large installation

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Crochet Playgrounds by Toshiko Horiuchi MacAdam

Japanese artist Toshiko Horiuchi-MacAdam is considered one of Japan’s leading fiber artists, using knitting and crochet as the foundation for much of her work. 

Her website explains that she specializes in “creating large, interactive textile environments that function both as imaginative and vibrant explorations of color and form, at the same time as providing thrilling play environments.”

Instagram.com/WeTheUrban

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Jenny Holzer (born July 29, 1950) is an American neo-conceptual artist, based in Hoosick Falls, New York. The main focus of her work is the delivery of words and ideas in public spaces.

Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.

The public dimension is integral to Holzer’s work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, and a race car for BMW. Text-based light projections have been central to Holzer’s practice since 1996. As of 2010, her LED signs have become more sculptural.” (x)

Happy summer solstice!


Nancy Holt (1938-2014)
Sun Tunnels, 1973-1976
Great Basin Desert, Utah
Concrete, steel, and earth

Nancy Holt’s Sun Tunnels (1973–76) is a large-scale installation in northwestern Utah that consists of four large concrete cylinders, arranged on the desert floor in a cruciform pattern that aligns with the sunrise and sunset during the summer and winter solstices. In addition to this perfect solar framing, each of the cylinders is pierced with smaller holes representing the stars of four constellations: Draco, Perseus, Columba, and Capricorn. 

umfa.utah.edu

anonymous asked:

Could I get a fic of Hanzo keeping his mermaid!S!O in a tank or pond so he can listen to them sing just for him?

Hanzo: 

It had taken a lot of time and money but Hanzo had finally gotten the large tank installed into his home. All of the workers had been asking him what kind of fish he’d be filling the thing with, wondering what sort of sea creatures would float around the rocks and coral. Some thought that he must’ve been getting otters or something since the water wasn’t completely filling the large tank. As usual, he was pretty tight lipped about the whole thing; mostly due to the fact that he didn’t like speaking about his own life with complete strangers. 

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“Actual space is intrinsically more powerful and specific than paint on a flat surface.” —Donald Judd, born on this day in 1928. The large-scale installation of 10 identical steel rectangles that constitute Untitled (1966)—seen here installed in the Whitney’s inaugural exhibition downtown, America Is Hard to See—command attention. Judd often staggered intervals between his geometric units with precise spacing in order to emphasize what he called “the thing as a whole” rather than the individual parts. By situating sculptures like Untitleddirectly on the ground, Judd was able to fully engage the space and the people around them. 

[Installation view of America Is Hard to See (Whitney Museum of American Art, New York, May 1-September 27, 2015). Photography by Ronald Amstutz]

Sneak peek of Hélio Oiticica: To Organize Delirium, opening this Friday! The exhibition is the Brazilian artist’s first full retrospective in the U.S. in two decades, with a particular focus on the years he spent in New York. Oiticica’s work began with formal, geometric investigations in painting and drawing and eventually took the form of large-scale installations and environments, as well as experimental writing, filmmaking, and photography. As his career advanced in Brazil, New York, and beyond, his work became increasingly immersive, transforming the viewer’s role from spectator to active participant. Check out our Instagram Story to see more!

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Jenny Holzer (born July 29, 1950, Gallipolis, Ohio) is an American neo-conceptual artist, based in Hoosick Falls, New York. The main focus of her work is the delivery of words and ideas in public spaces.Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.The public dimension is integral to Holzer’s work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, and a race car for BMW. Text-based light projections have been central to Holzer’s practice since 1996. As of 2010, her LED signs have become more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting.

“Do you use kinetic  weaponry  or energy based weaponry?” - Darth Satais

“Both, in varying degrees. Kinetic ammunition plays a large role in stellar warfare, even though energy weapons are regarded as more advanced. A lot of this varies from ship manufacturer to another, or from one sovereign to another as well, but for the most part… Ship shielding is often a projected barrier that protects against energy weapons, and armour protects against kinetic. There are versions of shields that are designed to detonate kinetic ammunition, and there are armour designs that disperse energy ammunition; but it would require incredible amounts of power and inertia to design a ship capable of both armour and shields protecting against both kinetic and energy.

