LuxeLife

Textiles of Frank Lloyd Wright

 

NYC’s The Met Fifth Avenue is currently presenting Frank Lloyd Wright Textiles: The Taliesin Line, 1955–60. The installation runs through April 5, 2020.

 

In 1955, the renowned architect Frank Lloyd Wright launched the first commercial venture of his long and eminent career, designing a line of affordable home products for the general consumer. The designs for the fabrics and wallpapers, based on Wright’s architectural vocabulary and inspired by specific buildings, were featured in a sample book, Schumacher’s Taliesin Line of Decorative Fabrics and Wallpapers Designed by Frank Lloyd Wright (1955). Only 100 copies of the sample book were printed and were available exclusively to authorized dealers.

 

This installation presents the book and nine examples of the fabric it introduced, all from the original line produced by F. Schumacher and Co. In addition to the textiles that reflect the signature Wright aesthetic, the installation also includes two examples of Wright-designed wooden vases that were made in a very limited number and never reached the open market.

 

 

 

source: metmuseum

 

Gunpowder Artist at Cleveland Museum

 

Cai Guo-Qiang: Cuyahoga River Lightning is now open at The Cleveland Museum of Art and runs through September 22, 2019. It features three monumental gunpowder works by Chinese artist Cai Guo-Qiang, known for his explosion events, gunpowder paintings, and installations, all using environmentally friendly material.

 

While Cuyahoga River Lightning: Drawing for the Cleveland Museum of Art (2018) was created especially for the exhibition, the other two exhibited works in monochrome and polychrome gunpowder illustrate the artist’s reflections on the state of our planet, wildlife, and the world’s diminishing natural reserves of fresh water.

 

This exhibition is part of a citywide commemoration of the 50th anniversary of the last Cuyahoga River fire and celebration of the progress made toward clean water for all. The river is famous for having been so polluted that it “caught fire” in 1969. The event helped to spur the environmental movement in the US.

 

 

 

sources: clevelandart, wikipedia

Hockney & Van Gogh in Amsterdam

 

For the first time, the Van Gogh Museum in Amsterdam is bringing two greats together . . . David Hockney and Vincent Van Gogh. Hockney – Van Gogh: The Joy of Nature demonstrates the influence of Van Gogh on Hockney’s work, exploring both artists’ fascination with nature, their use of bright, contrasting colors and their experimentation with perspective.

 

The landscape paintings show clear links with Van Gogh’s landscapes, such as The Harvest (1888), Field with Irises near Arles (1888) and The Garden of Saint Paul’s Hospital (‘Leaf-Fall’) (1889). The stylized vertical lines of the tree trunks in the latter work by Van Gogh are analogous to the repetitive lines in Hockney’s renowned The Arrival of Spring in Woldgate, East Yorkshire in 2011.

 

A multimedia guide, created especially for the exhibition and featuring the voice of David Hockney, takes visitors through the exhibition. In a range of guided tours (available in six languages), museum guides introduce visitors to the links between Van Gogh and Hockney. The exhibition runs through May 26, 2019.

 

 

 

source: vangoghmuseum

Color of the 1960s

 

New York’s Whitney Museum of American Art is set to open Spilling Over: Painting Color. The collection gathers paintings from the 1960s and early 1970s that inventively use bold, saturated, and even hallucinatory color to activate perception. During this period, many artists adopted acrylic paint—a newly available, plastic-based medium—and explored its expansive technical possibilities and wider range of hues. Color Field painters poured paint and stained unprimed canvas, dramatizing painting’s materiality and visual force. Painters associated with Op art deployed pattern, geometric arrangement, and intense color combinations. At the same historical moment, an emerging generation of artists explored color’s capacity to articulate new questions about perception, specifically its relation to race, gender, and the coding of space. The exhibition looks to the divergent ways color can be equally a formal problem and a political statement.

 

The title of the show is taken from a quote by Thompson, who shortly before his death in 1966 said, “I paint many paintings that tell me slowly that I have something inside of me that is just bursting, twisting, sticking, spilling over to get out. Out into souls and mouths and eyes that have never seen before.” Spilling Over: Painting Color demonstrates why and how painting could still matter for artists who wanted to see anew. The retrospective opens March 29 and runs through the summer.

