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The thing that Oakley Frogskins are best at? Covering black eyes. As you can tell, I'm super excited about that.
Completed in 1924, Linz’s St. Mary’s Cathedral has capacity for 17,000 persons in the above-ground portion and another 3,000 in the lower church (crypt), which makes it the largest church in Austria. The highest point of the interior space is 44 meters high; the top of the steeple is 134.8 meters high. The structure’s exterior length is 130 meters. In his sound installation 100000 M³ BEWEGTE LUFT (100,000 m3 of Moving Air), Sam Auinger takes its gigantic spatial volume as a “model & experiential space serving as a setting for an inquiry into the self and the community in the 21st century.” The setting of the sun means the onset here of an extraordinary interplay of sound, light and architecture that will last all night until the break of day. The highpoint will be a 1½-hour collaborative sound performance by Sam Auinger (electronics), David Moss (vocals) and Hannes Strobl (electric double bass).
Credit: Robertba
Alejandro Revilla Pérez
Alejandro Revilla Pérez was captivated by photography since he was about nine years old. It was during his time studying media and communication at the Universidad Iberoamericana in Mexico City that he began taking classes and learning to use photography as a means of expression. Though people might think of communication—often associated with journalism, advertising, and broadcasting—as distinct from fine art, the two are fundamentally linked. Both attempt to capture some aspect of reality, form an understanding of it, and express that vision in a meaningful, compelling way. For Revilla, who has experience in broadcast journalism, radio, and television, images and sounds are not only means of communication but the artistic tools by which we come to understand our environment and the life that surrounds us.
The first step in communicating is determining your subject. For Revilla Pérez , observation is key. When shooting, he usually allows his theme to emerge from his surroundings. He finds his shots in public places—parks, restaurants, streets, beaches, churches, train stations—but also in quiet, solitary places like a bathtub. It takes an observant eye to find the extraordinary in the seemingly mundane. Revilla Pérez's images capture the fleeting beauty of the everyday: the flight of a gang of pigeons, a young boy pausing in thought before churning waters, the delicate wingspans of seagulls in air … details that would go unnoticed were it not for the framing of the camera lens.
Revilla Pérez is fascinated by photography’s ability to both capture an instant and to manipulate it. It is in this sense that photography becomes truly communicative and not merely representational. A moment in time becomes something larger than the sum of its parts.
Focusing closely on these little facets of life allows us to gain a sense of ourselves and of the places we inhabit. Revilla Pérez is currently working on a project about his hometown of Aguascalientes that shows “what the town is at the moment, what the people are now and what we have become.” He considers this project “a document that shows a contemporary Aguascalientes of diverse customs and identities.”
Alejandro Revilla Pérez is driven by a humble desire to document the world around him, to explore human expression and relations, and to create work that is personally meaningful. Luckily for us, he is an expert communicator, and the meaning he finds in his subjects is a message his audience of viewers can hear and appreciate.
Alejandro Revilla Pérez currently resides in Aguascalientes, Mexico. To see more of his work, visit www.binderdondat.com.
The artist group Time`s Up gives us an insight of their work and preparations for the Ars Electronica Festival.
Credit: Vanessa Graf
Alejandro Revilla Pérez
Alejandro Revilla Pérez was captivated by photography since he was about nine years old. It was during his time studying media and communication at the Universidad Iberoamericana in Mexico City that he began taking classes and learning to use photography as a means of expression. Though people might think of communication—often associated with journalism, advertising, and broadcasting—as distinct from fine art, the two are fundamentally linked. Both attempt to capture some aspect of reality, form an understanding of it, and express that vision in a meaningful, compelling way. For Revilla, who has experience in broadcast journalism, radio, and television, images and sounds are not only means of communication but the artistic tools by which we come to understand our environment and the life that surrounds us.
