitally moved into rooms ranging from boring to horrid. While nothing changes about the work itself, something is certainly different. Perhaps it underscores the oft underestimated importance of a stark gallery setting. Maybe it reveals that beauty is superfluous in the makeup of a masterpiece. It can be that the juxtaposition between the ultra high priced pieces and their economically humble setting is in itself jarring. Regardless, this initially funny blog presents some serious questions about art and its context.
Perhaps you may be familiar with your state motto or state bird. However, what about your state amphibian or state grain? America’s fifty states have many official state insignia, some more obscure than others. Artist and designer Julian Montague highlights many of these for all of the states in the union in his new series State of America. While some state insignia may be predictable – Idaho’s official state food is the potato – others are bit stranger such as Georgia’s official state fossil: shark teeth.
Light painting or light illustration has been a trending technique of late. Darren Pearson‘s skeletal pieces, though, are much more complex than most of the work we often seem to come across. While the camera shutter is open Pearson moves a light much like a brush which leaves its trail on the resulting photograph. The image appears to take up physical space and leave a haunting glow on its surroundings. Each piece also interacts with the surrounding scene, the California landscape which figures largely in much of Pearson’s work. [via]
This is a huge disco ball. The hugest, actually. Michel De Broin‘s newest site specific installation One Thousand Speculations was created for Toronoto’s Luminato Festival. The piece consists of disco ball over 25 feet in diameter hoisted 80 feet into the air, spun and spotlit each night of the festival. The ‘thousand’ of the piece’s title likely refers to the ball’s mirrors – a thousand of which reflect on David Pecaut Square below. Each of the individual mirrors reflect a large swath of light that travels over the yards and buildings each evening. The surrounds, perhaps unavoidably, seem to feel just a little more lighthearted.