The Aesthetic Ground
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The Aesthetic Ground
Exploring the 'Middle' in a Soft Matter through Artistic Manifestations
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The Woodwork of Cha Jong-Rye | Colossal

The Woodwork of Cha Jong-Rye | Colossal | The Aesthetic Ground | Scoop.it

Korean sculptor Cha Jong-Rye works with wood as if it were clay or paint. She layers and sands hundreds of delicate wood pieces to create pockmarked canvases, threatening beds of thorns, or wall-sized recreations of crumpled cloth napkins. Jong-Rye completed her graduate work at Ewha Women’s University in Seoul in 1996 and has had numerous group exhibits and five solo shows, her latest at the Sungkok Art Museum. I am completely hypnotized by these sculptures and in total awe of the painstaking craft on display here. If you like this, you might also enjoy the work of Ben Butler.

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today in art » Parasitic Installations by Dennis Feddersen

today in art » Parasitic Installations by Dennis Feddersen | The Aesthetic Ground | Scoop.it

Dennis Feddersen thinks big and his sculpture truly invades the space it occupies. Indoors or outside, his sculpture installations force their way into view as they overtake the surrounding environment. There is an uncomfortable beauty that I find in these installations as they seem playfully dangerous.

Checkout Dennis Feddersen’s website for more wonderful art work.

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Andrew Salgado Talks To Yatzer | Yatzer

Andrew Salgado Talks To Yatzer | Yatzer | The Aesthetic Ground | Scoop.it

The In Order to Rebuild exhibition at the Dosi Gallery in Korea (20 July /18 August 2012, 202-­2 Kwangan 2 dong, Suyoung-­gu, Busan, Korea) features the work of Andrew Salgado, the London based painter from Canada known for his eerie paintings that are preoccupied with universal themes such as identity, sexuality and convalescence. He considers himself a storyteller and admits to his attraction to faces. 'I am attracted to interesting faces and I am certainly no stranger to melodrama. I like dramatic lighting and faces that immediately grab my attention and the attention of the viewer,''he says.

Salgado avoids subjects whose emotions are easily definable. He considers smiling, accessible and plainly ‘happy’ subjects as banal. ''I think it is much more interesting to paint faces that have a type of strength in their emotion. Along with the process of painting and abstracting the figure, I use emotion to confound and blur any easy reading of the figure within the work''.

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ArtSlant - NY Fall Previews: Art World Gullivers and Lilliputians

ArtSlant - NY Fall Previews: Art World Gullivers and Lilliputians | The Aesthetic Ground | Scoop.it
Details for NY Fall Previews: Art World Gullivers and Lilliputians.The art world Gulliver, power-napping in the fantasy land of excitable Gallery Girl Lilliputians, reawakens after Labor Day to the trumpeting of purring, promising shows that will inevitably uplift the spirit ratings or go down deep dark waters with the centennial of Titanic’s sinking. Just as Swift’s traveler encounters the range of human goodities and lameassness, so too our subway sojourns take us from the west end taverns of Chelsea eastward on the limping L to the faraway lands of bearded Bushwick (if only to see the doppelgänger of Yahoo Luhring Augustine).
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Beauty | Stanford Encyclopedia of Philosophy || “Beauty is nature’s way of acting at a distance.”

Beauty | Stanford Encyclopedia of Philosophy || “Beauty is nature’s way of acting at a distance.” | The Aesthetic Ground | Scoop.it

"Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others." -- David Hume

 

"Beauty is pleasure regarded as the quality of a thing. … Beauty is a value, that is, it is not a perception of a matter of fact or of a relation: it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody: a beauty to which all men were forever indifferent is a contradiction in terms. … Beauty is therefore a positive value that is intrinsic; it is a pleasure." -- Santayana (1896)

 

"The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in philosophical aesthetics. Beauty has traditionally been counted among the ultimate values, with goodness, truth, and justice. It is a primary theme among ancient Greek, Hellenistic, and medieval philosophers, and was central to 18th and 19th-century thought, as represented in treatments by such thinkers as Shaftesbury, Hutcheson, Hume, Burke, Kant; Hegel, Schopenhauer, Hanslick, and Santayana. By the beginning of the twentieth century, beauty was in decline as a subject of philosophical inquiry, and also as a primary goal of the arts. However, the last decade has seen a revival of interest in the subject.