The first step in communicating is determining your subject. For Revilla Pérez , observation is key. When shooting, he usually allows his theme to emerge from his surroundings. He finds his shots in public places—parks, restaurants, streets, beaches, churches, train stations—but also in quiet, solitary places like a bathtub. It takes an observant eye to find the extraordinary in the seemingly mundane. Revilla Pérez's images capture the fleeting beauty of the everyday: the flight of a gang of pigeons, a young boy pausing in thought before churning waters, the delicate wingspans of seagulls in air … details that would go unnoticed were it not for the framing of the camera lens.
Revilla Pérez is fascinated by photography’s ability to both capture an instant and to manipulate it. It is in this sense that photography becomes truly communicative and not merely representational. A moment in time becomes something larger than the sum of its parts.
Focusing closely on these little facets of life allows us to gain a sense of ourselves and of the places we inhabit. Revilla Pérez is currently working on a project about his hometown of Aguascalientes that shows “what the town is at the moment, what the people are now and what we have become.” He considers this project “a document that shows a contemporary Aguascalientes of diverse customs and identities.”
Alejandro Revilla Pérez is driven by a humble desire to document the world around him, to explore human expression and relations, and to create work that is personally meaningful. Luckily for us, he is an expert communicator, and the meaning he finds in his subjects is a message his audience of viewers can hear and appreciate.
Alejandro Revilla Pérez currently resides in Aguascalientes, Mexico. To see more of his work, visit www.binderdondat.com.
Seiko Mikami’s large installation “Desire of Codes” demonstrates how the boundaries between the body of data in the virtual world and the physical body in the real world are becoming blurred in the context of Information Society.
credit: rubra
The Linz artist’s collective Time’s Up, this year’s Featured Artist, transforms the spaces of the LENTOS Kunstmuseum into an interactive situation, in Turnton Docklands. We write the year 2047. The space itself becomes the exhibition, which wants to be touched, searched and worked out. Turnton Docklands offers a mixture of environmental dystrophy, corporate ideals and a scary future scenario.
Credit: florian voggeneder
Photo showing Beatriz Ferreyra at the opening of Featured Artist 2018: Hidden Alliances – Elisabeth Schimana and the IMAfiction series / Elisabeth Schimana (AT)
Credit: tom mesic
(or eyes)
I often think of how lucky I am to be a young(ish), able bodied male, raised by awesome parents in Canadastan. It's meant that my eyesight has only come into danger through my own folly and adventures.
1 canon 430EX @ 1/8 and 105mm fired straight at me from the right, triggered with elinchrom skyports.
We recruited Natalie Lanese to share her work in New York's tiniest gallery after seeing her extra large installation work at Art Connects New York.
She's embraced the linear and the small scale and created a custom piece for our lightboxes. The show is called "Break the Ton" and captures a new American hope.
Here's a bit from the artist:
I'm proud to announce the opening of a tiny show about Cleveland, my hometown.
Two long and skinny backlit digital collages: one is a muscle car racing at you with steel factories smoking in the distance; the other is a series of portraits of foreclosed homes in Cleveland, in time becoming urban farmland.
Break the Ton refers to driving over 100 mph.
These collages share a brief narrative of the past, present, and future of Cleveland’s landscape: the assuredness of the good old days, empty homes a product of dying industry and a shrinking city, and the future of my hometown as a model and leader in urban farming.
SHOW UP thru April 4, 2011
We recruited Natalie Lanese to share her work in New York's tiniest gallery after seeing her extra large installation work at Art Connects New York.
She's embraced the linear and the small scale and created a custom piece for our lightboxes. The show is called "Break the Ton" and captures a new American hope.
Here's a bit from the artist:
I'm proud to announce the opening of a tiny show about Cleveland, my hometown.
Two long and skinny backlit digital collages: one is a muscle car racing at you with steel factories smoking in the distance; the other is a series of portraits of foreclosed homes in Cleveland, in time becoming urban farmland.
Break the Ton refers to driving over 100 mph.