So often times, shields are more common since energy weapons are more common due to ease of use, firing, maintenance, and cost. Kinetic is still useful for bombardment, or versus certain types of installations or large ships.”

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One of the things that I worked on during the Wayward Retreat was a set of oracle cards called the Gentle Oraclebird Deck, that’ll be integrated into my next large scale installation art project! It was really good to sit down and hammer these out, and I’m really happy with how they turned out. I was deeply inspired, of course, by Stasia Burrington’s beautiful Sasuraibito Tarot (@stasiaburrington), and a lot of Pam Wishbow’s (@wishbow) delightful work(both of whom are fellow Wayward retreaters!).

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Kylux Art School AU - Hux had been the star pupil of Dean Snoke’s. Had been, being the operative word, since that wretched new student, Ren, has managed to take it away from him. What the Dean even sees in that petulant, overgrown child is beyond Hux. Everything about the younger man infuriates him: his overworked, over-sized charcoal drawings, the constant mess of his studio, that cocky grin and charcoal stains embedded into his hands, the way that dark hair hangs in his eyes when he concentrates… Yes. He hates him. That’s what it has to be - he hates him.

And maybe if he says it enough, he’ll believe it.

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Sketchy Behaviors | Jenny Sharaf (SF)

Never afraid to reinvent herself or her art, San Francisco based artist Jenny Sharaf’s works are fluid and spontaneous; her approach fearless and at times vunerable; and her style cool and comfortably bad-ass.  We’ve not only been fans of her visual and abstract creations, but also her passion to work with her community in SF and Oakland to spread art and creativity – from her work with the Lab’s 24-Hour Telethon, The Parking Lot Art Fair to her most recent project- the Public Art Tour.  Sharaf shares some insight into her work and process; important issues and themes; and her thoughts on the contemporary arts scene in this installment of Sketchy Behaviors.  

Photographs courtesy of the artist

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The NASA Village

Today in the NASA Village… When it’s Time to Capture a Dragon.

Meet the Systems Engineering Simulator. Upon entering the darkened dome one can forget for a moment the actual world isn’t floating overhead. This space can contain a physical Space Station mock-up cupola (like the picture below) an Orion crew station mock-up, or a multi-mission space exploration vehicle mock-up. It is a hybrid of virtual reality and physical structure. Perfect for practicing the rendezvous (approach) and capture. It is in this dome where we are trained to capture the capsules launched from Earth to station that come bearing gifts like food, clothing, and fuel.

So what’s the deal with these visiting cargo vehicles? Where in the world are they coming from and why do they all have different names?

The simple answer is that these cargo-carrying vehicles are a form of currency in the spaceflight world. Building a vehicle and loading it with materials to supply the crew is a part of the international agreement of participation. For the Japanese Space Agency (JAXA) and the European Space Agency (ESA), their vehicles are the HTV (H-II Transfer Vehicle) and ATV (Automated Transfer Vehicle), respectively. ESA’s ATVs have delivered cargo to the station and docked to the Russian segment using their docking system. During Expedition 16, Yuri and I monitored the first approach and docking of the ATV to ISS.  Reminds me a bit of an X wing fighter from Star wars.

Progress is a capsule provided by the Russian Space Agency (RSA).  It is launched on a Soyuz rocket, similar to the Soyuz rockets that launch the astronauts to station. A progress will commonly remain for a few months until the next Progress is about to launch. During this time docked to the station, after unloading all the valuable cargo, the capsule is filled with trash that will burn upon re-entry.

In addition, after Shuttle retirement, the US has purchased additional cargo carriers from Space X and Orbital.  The capsule called Dragon comes from Space X. It is the only capsule that returns to ground, bearing scientific return samples or critical hardware from station.  Cygnus is a capsule launched by Orbital.  

Multiple of these capsules can be mated to the station at the same time.  In the Dome, we practice for the arrival and capture, using the Canadian robotic arm, of HTV, Cygnus and Dragon.

