Hasta La Ideas

by Emily Millett Whether he is tapping his feet in tune to the music or drumming his fingers along to an imaginary rift, Joao Teigas lives by an unstoppable musical beat, an organic rhythmic flow that…

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Installation View, Richard Woods, DIY, the Alan Cristea Gallery, London 2013. Courtesy the artist and the Alan Cristea Gallery

Richard Woods‘ new solo show DIY opens today at the Alan Cristea Gallery in London and features new work alongside a site-specific installation cladding the gallery in his distinctive wood-grain boarding…

Richard Woods, Dirty chair #13, 2013, Varnish and acrylic on wood, Courtesy the artist and the Alan Cristea Gallery

Installation View, Richard Woods, DIY, the Alan Cristea Gallery, London 2013. Courtesy the artist and the Alan Cristea Gallery

The new work includes a series of radiator covers and some mock Tudor panelling and will form part of a space given over to his cartoonish wooden floorboards. A series of his offcuts-inspired Woodblock Inlays will also on display until June 1.

Richard Woods, Wood block sculpture AC1, 2013, Acrylic on plywood, Courtesy the artist and the Alan Cristea Gallery

Richard Woods, Wooden sculpture AC1, 2013, Varnish and acrylic on wood, Courtesy the artist and the Alan Cristea Gallery

Richard Woods, Radiator sculpture AC1, 2013, Acrylic on plywood, Courtesy the artist and the Alan Cristea Gallery

The Alan Cristea Gallery, 34 Cork Street, London W1. See alancristea.com and richardwoodsstudio.com.

• “[S]tripped of most traditional linguistic elements, the short film has to move fast, but it must strive not to confuse the viewer with too many objects or jarring cuts,” writes Stephen Apkon in The Age of Image: Redefining Literacy in a World of Screens, new this month from Farrar, Straus and Giroux. The book inspired this short film (above) by Daniel Liss.

• And speaking of short films, the Tribeca Film Festival has selected the winners in its six-second film competition. Watch all of the jury’s top picks in under a minute here.

• It’s the end of an era for Cooper Union, which will begin charging undergraduates tuition beginning next fall.

• The design community and members of the general public are protesting MoMA’s decision to raze the building that Tod Williams Billie Tsien designed for the American Folk Art Museum. The Architectural League drafted this open letter requesting MoMA to provide “a compelling justification for the cultural and environmental waste of destroying this much-admired, highly distinctive twelve-year-old building.”

• All is fair (use) in love and appropriation? Artist Richard Prince emerged largely triumphant in yesterday’s appeals court ruling on the copyright case involving his 2008 “Canal Zone” series, which used portraits from Patrick Cariou‘s Yes, Rasta book.

New Career Opportunities Daily: The best jobs in media.

While you can score a Campbell’s soup reproduction print from any number of places, opportunities to pick up an authentic Andy Warhol are few and far between for casual art collectors. Knowing this, design megastore …

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Hackney artist Alex Chinneck has created a wall that melts in the sun as part of his research for a project to build a melting house.

Chinneck has been working on a melting house to be built in Kent, England, in the summer of 2014, but recently demonstrated the concept by constructing a two-metre-high wax wall that gradually became a pile of drips and rubble over the course of a day.

“Architecture and light have such an inseparable relationship and a building is rarely designed or built without consideration to the sun’s movement around it,” the artist told Dezeen. “The melting house is being designed to describe this relationship in a literal and theatrical way because the sun physically shapes the form.”

He continued: “I felt that my work was becoming so computer designed and engineered that I wanted to create a situation that sacrificed this kind of control. I like the idea of these wax structures being taken as far as a computer will allow before releasing the fate of the form to chance.”

Each block used to build the wall was made from dyed paraffin wax, cast to the same dimensions of a standard brick used in the British construction industry. The artist added sand to the steel casting trays, giving each brick a subtly different texture with its own unique imperfections.

He documented the melting of the wall for Art Licks Magazine. Although it was designed to diminish in just one day, it took longer than expected and Chinneck had to use a blowtorch to accelerate the process, highlighting the unpredictability of the design.

The house will be installed in Margate, Kent, next summer. Unlike the wall, it is expected to melt slowly over a period of eight weeks. “I like the idea of spectacle having a subtlety, so this steady transformation feels pleasingly calm in contrast to the bold concept,” added the artist.

Chinneck’s past artworks include a series of identically smashed windows at a derelict factory.

See more art installations on Dezeen »

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by Alex Chinneck appeared first on Dezeen.