In one of his most ambitious book sculptures to date artist Guy Laramée (previously here and here) created an homage to the printed Encyclopedia Britannica by transforming a 24-volume set into a sloping mountainous landscape. Titled Adieu, Laramée says the work was inspired in part by Encyclopedia Britannica’s announcement that after 244 years the would cease printing its iconic multi-volume book sets.
Circle of Life
The genome of Gloeobacter violaceus, drawn as a gorgeous circular plot by visionary biological data artist Martin Krzywinski (from this paper). Within its concentric layers of information are buried genome composition, relation to other species, and overall genetic structure. It’s also very pretty.
Gloeobacter is an ancient photosynthetic bacterium that branched off the rest of the photosynthetic tree (including cyanobacteria and, later, plants) and has its own strange way of eating sunlight.
Krzywinski’s informative and beautiful data visualizations are featured at Wired Science, check ‘em out: Circle of Life: The Beautiful New Way to Visualize Biological Data
2013.12.22 Sun - Harry’s model
a device for a performance space
佐藤 壮馬 soma sato
Kinetic art piece by Benjamin Muzzin creates 3D light sculptures using a flat screen monitor spinning at high speeds.
Julie Mecoli’s “Dark Matter” is a series of artworks inspired by the University of Queensland Pitch Drop Experiment (if you want to seriously geek out about this, our story on the experiment is right here).
Mecoli’s pieces are made of bitumen. They start out looking like solids and slooooowly reveal their true liquid nature. Check out some of her other work here.
The little-known art of beloved physicist Richard Feynman, born on May 11, 1918.
Conrad Shawcross: Slow Arc Inside A Cube IV
This work loses so much in still photos. It would however look amazing in GIFs. I regret not thinking that when I was in the Hayward Gallery.
Work by Mary Iverson
From the artist statement:
Mary’s prints and paintings resonate with so many other things that I am looking at online: data visualizations and information graphics, Modernist painting, and resurgences of photo-realistic and illustrative painting as well. I am particularly struck by the relationships in these images between the natural and the artificial, the figurative and the abstract, and the balance of thought and feeling. This balance is reminiscent of my own feelings about the Internet and the “wildness” of its networks. It seems perfectly appropriate that I would first see these images on the web instead of in the more controlled space of a gallery.
Iverson’s shipping containers can be seen as metonymic stand-ins for a whole system of distribution for objects that we deal with every day. These paintings, until recently, left us with little clue of what they might contain. They are like scientific conceptual “black-boxes” which are put into place to sidestep our actual material understanding. We might see these containers on a dock or train and have only a vague sense of what they may contain or how those materials might be used. This parallels directly with the distribution of data on the net. The analog and digital worlds of things echo each other.