 

 

 

source: whitney

World’s Largest Permanent Digital Art Projection

 

Chicago’s Art on theMART is the largest permanent digital art projection in the world, projecting contemporary artwork across the 2.5 acre river-façade of theMART. theMART (formerly The Merchandise Mart) is the largest privately held commercial building in the United States. It encompasses 4.2 million gross square feet, spans two city blocks, rises 25 stories, and is visited by an average of 30,000 people each business day.

 

Art on theMART’s projections are visible to the public from Wacker Dr. and along the Chicago Riverwalk two hours a night (7 – 9pm), five days a week (Wednesday – Sunday), for ten months of the year (March – December). The program content rotates every season.

 

Art on theMART launched its inaugural program on September 29, 2018, featuring commissioned works by four renowned contemporary artists, Zheng Chongbin, Jason Salavon, Diana Thater and Jan Tichy, with interstitial visuals by Obscura Digital, the creators of Art on theMART’s unique software and content display platform. “The inaugural program of Art on theMART was an invitation to artists and organizations from around the world to ideate what this platform can become,” said Art on theMART Executive Director Cynthia Noble. “We look forward to seeing what artists have envisioned for the 2019 program, and are thrilled to actualize many of those ideas and bring them to life on a grand, public scale.” The new season opens March 2019.

 

 

 

source: artonthemart

Living Coral: Pantone’s Color of the Year

 

For 20 years, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home furnishings, and industrial design, as well as product, packaging, and graphic design.

 

For 2019, Pantone has chosen Living Coral, an animating and life-affirming coral hue with a golden undertone that energizes and enlivens with a softer edge. Vibrant, yet mellow Living Coral aims to provide comfort and buoyancy in our continually shifting environment. Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media.

 

Leatrice Eiseman, Executive Director of the Pantone Color Institute explains the choice, “Color is an equalizing lens through which we experience our natural and digital realities and this is particularly true for Living Coral. With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial Pantone Living Coral hit a responsive chord.”

 

The Color of the Year selection process requires thoughtful consideration and trend analysis. To arrive at the selection each year, Pantone’s color experts at the Pantone Color Institute comb the world looking for new color influences. This can include the entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations, as well as new lifestyles, playstyles, and socio-economic conditions. Influences may also stem from new technologies, materials, textures, and effects that impact color, relevant social media platforms and even upcoming sporting events that capture worldwide attention.

 

 

 

source: pantone

Elowan, the Robot Plant

 

Elowan is a cybernetic lifeform, a plant in direct dialogue with a machine. Using its own internal electrical signals, the plant is interfaced with a robotic extension that drives it toward light. Plants are electrically active systems. They get bio-electrochemically excited and conduct these signals between tissues and organs. Such electrical signals are produced in response to changes in light, gravity, mechanical stimulation, temperature, wounding, and other environmental conditions.

 

The enduring evolutionary processes change the traits of an organism based on its fitness in the environment. In recent history, humans domesticated certain plants, selecting the desired species based on specific traits. A few became house plants, while others were made fit for agricultural practice. From natural habitats to micro-climates, the environments for these plants have significantly altered. As humans, we rely on technological augmentations to tune our fitness to the environment. However, the acceleration of evolution through technology needs to move from a human-centric to a holistic, nature-centric view. Elowan is an attempt to demonstrate what augmentation of nature could mean. Elowan’s robotic base is a new symbiotic association with a plant. The agency of movement rests with the plant based on its own bio-electrochemical signals, the language interfaced here with the artificial world.

 

These in turn trigger physiological variations such as elongation growth, respiration, and moisture absorption. In this experimental setup, electrodes are inserted into the regions of interest (stems and ground, leaf and ground). The weak signals are then amplified and sent to the robot to trigger movements to respective directions. Such symbiotic interplay with the artificial could be extended further with exogenous extensions that provide nutrition, growth frameworks, and new defense mechanisms.

 

source: mit

Yelland’s California Landscapes

 

Sacramento’s Crocker Art is currently exhibiting Raymond Dabb Yelland: California Landscape Painter. This is the first exhibition in more than 50 years to celebrate the life and work of this important 19th-century artist. From Yelland’s arrival in Oakland in 1873 until his death in 1900, he rendered beautiful views of West Coast scenery, incorporating changing fashions of landscape art into paintings that retain credibility as depictions of real places.