These collages share a brief narrative of the past, present, and future of Cleveland’s landscape: the assuredness of the good old days, empty homes a product of dying industry and a shrinking city, and the future of my hometown as a model and leader in urban farming.
SHOW UP thru April 4, 2011
What a wonderful old worn conch shell that shows the secrets of the heart and interior!
Psalms 34:18 KJV
The LORD is nigh unto them that are of a broken heart; and saveth such as be of a contrite spirit.
See my art in a slideshow and a bio featured here:
www.worshiponpurpose.com/2010/05/17/featuredartist-encore...
Portrait is a series of portraits that capture the identity of a movie. Custom software detects faces from every 24 frames of a movie, and creates an average face of all found faces. The composite image reflects the main characters and the visual mood of the movie.
credit: Shinseungback Kimyonghun
Photo showing Gerfried Stocker at the opening of Featured Artist 2018: Hidden Alliances – Elisabeth Schimana and the IMAfiction series / Elisabeth Schimana (AT)
Credit: tom mesic
Photo credit: Lara Jean Webster
Sponsored by The Gateway & KSL.
Jonas helped Utah Foster Care Foundation initiate the first Chalk Art Festival in 2003. Since then, he has donated countless hours of his time to benefit Utah’s children in foster care. Street painting is a hobby and Jonas plans for weeks before laying out his masterpieces.
our Clif Bar group order just came in, and in case you didn't already know... these are tasty.
my only regret is that i hadn't known of the tastiness of the clif shot blocks prior to the order, otherwise i would have been ALL OVER those. OMG... omg.
Pitted and worn old conch shell macro.
See my art in a slideshow and a bio featured here:
www.worshiponpurpose.com/2010/05/17/featuredartist-encore...
every day it becomes more and more apparent that in order to ride every day for an entire year, there is a two bike minimum requirement.
on friday i blew (the shit) out of my 3 week old Totems while setting steeze records down CBC and Ned's, so tomorrow i'll be dropping them off to be sent back to Norco for service that will "hopefully" be covered under warranty. i put hopefully in quotations because that is what i was told at the bike shop i got them from.
good thing i have a bike for after school dirt jump specials to ride in the meantime.
another thing that becomes more apparent everyday? brakes are not your friend. friday's run down Ned's was the smoothest ever, and it was all thanks to staying off the brakes and just picking the freshest lines (and having more than 4" of travel might have also had something to do with it).
In the large-scale, walk-through installations she has created since the 1980s, Seiko Mikami (JP) deals with linkages between the human body and Information Society. In the ‘90s, she turned her attention increasingly to interactive works into which she integrated human perception. These include “Molecular Informatics,” an eye-tracking project she carried out in 1996 at the Canon ARTLAB, and a 1997 installation at ICC in Tokyo having to do with the human sense of hearing and sounds from within the body.
Photo showing, from left to right: Stella Rollig (Artistic Director Lentos Kunstmuseum Linz), Gerfried Stocker (Artistic Director Ars Electronica) and Andreas Broeckmann (Art historian curator).
credit: rubra
Photo showing Hemma Schmutz at the opening of Featured Artist 2018: Hidden Alliances – Elisabeth Schimana and the IMAfiction series / Elisabeth Schimana (AT).
Beneath Hemma you can also see Doris Lang-Mayerhofer, Elisabeth Schimana and Gerfried Stocker.
Credit: tom mesic
Photo showing Doris Lang-Mayerhofer at the opening of Featured Artist 2018: Hidden Alliances – Elisabeth Schimana and the IMAfiction series / Elisabeth Schimana (AT)
Credit: tom mesic
The artist group Time`s Up gives us an insight of their work and preparations for the Ars Electronica Festival.
Credit: Vanessa Graf
The artist group Time`s Up gives us an insight of their work and preparations for the Ars Electronica Festival.
Credit: Vanessa Graf