 

This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. It will proceed to set out some of the major approaches to or theories of beauty developed within Western philosophical and artistic traditions."


Via Amira
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Fico Ventilatory's comment, September 7, 2012 10:38 AM
Hey M, Thanks for the note! I'm not on g+, i don't even know what that is.. I'm obviously not a Luddite but i am embarrassingly Atechnical... Is that the google chat? I don't do any of those...but i'd feel quite comfortable giving you my email address, if you'd like...caveat: i often go days {weeks, sometimes} not checking it (without warning)...but then i'm chatty for a period...you know: life, moods....this scoopit thingy would do well to incorporate member to member messaging...
Mariana Soffer's comment, September 7, 2012 10:51 AM
g+ is google plus, is a social network fico, i do email to, is marianasoffer gmail mine
Fico Ventilatory's comment, September 7, 2012 1:57 PM
i'll try it... things a bit hectic today, soon. Please expect a message from Rose Heirloom {my user name}. Thanks [] SS Aka Fico
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digital divide: contemporary art and new media - artforum.com / in print

digital divide: contemporary art and new media - artforum.com / in print | The Aesthetic Ground | Scoop.it

WHATEVER HAPPENED TO DIGITAL ART? Cast your mind back to the late 1990s, when we got our first e-mail accounts. Wasn’t there a pervasive sense that visual art was going to get digital, too, harnessing the new technologies that were just beginning to transform our lives? But somehow the venture never really gained traction—which is not to say that digital media have failed to infiltrate contemporary art. Most art today deploys new technology at one if not most stages of its production, dissemination, and consumption. Multichannel video installations, Photoshopped images, digital prints, cut-and-pasted files (nowhere better exemplified than in Christian Marclay’s The Clock, 2010): These are ubiquitous forms, their omnipresence facilitated by the accessibility and affordability of digital cameras and editing software. There are plenty of examples of art that makes use of Second Life (Cao Fei), computer-game graphics (Miltos Manetas), YouTube clips (Cory Arcangel), iPhone apps (Amy Sillman), etc.⊃1;

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Top 5 Videos Celebrating the 2012 Sydney Biennale | Artinfo

Top 5 Videos Celebrating the 2012 Sydney Biennale | Artinfo | The Aesthetic Ground | Scoop.it
There is not much time left to see the fantastic 18th Biennale of Sydney so for those who haven’t had the chance to visit the exhibition, Artinfo Australia has chosen five fantastic videos that summarise and celebrate the 2012 Sydney Biennale.
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See First, Think Later: The Art of Doug Wheeler and Mary Corse / artcritical

See First, Think Later: The Art of Doug Wheeler and Mary Corse / artcritical | The Aesthetic Ground | Scoop.it

Over thirty years ago, the psychologist William Ittelson drew a critical distinction between environment and object perception. In object perception, one surrounds the object; in environment perception, one is surrounded by it. One observes an object; one explores an environment using many sensory modalities. Ittelson noted that with environment perception “the very distinction between self and nonself breaks down: the environment surrounds, enfolds, engulfs….” What makes the work of Wheeler and Corse so innovative is that it causes us to alternate between object and environment perception. This is consistent with Venturi’s preference in Complexity and Contradiction for both-and over either-or. As we will see, these two L.A. artists accomplish this balancing act in different ways.

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Jimmie Durham - Glasgow School of Art events, exhibitions & courses

Jimmie Durham - Glasgow School of Art events, exhibitions & courses | The Aesthetic Ground | Scoop.it

Jimmie Durham is a sculptor, essayist and poet who has been making and exhibiting work since 1963. His first solo exhibition was at the public gallery of the University of Texas at Austin in 1965; a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism.

During February - April 2010 Durham will undertake a three-month Production Residency at Glasgow Sculpture Studios (GSS) to create new work for Glasgow International Festival of Visual Art: a series of intimate performance events conducted by the artist, leading to a large-scale sculptural installation presented in the GSS’s galleries. This lecture will allow insight into the extensive knowledge and experience that Jimmie Durham will bring both to the Residency and the production of this new work for Glasgow International 2010.

