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Fascinating layers of patterned kanji. "Shadow Play is Fun!" illustration by Qian Qian. From the New Graphic Design In China compilation. Photo courtesy of Qian Qian and 3030 Press.
landscapes A 4
A group exhibition of art works that are mathematical, computational, or generative in nature
The Age of Optimization (part 1)
an is no longer the measure of all things. The dimensions of human endeavor have expanded from bodily cubits to incomprehensibly tiny angstroms and incomprehensibly large light years. Architecture, comfortably situated in the middle of this spectrum, and rarely departing from human dimension by more than one or two orders of magnitude, has correspondingly lost authority. — From “Digital Ground” by Malcolm McCullough
In 1567, Nuremburg goldsmith Hans Lencker published his illustrated treatise Perspectiva Literaria, one of three remarkable studies in perspective published in Bavaria at around the same time (I have already made mention here of Stoer’s Geometria et Perspectiva (Augsburg, 1567) and Jamnitzer’s Perspectiva Corporum Regularium (Nuremburg, 1568).
Untitled, 2009 Oil on Canvas, 70" x 50"
Ben Grasso b. 1979, Cleveland, Ohio. Lives and works in New York.
Tuesday, 9 June 2009
about me
my name is mathew evans im from cardgan in wales in the uk my make my own music my bands called polygone empire im a artist and draw evething i see and dont see i love to do things with hand and make things
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Niterói Contemporary Art Museum
Inside MAC
The Niterói Contemporary Art Museum (Museu de Arte Contemporânea de Niterói — MAC) is situated in the city of Niterói, Rio de Janeiro, Brazil, and is one of the city’s main landmarks. Designed by Oscar Niemeyer with the assistance of structural engineer Bruno Contarini, who had worked with Niemeyer on earlier projects, the MAC-Niterói is 16 meters high; its cupola has a diameter of 50 meters with three floors. The museum projects itself over Boa Viagem (“Bon Voyage,” “Good Journey”), the 817-square meter reflecting pool that surrounds the cylindrical base “like a flower,” in the words of Niemeyer. A wide access slope leads to a Hall of Expositions, which has a capacity for sixty people. Two doors lead to the viewing gallery, through which can be seen the Guanabara Bay, Rio de Janeiro, and Sugarloaf Mountain. The saucer-shaped modernist structure, which has been likened to a UFO, is set on a cliffside, at the bottom of which is a beach. In the film Oscar Niemeyer, an architect committed to his century (Marc Henri Wajnberg, 2000), Niemeyer is seen flying over Rio de Janeiro in a UFO, which then lands on the site, suggesting this as the origin of the museum.