These capsules are essential because they are the lifeline between the astronauts and the Earth. When something happens to a capsule, the crew onboard shares their supplies. However, important items like a lost spacesuit are irreplaceable.

Jeff Tuxhorn, widely known as Tux, was a Shuttle rendezvous trainer and has since become the rendezvous instructor for HTV, Cygnus and Dragon. We have the visual out the window view to illustrate the approaching vehicle (it looks big when it is coming at you!), as well as multiple camera views to monitor during the capture.

During Expedition 5 and 16, I helped install large truss elements that now hold the solar arrays.  We also maneuvered a whole module to “rearrange” our living volume (we had to wait for Shuttle departure to put it in its proper place). At that time we didn’t have any visiting cargo vehicles like these currently resupplying station. And more importantly, there was no cupola when I was last on station, but now I get to enjoy the view from here!

Do you want more stories?  Find our NASA Villagers here!

v5.0.0

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Wowowowowow npm@5!

This release marks months of hard work for the young, scrappy, and hungry CLI team, and includes some changes we’ve been hoping to do for literally years. npm@5 takes npm a pretty big step forward, significantly improving its performance in almost all common situations, fixing a bunch of old errors due to the architecture, and just generally making it more robust and fault-tolerant. It comes with changes to make life easier for people doing monorepos, for users who want consistency/security guarantees, and brings semver support to git dependencies. See below for all the deets!

Breaking Changes

  • Existing npm caches will no longer be used: you will have to redownload any cached packages. There is no tool or intention to reuse old caches. (#15666)

  • npm install ./packages/subdir will now create a symlink instead of a regular installation. file://path/to/tarball.tgz will not change – only directories are symlinked. (#15900)

  • npm will now scold you if you capitalize its name. seriously it will fight you.

  • npm will --save by default now. Additionally, package-lock.json will be automatically created unless an npm-shrinkwrap.json exists. (#15666)

  • Git dependencies support semver through user/repo#semver:^1.2.3 (#15308) (#15666) (@sankethkatta)

  • Git dependencies with prepare scripts will have their devDependencies installed, and npm install run in their directory before being packed.

  • npm cache commands have been rewritten and don’t really work anything like they did before. (#15666)

  • --cache-min and --cache-max have been deprecated. (#15666)

  • Running npm while offline will no longer insist on retrying network requests. npm will now immediately fall back to cache if possible, or fail. (#15666)

  • package locks no longer exclude optionalDependencies that failed to build. This means package-lock.json and npm-shrinkwrap.json should now be cross-platform. (#15900)

  • If you generated your package lock against registry A, and you switch to registry B, npm will now try to install the packages from registry B, instead of A. If you want to use different registries for different packages, use scope-specific registries (npm config set @myscope:registry=https://myownregist.ry/packages/). Different registries for different unscoped packages are not supported anymore.

  • Shrinkwrap and package-lock no longer warn and exit without saving the lockfile.

  • Local tarballs can now only be installed if they have a file extensions .tar, .tar.gz, or .tgz.

  • A new loglevel, notice, has been added and set as default.

  • One binary to rule them all: ./cli.js has been removed in favor of ./bin/npm-cli.js. In case you were doing something with ./cli.js itself. (#12096) (@watilde)

  • Stub file removed (#16204) (@watilde)

  • The “extremely legacy” _token couchToken has been removed. (#12986)

Feature Summary

Installer changes

  • A new, standardised lockfile feature meant for cross-package-manager compatibility (package-lock.json), and a new format and semantics for shrinkwrap. (#16441)

  • --save is no longer necessary. All installs will be saved by default. You can prevent saving with --no-save. Installing optional and dev deps is unchanged: use -D/--save-dev and -O/--save-optional if you want them saved into those fields instead. Note that since npm@3, npm will automatically update npm-shrinkwrap.json when you save: this will also be true for package-lock.json. (#15666)

  • Installing a package directory now ends up creating a symlink and does the Right Thing™ as far as saving to and installing from the package lock goes. If you have a monorepo, this might make things much easier to work with, and probably a lot faster too. 😁 (#15900)

  • Project-level (toplevel) preinstall scripts now run before anything else, and can modify node_modules before the CLI reads it.