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COLORED CARTILAGE: A Japanese Artist Turns Animal Skeletons Into Beautiful Works Of Art

COLORED CARTILAGE: A Japanese Artist Turns Animal Skeletons Into Beautiful Works Of Art | The Aesthetic Ground | Scoop.it
No bones about it: A former fisherman-turned-artist in Yokohama City, Japan, is making art lovers look at fish skeletons in a new way.
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◥ BEATS, BITS, ATOMS by ◥ panGenerator | TRIANGULATION BLOG

◥ BEATS, BITS, ATOMS by ◥ panGenerator | TRIANGULATION BLOG | The Aesthetic Ground | Scoop.it

BEATS, BITS, ATOMS is a set of projects created by ◥ panGenerator. One of my favorites is called .FLOAT, it consists in 3D printed based sculptures created because of fish tracking data. There is also a painting that paints itself called CITY, PAINT, MACHINE. Then PEACOCK is a kinetic audiovisual installation creating 2.5D mapping on moving surfaces. PHOJECTOR is a hybrid of interfaces seemingly incongruent, consiting in an old cell phone and even older slide projector, glitch, feedback and other analogue-digital phenomena. See all the projects in the video into the post;

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SFMOMA | Will Rogan on the meaning of things

SFMOMA | Will Rogan on the meaning of things | The Aesthetic Ground | Scoop.it

Will Rogan discusses his series Public Sculpture and Picture the Earth spinning in space, and explores the accidental meaning he finds in the urban environment.
Source: http://www.sfmoma.org/explore/multimedia/videos/469#ixzz250r5gZuh
San Francisco Museum of Modern Art

 

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The Creators Project | Virtual Sunset by Tobias Klein

The Creators Project | Virtual Sunset by Tobias Klein | The Aesthetic Ground | Scoop.it
Virtual Sunset by Tobias Klein - Turning a private, secluded moment into a collective, tangible experience.
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SWEATSHOPPE - Video Painting Europe

New media art duo SWEATSHOPPE aka Blake Shaw and Bruno Levy are back from Europe with a new video that showcases their live interactive video wheatpaste in Berlin, Bristol, Belgrade, London and Paris. Over a two week period the duo pasted their videos in over 10 spots including the Berlin Wall, Les Invalides, Cordy House and even constructed a 5 meter telescopic electronic paint roller to create a two-story tall video painting in Bristol.

Video painting is a technology the duo developed that allows them to create the illusion that they are painting videos onto walls with electronic paint rollers they built. It works through custom software that they wrote that tracks the position of the paint rollers and projects video wherever they choose to paint, allowing them to explore the relationship between video, mark making and architecture and create live video collages in real time.

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CultureLab: Artists go viral with maverick angles on immunity

CultureLab: Artists go viral with maverick angles on immunity | The Aesthetic Ground | Scoop.it

Walking through the gigantic blood vessel at the entrance to the Glasgow Science Centre, I can only imagine what lies in store. I’ve come to Scotland’s leading science museum to see Going Viral, a new collaboration between immunologists and Scottish artists, and I’m hoping to be transported deep into the body, to a celebration of the immune system.

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Women, Art & Technology: A Conversation with Amy Alexander | www.furtherfield.org

Women, Art & Technology: A Conversation with Amy Alexander | www.furtherfield.org | The Aesthetic Ground | Scoop.it

Amy Alexander is an artist and researcher working in audiovisual performance and digital media art. She has worked under a number of pseudonyms including VJ Übergeek and Cue P. Doll. Coming from a background in film and music, she learned programming and began making time and process-based art on the Internet in the mid-1990's with the Multi-Cultural Recycler and plagiarist.org. Amy has performed and exhibited on the Internet, in clubs and on the street as well as in festivals and museums. Her work has appeared at venues ranging from the Whitney Museum and Ars Electronica to Minneapolis‚ First Avenue nightclub. She has written and lectured on software art and audiovisual performance, and she has served as a reviewer for festivals and commissions for new media art and computer music. She is an Associate Professor of Visual Arts at the University of California, San

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Tomás Saraceno on the roof: cloud city at the metropolitan Museum.

Tomás Saraceno on the roof: cloud city at the metropolitan Museum. | The Aesthetic Ground | Scoop.it

rtist Tomás Saraceno (born in Tucumán, Argentina, in 1973) has created a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.

