NYC-based artist Jon Burgerman will be taking a transatlantic flight back home for his upcoming show “Racing Lines” at London’s prestigious Southbank Centre,…
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Photography isn’t a practice that’s conducive to duos; in fact, from a more general perspective, most contemporary visual artists are solitary figures. Thus, the story of duo Adam Broomberg and Oliver Chanarin is a slightly peculiar…
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This year Cool Hunting was fortunate enough to have the artist Clay Ketter as our companion at London’s Frieze Art Fair. Ketter is well known for his post-minimalist work…
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Dezeen promotion: a collection of striated wooden bowls, vases and pots by German artist Christoph Finkel are currently on display at design brand Luminaire‘s exhibition space in Miami.
Christoph Finkel carved the Rillen Vessels from sections of tree trunks, in woods including oak, maple and birch.
He used vintage turning machines, which he rebuilt to fit his needs, and hand-carving tools to create the forms before sanding the pieces and leaving them to dry out.
First displayed in Milan last year, the products are now on display in the Luminaire Lab at 3901 NE 2nd Avenue, Miami, Florida.
The vessels are also available to purchase from Luminaire’s online store.
Keep reading for more information from Luminaire:
Recognising the intrinsic, natural qualities of wood, German artist Christoph Finkel pushes the limits of woodworking to create stunning, sculptural vessels. Experimenting with both machine and hand tools, Finkel reduces heavy, raw wood into perfectly shaped bowls and vessels. Viewing wood as a living material, the artist is interested in the history and natural characteristics of each piece and highlights these qualities as he creates his unique objects.
Born in Allgüa, Germany in 1971, Finkel grew up in a small village in the southern German Alps. His father, a third-generation wood tuner, introduced his son to the craft at his home studio. This passion continued as Finkel attended the Academy of Fine Arts in Nürnberg where he began sculpting primarily in wood. His artistic endeavours lead him to develop a series of bowls, which was a new and exciting challenge for him. As an artist, he saw the potential for creating sculptural forms rather than traditional functional vessels.
Each bowl begins with the careful selection of wood from locally sourced trees including oak, maple and birch as well as fruit trees. Finkel first cuts the tree with his chainsaw to get a rough form. If necessary, the wood must be dried before he can begin to turn and carve the piece to shape. Using various vintage metal turning machines that the designer rebuilt to fit his needs, with several steps of hand carving using specially made steel and iron knives and wood turning tools, he achieves the desired surface. Before the bowls are finished, sanding with paper or a steel brush may also occur before the piece is dried for up to three months.
Luminaire spotted Finkel’s remarkable work during the 2012 Milan Fair where it was shown alongside Paola Lenti’s exhibition at the Chiostri dell’Umanitari. A number of these one-of-a-kind pieces will soon be offered at Luminaire’s showrooms.
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at Luminaire Lab appeared first on Dezeen.
An exhibition about how women shaped twentieth-century design is on show at the Museum of Modern Art (MoMA) in New York.
Designing Modern Women 1890–1990 showcases objects drawn entirely from MoMA‘s own collection and highlights women’s role as designers, patrons, muses and educators.
Pieces on show include a newly conserved kitchen designed by Charlotte Perriand with Le Corbusier in 1952 for the Unité d’Habitation housing project in Marseille.
There’s also work by Irish Modernist designer Eileen Gray, German Bauhaus designer Marianne Brandt and Italian architect Gae Aulenti.
Famous design couples are highlighted too, with work by Ray Eames and her husband Charles, and Denise Scott Brown with Robert Venturi.
The exhibition continues in the Architecture and Design Gallery of the museum until 1 October 2014.
Here’s some more information from MoMA:
Modern design of the 20th century was profoundly shaped and enhanced by the creativity of women—as muses of modernity and shapers of new ways of living, and as designers, patrons, performers and educators.
This installation, drawn entirely from MoMA’s collection, celebrates the diversity and vitality of individual artists’ engagement in the modern world, from Loïe Fuller’s pulsating turn-of-the-century performances to April Greiman’s 1980s computer-generated graphics, at the vanguard of early digital design. Highlights include the first display of a newly conserved kitchen by Charlotte Perriand with Le Corbusier (1952) from the Unité d’Habitation housing project, furniture and designs by Lilly Reich, Eileen Gray, Eva Zeisel, Ray Eames, Lella Vignelli, and Denise Scott Brown; textiles by Anni Albers and Eszter Haraszty; ceramics by Lucy Rie; a display of 1960s psychedelic concert posters by graphic designer Bonnie Maclean, and a never-before-seen selection of posters and graphic material from the punk era.
The gallery’s ‘graphics corner’ first explores the changing role and visual imagery of The New Woman through a selection of posters created between 1890 and 1938; in April 2014 the focus will shift to Women at War, an examination of the iconography and varied roles of women in times of conflict, commemorating the centennial of the outbreak of World War I.
Organized by Juliet Kinchin, Curator, and Luke Baker, Curatorial Assistant, Department of Architecture and Design
Architecture and Design Collection Exhibitions are made possible by Hyundai Card.
Additional support for Designing Modern Women, 1890–1990 is provided by The Modern Women’s Fund.
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at MoMA appeared first on Dezeen.
Dutch designer Aldo Bakker has curated an exhibition at Gallery Libby Sellers in London that presents his products alongside complimentary pieces from the gallery’s inventory.
Gallery Libby Sellers invited Aldo Bakker to select works from its collection that share materials or details with his own and present these as a way “to create interesting conversations, connections and juxtapositions between the two.”