 

Born in England in 1948, Yelland was esteemed both for his career as a landscape painter and for his dedication to teaching. The landscapes in this exhibition illustrate his transition from the Hudson River School style of painting, which focused on topographically recognizable scenes painted with meticulous, albeit enhanced, realism, to a more loosely painted, evocative aesthetic popularized by the French Barbizon painters. Many of the paintings in the exhibition glow in the gentle radiance of late afternoon or evening, showcasing Yelland’s keen ability to capture light. These landscapes in particular manifest the artist’s familiarity with Transcendentalist ideas and suggest the spirituality he believed was inherent to California nature.

 

Coast scenes were only one aspect of Yelland’s repertoire. His trips to Oregon and Yosemite inspired depictions of mountain scenery that competed with similar paintings by Thomas Hill and Albert Bierstadt. Although out of fashion in the eastern United States by 1880, paintings of grand subjects like these were still appreciated in California … and these years later this remains truer than ever. The exhibit is on view until January 27, 2019.

 

 

 

 

source: crockerart

Bionic Mushrooms

 

Researchers at Stevens Institute of Technology have taken an ordinary white button mushroom from a grocery store and made it bionic, supercharging it with 3D-printed clusters of cyanobacteria that generate electricity and swirls of graphene nanoribbons that can collect the current.

 

The hybrids are part of a broader effort to better improve our understanding of cells biological machinery and how to use those intricate molecular gears and levers to fabricate new technologies and useful systems for defense, healthcare and the environment.

 

Cyanobacteria’s ability to produce electricity is well known in bioengineering circles. However, researchers have been limited in using these microbes in bioengineered systems because cyanobacteria do not survive long on artificial bio-compatible surfaces. The team wondered if white button mushrooms, which naturally host a rich microbiota but not cyanobacteria specifically, could provide the right environment – nutrients, moisture, pH and temperature — for the cyanobacteria to produce electricity for a longer period.

 

Using a robotic arm-based 3D printer,  they printed “electronic ink” containing the graphene nanoribbons. This printed branched network serves as an electricity-collecting network atop the mushroom’s cap by acting like a nano-probe – to access bio-electrons generated inside the cyanobacterial cells.

 

Next, they printed a “bio-ink” containing cyanobacteria onto the mushroom’s cap in a spiral pattern intersecting with the electronic ink at multiple contact points. At these locations, electrons could transfer through the outer membranes of the cyanobacteria to the conductive network of graphene nanoribbons. Shining a light on the mushrooms activated cyanobacterial photosynthesis, generating a photocurrent.

 

In addition to the cyanobacteria living longer in a state of engineered symbiosis, the research team showed that the amount of electricity these bacteria produce can vary depending on the density and alignment with which they are packed, such that the more densely packed together they are, the more electricity they produce. With 3D printing, it was possible to assemble them so as to boost their electricity-producing activity eight-fold more than the casted cyanobacteria using a laboratory pipette.

 

Recently, a few researchers have 3D printed bacterial cells in different spatial geometrical patterns, but this team is not only the first to pattern it to augment their electricity-generating behavior but also integrate it to develop a functional bionic architecture. The team imagines enormous opportunities for next-generation bio-hybrid applications. Some bacteria can glow, while others sense toxins or produce fuel. By seamlessly integrating these microbes with nanomaterials, they could potentially realize many other amazing designer bio-hybrids for the environment, defense, healthcare and many other fields.

 

source: Stevens Institute of Technology

Trove of Over 130,000 Warhol Photographic Exposures

 

Photographs by Andy Warhol that have never before been displayed publicly are at the heart of the exhibition Contact Warhol: Photography Without End, which draws on a trove of over 130,000 photographic exposures that Stanford University’s Cantor Arts Center acquired from the Andy Warhol Foundation for the Visual Arts in 2014. The collection of 3,600 contact sheets and corresponding negatives represent the complete range of Warhol’s black-and-white photographic practice from 1976 until his unexpected death in 1987.

 

The exhibition brings to life Warhol’s many interactions with the social and celebrity elite of his time with portraits of stars such as Michael Jackson, Liza Minnelli, and Dolly Parton; younger sensations in the art world such as Keith Haring and Jean-Michel Basquiat; and political stars, including Nancy Reagan, Maria Shriver, and Arnold Schwarzenegger. Contact Warhol, curated by Stanford Professors Richard Meyer and Peggy Phelan, traces Warhol’s photography from the most fundamental level of the contact sheet to the most fully developed silkscreen paintings. The collection is on display now through January 6, 2019.

 

 

 

 

 

 

 

 

source: stanford