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The work of Daniel Widrig · FIELD Generative Design + Interactive Art

The work of Daniel Widrig · FIELD Generative Design + Interactive Art | The Aesthetic Ground | Scoop.it

Daniel Widrig is an architect, product and furniture designer, sculptor and artist in London. After working with Zaha Hadid Architects for several years, he established his own studio in 2009.Daniel’s objects and concepts impress with their extraordinary hypersurfaces, organic shapes and non-symmetric proportions; appearing naturally familiar yet truly innovative. Their parametric/generative looks make me want to know more about the process and tools behind the works!

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this is tomorrow - Michael Riedel

this is tomorrow - Michael Riedel | The Aesthetic Ground | Scoop.it

Recording – labeling – playback. Frankfurt-based artist Michael Riedel has been investigating the issue of reproduction and repetition since his first actions for the legendary “Oskar-von-Miller-Strasse 16”, an art project he initiated at this Frankfurt address in 2000. This was the site of Riedel’s “Clubbed Clubs” and “Filmed Films” as well as of the “Freitagsküche” (Friday Kitchen), an event at the intersection of art and life that continues to this day. Riedel works with recorded conversations, films and performances, and with the exhibitions of other artists’ works. His creative method is based on the combination of these elements into ever new variations and on the transformation of one medium into another. Through the process of transcription, for example, Riedel transfers voice recordings into the visual realm, defamiliarizing and expanding them via technical means in order to ultimately reproduce them in a new reading or replay them. With KUNSTE ZUR TEXT the SCHIRN presents the first retrospective of Riedel’s work.

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Nathan Hylden: PROCESS PRESENT TENSE - By Andrew Maerkle

Nathan Hylden: PROCESS PRESENT TENSE - By Andrew Maerkle | The Aesthetic Ground | Scoop.it

 

ART iT: How did you develop this interest in playing with signs and indexes and referents?

NH: I was interested in exploring how the referent is a contradiction of the presence of the object, because the indexical connects it to something outside of itself. On the one hand you have this object that, through the tradition of abstract painting, is a singular object that presents itself and exists on its own, but then it is also connected to other works through the process by which it was made. Each work holds within it the sign of the other works in the series, or the sign of the process by which they were made. Of particular interest is the contradiction of the work's presence or, thinking in temporal terms, the mobilization of that presence by its indexical link to other works, so that whatever is specifically in the painting also has a sense of time.




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Motoi Yamamoto's Incredible Salt Mazes - My Modern Metropolis

Motoi Yamamoto's Incredible Salt Mazes - My Modern Metropolis | The Aesthetic Ground | Scoop.it

Japanese artist Motoi Yamamoto creates incredibly intricate mazes made entirely out of salt! Currently showing at the Hakone Open-Air Museum in Kanagawa, Japan is one of his newest works entitled "Forest of Beyond."

The story about why Yamamoto started down this path is a sad and tragic one. He was a third-year student at the Kanazawa College of Art in 1996 when his younger sister died at the young age of 24 — two years after being diagnosed with brain cancer. To ease his grief and to honor her memory, he starting working on these installations. Salt has a special place in the death rituals of Japan, and is often handed out to people at the end of funerals, so they can sprinkle it on themselves to ward off evil. Since 2001, he's been creating these amazing floor installations by filling a plastic bottle, usually used for machine oil, with white salt and then sprinkling it on the floor.

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16 Free Charlie Chaplin Films Online

16 Free Charlie Chaplin Films Online | The Aesthetic Ground | Scoop.it
A few things to know about Charlie Chaplin. He starred in over 80 films, reeling off most during the silent film era. In 1914 alone, he acted in 40 films, then another 15 in 1915.
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How to bio-engineer a football | Abandon Normal Devices

How to bio-engineer a football | Abandon Normal Devices | The Aesthetic Ground | Scoop.it
From the lab to the gallery, an in-depth post from artist John O'Shea about Pigs Bladder Football.
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Death and Poetry in Plastic: Erick Swenson at the Nasher | Art&Seek | Arts, Music, Culture for North Texas

Death and Poetry in Plastic: Erick Swenson at the Nasher | Art&Seek | Arts, Music, Culture for North Texas | The Aesthetic Ground | Scoop.it

Erick Swenson has made a national name for himself with his astonishingly realistic sculptures of animals. His works — including ones in the collections of the Dallas Museum of Art and the Museum of Modern Art in Fort Worth — have been compared to museum dioramas in their detailed, captured stillness. But these dioramas are often grotesque or mysterious in some way. We’re left to puzzle over them.

 

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