  • Two new scripts have been added, prepack and postpack, which will run on both npm pack and npm publish, but NOT on npm install (without arguments). Combined with the fact that prepublishOnly is run before the tarball is generated, this should round out the general story as far as putzing around with your code before publication.

  • Git dependencies with prepare scripts will now have their devDependencies installed, and their prepare script executed as if under npm pack.

  • Git dependencies now support semver-based matching: npm install git://github.com/npm/npm#semver:^5 (#15308, #15666)

  • node-gyp now supports node-gyp.cmd on Windows (#14568)

  • npm no longer blasts your screen with the whole installed tree. Instead, you’ll see a summary report of the install that is much kinder on your shell real-estate. Specially for large projects. (#15914): $ npm install npm added 125, removed 32, updated 148 and moved 5 packages in 5.032s. $

  • --parseable and --json now work more consistently across various commands, particularly install and ls.

  • Indentation is now detected and preserved for package.json, package-lock.json, and npm-shrinkwrap.json. If the package lock is missing, it will default to package.json’s current indentation.

Publishing

Cache Rewrite!

We’ve been talking about rewriting the cache for a loooong time. So here it is. Lots of exciting stuff ahead. The rewrite will also enable some exciting future features, but we’ll talk about those when they’re actually in the works. #15666 is the main PR for all these changes. Additional PRs/commits are linked inline.

  • Package metadata, package download, and caching infrastructure replaced.

  • It’s a bit faster. Hopefully it will be noticeable. 🤔

  • With the shrinkwrap and package-lock changes, tarballs will be looked up in the cache by content address (and verified with it).

  • Corrupted cache entries will automatically be removed and re-fetched on integrity check failure.

  • npm CLI now supports tarball hashes with any hash function supported by Node.js. That is, it will use sha512 for tarballs from registries that send a sha512 checksum as the tarball hash. Publishing with sha512 is added by npm/npm-registry-client#157 and may be backfilled by the registry for older entries.

  • Remote tarball requests are now cached. This means that even if you’re missing the integrity field in your shrinkwrap or package-lock, npm will be able to install from the cache.

  • Downloads for large packages are streamed in and out of disk. npm is now able to install packages of “”“any”“” size without running out of memory. Support for publishing them is pending (due to registry limitations).

  • Automatic fallback-to-offline mode. npm will seamlessly use your cache if you are offline, or if you lose access to a particular registry (for example, if you can no longer access a private npm repo, or if your git host is unavailable).

  • A new --prefer-offline option will make npm skip any conditional requests (304 checks) for stale cache data, and only hit the network if something is missing from the cache.

  • A new --prefer-online option that will force npm to revalidate cached data (with 304 checks), ignoring any staleness checks, and refreshing the cache with revalidated, fresh data.

  • A new --offline option will force npm to use the cache or exit. It will error with an ENOTCACHED code if anything it tries to install isn’t already in the cache.

  • A new npm cache verify command that will garbage collect your cache, reducing disk usage for things you don’t need (-handwave-), and will do full integrity verification on both the index and the content. This is also hooked into npm doctor as part of its larger suite of checking tools.

  • The new cache is very fault tolerant and supports concurrent access.

    • Multiple npm processes will not corrupt a shared cache.
    • Corrupted data will not be installed. Data is checked on both insertion and extraction, and treated as if it were missing if found to be corrupted. I will literally bake you a cookie if you manage to corrupt the cache in such a way that you end up with the wrong data in your installation (installer bugs notwithstanding).
    • npm cache clear is no longer useful for anything except clearing up disk space.
  • Package metadata is cached separately per registry and package type: you can’t have package name conflicts between locally-installed packages, private repo packages, and public repo packages. Identical tarball data will still be shared/deduplicated as long as their hashes match.

  • HTTP cache-related headers and features are “fully” (lol) supported for both metadata and tarball requests – if you have your own registry, you can define your own cache settings the CLI will obey!

