“The fence has always been a tool in the vocabulary of political landscaping and evokes associations with words like ‘border,’ ‘security,’ and ‘neighbor,’ which are connected to the current global political environment,”
“But what’s important to remember is that while barriers have been used to divide us, as humans we are all the same. Some are more privileged than others, but with that privilege comes a responsibility to do more,”
New York Public Art Fund 40th Anniversary Celebrations.
Good Fences Make Good Neighbors will be on view October 12, 2017 – February 11, 2018 at sites throughout New York City.
“Endless garlands of flowers curled around the borders of my note pads when I was a school girl. And thousands of roses were cut out from my mother’s gardening books. At the Academy of Arts, flowers as large as life were painted on my canvasses. There were always flowers. They flourished in the self-portraits of the eighties and grew bigger in the flower wallpapers made in the nineties.” Margriet Smulders is a Dutch photographer of floral still lifes. She attended the Radboud University Nijmegen from 1974 to 1983 and the Academy of Arts in Arnhem from 1979 to 1985. Many thanks to arpeggia for introducing us Margriet Smulders on the first Monday of 2013 :)
A closer look at British artist Tim Knowles’ series of drawings produced using drawing tools attached to the tips of tree branches; the wind’s effects on the tree, recorded on paper. Like signatures each drawing reveals the different qualities and characteristics of each tree.
Kim Keever’s large-scale photographs are created by meticulously constructing miniature topographies in a 200-gallon tank, which is then filled with water.
These dioramas of fictitious environments are brought to life with colored lights and the dispersal of pigment, producing ephemeral atmospheres that he must quickly capture with his large-format camera.
Starting as an empty white room, Roman Ondak’s Measuring the Universe at Tate St Ives has grown through the contribution of around 90,000 participants to a constellation of black marks.
Through the simple action of measuring oneself, Ondak’s work doesn’t just expand on ideas of space and the universal but also the personal, creating a growing living artwork that questions just what a museum is for.