  • prepublishOnly now runs before the tarball to publish is created, after prepare has run.

Let us fast forward to modern day where we shall take a look at sculptor and illustrator, Do Ho Suh (1962-present). Suh, who has been educated at Seoul National University, Rhode Island School of Design and Yale University is known for his large installation pieces which challenge the viewers understanding of space. Here is his piece Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY 10011, USA (ca. 2011-2014). Exhibited at the Museum of Contemporary Art, in Cleveland, Ohio.

Imagine Owen and you have kids and you show them the raptors and then the Indominus Rex escapes

Owen Grady x Reader

Requested by: brunograham.tumblr.com

“Sam, Lily, let’s go! We’re late! Owen, you too!” You called your kids while opening the car door. They were going to see the raptors for the first time. You were very nervous because they were very young, Sam was 8 and Lily 5, but they insisted with you and Owen. They wanted to see his father working. Owen used to tell them the most impressive stories about raptors and they grew up fascinated by all of that.
Sam came out first, he was carrying a backpack full of dinosaurs and the rest of his things he loved to carry around. He wore a red cap that hid his blond curls. Her eyes were green, the same as his father. He was an authentic copy of Owen.
“Where’s your sister?” You questioned tightening the seat belt around him.
“I think she’s choosing the shoes.”
Inside, Lily was sitting on the bed putting her pink converse. But there was a problem, she still couldn’t tie the laces. She wore a pink blouse and a denim shorts. She loved that color. Her long brown hair was braided. Owen was already out there holding the front door.
“Sweetie, c'mon!” Owen said. Your daughter walked up to him with her tennis untied.
“Daddy, help me, please!” Lily said looking down at her feet. Owen sat her down on one of the stairs steps, knelt down and laced her shoes. He gave her a kiss on the forehead and took her in his arms, heading to the car. He placed Lily on the car seat, closed the door and sat down beside you.
“So are you guys ready?” You asked them as you started the engine.
“Yeees!” Sam and Lily screamed excited.
A few kilometers after, you arrived at the raptors cage. You already had been there, so you weren’t surprised. But your kids were flabbergasted looking at the large installations. It looked bigger to them because they were very small.
“Woooow!” Sam said and started to run towards the first gate, which was open. Owen quickly grabbed the backpack that was on his back, making him stop. If Sam approached the bars, it could happen something very serious.
“Hey, hey fella, easy!” Owen said and glanced at you. He nodded saying that everything was okay. You were hand in hand with Lily. She was a little scared, because she already could hear the roars of the 4 raptors.
“It’s okay, they’re not gonna hurt you!” You tried to comfort her, but never let go of Lily’s hand. Owen put Sam on his shoulders, and started to up the stairs to a kind of balcony that covered the entire paddock. You and your daughter followed them. When you got up there, your children ran to the railing and looked down. Owen called the raptors. You heard a noise, it looked like something running, and suddenly they appeared. They jumped and roared at you. Lily stepped back and hugged your leg.
“Mommy!” She looked at you almost in tears. 

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Now on view: Pace is pleased to present in the 2016 edition of Art Basel from June 16 to 19 with a selection of work by the gallery’s artists and a special section of the booth highlighting new paintings by Julian Schnabel. Additionally, in the Unlimited sector of the fair, Prabhavathi Meppayil will present a new large-scale installation. 

Drop by the booth at A5, Hall 2. 

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For my senior capstone project, I chose to focus on my grandmother’s loss of identity on a biological level (Alzheimer’s) and also on a socio-cultural level.

The piece consists of a large installation made out of a hand-strung fortune cookies (to represent the American imposition of an object upon a culture)  and also book of her recipes that is a direct verbatim transcription of a series of interviews I conducted with her.

I want to say thank you to those who helped with the project. The process has been frustrating, exciting, tiring, emotional, and most importantly cathartic for not only me but for my entire family. I’m super proud of this project and words can’t even express how ecstatic I am to be able to make such a beautiful piece about my grandmother’s story.