Bakker chose pieces by Formafantasma, Max Lamb, Julia Lohmann, Peter Marigold, Jonathan Muecke and Lex Pott, and says that he was interested in seeing his work alongside that of designers such as Lamb and Marigold because of their contrasting working methods.
“Both Max and Peter work in the moment, their works comes to existence by doing,” Bakker told Dezeen. “In my case, the moment is dissolved in the whole, and you do not see many traces of the process of making.”
Materials that recur often in Bakker’s work, including metal, wood, glass and ceramic, are also prevalent in the works that he chose for the show.
“Contrary to a solo exhibition, a group show offers more entrances to the different works, and most likely enables the viewer to see the objects more clearly and precisely because of the oppositions,” Bakker explains. “I hope that the differences between the works will help visitors understand them better.”
At the 2010 Milan Furniture Fair Bakker presented a series of copper objects, including a tubular watering can that features in the exhibition.
Spaces in Between is at Gallery Libby Sellers until 14 December 2013.
Here’s are some more details from the gallery:
Spaces in Between
15 October – 14 December 2013
Gallery Libby Sellers is pleased to present Spaces In Between – a group show curated by the award-winning designer Aldo Bakker.
Contemplation and communication are at the heart of Bakker’s practice; his works in wood, metal, glass and ceramic are rigorously considered and purposely provoke reaction from the end user. By way of highlighting this, and to initiate a dialogue with the gallery, Bakker was invited to select objects from both the gallery’s existing works and his own extensive repertoire in order to create interesting conversations, connections and juxtapositions between the two.
Having had free access to the gallery’s entire inventory, Bakker’s choices confirm his position as an arbiter of materials, detail and form. His final selection comprises works by Formafantasma, Max Lamb, Julia Lohmann, Peter Marigold, Jonathan Muecke and Lex Pott – and each will be presented as counterpoints with specific designs from Bakker’s own works. While Bakker will introduce these interchanges between objects, it will be left to the visitor to bring their own interpretations and translations to the conversations.
Bakker (b.1971) views his designs as the work of a ‘vormgever’, which in Dutch literally means ‘giver of form’. As he says, “both in my language and in my form, I choose to approach ‘authenticity’ and ‘originality’ very precisely and I allow my designs to acquire physical shape only when I deem them to be ‘autonomous entities’”. His work can be found in international public collections, including Vitra (Germany), the Victoria & Albert Museum (London), the Stedelijk Museum (Amsterdam), Museum Boijmans van Beuningen (Rotterdam), the Zuiderzee Museum (Enkhuizen) and the Smithsonian Cooper-Hewitt, National Design Museum (New York). He has collaborated with clients including Thomas Eyck, Izé, Sèvres, Nodus and Wallpaper*. Bakker was the recipient of the 2012 Z33 Architecture Competition Award, and has also won Wallpaper* Design Awards for ‘Best Stool’ and ‘Best Use of Material’ (2011). He lives and works in Amsterdam and is a tutor at the Design Academy Eindhoven.
Opening times: Tuesday – Friday, 11am – 6pm Saturday, 11am – 4pm
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at Gallery Libby Sellers appeared first on Dezeen.
This year’s annual off-site Lazarides exhibition is brutal by name and by nature; hosted in a derelict modernist building in central London. The basement of 180 Strand has reached a state of dilapidation that requires navigating…
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We’ve been fans of François Chambard (a.k.a. UM Project) for some time now, but I must say he’s really hit his stride with his latest project, a series of theremins (thair-uh-min, for the uninitiated) for Butterscotch Records and Moog Music. On view now at Judith Charles Gallery in New York’s Lower East Side, Odd Harmonics features a dozen one-of-a-kind theremins handcrafted by Chambard, ranging from a breadbox-sized tabletop version to several filing-cabinet-sized renditions.
The theremins are exhibited alongside 2D-artwork by Cassandra C. Jones and Tomory Dodge (pictured), who have created album art for Butterscotch Records
The sturdy wooden construction and bright colors—in keeping with Chambard’s signature style—have a certain retro appeal, yet they’re entirely contemporary, sui generis works that blur the line between sculpture, furniture and, of course, musical instrument. Chambard notes that the hardware itself was provided by OG synth-makers Moog, and the functional control knobs that comprise the ‘dashboard’ of each theremin are a riff on A/V equipment.
Moog’s standard Etherwave theremin usually comes with a natural wood finish; Chambard has painted some of them to nice effect.
Meanwhile, some of the antennae actually consists of wire brushes, funnels and various other household objects, evoking the child-like sense of wonder at noisemaking antics—i.e. banging on pots and pans—without compromising aesthetics or functionality. For those of you who are unfamiliar with the proto-synthesizer, the theremin simply generates a sine wave and a pair of electromagnetic fields (localized to the antennae on either end). The musician modulates the pitch by moving his or her right hand along the vertical antenna; the loop at left corresponds to volume.
An exhibition exploring the latest digital design and manufacturing processes opens today at New York’s Museum of Arts and Design.
The exhibition at the Museum of Arts and Design (MAD) features more than 120 examples of sculpture, jewellery, fashion and furniture that demonstrate different uses for computer-assisted production methods.
All of the pieces on show have been created in the past decade by artists, architects and designers including Zaha Hadid, Anish Kapoor, Joris Laarman, Daniel Libeskind and Marc Newson.
Some new works produced specially for the exhibition will also be presented, including a 4.5-metre-tall digitally-scanned mask of artist Richard Dupont.
“From sculptural fantasy to functional beauty to conceptual idiosyncrasies, the works of art in Out of Hand, all created in the past decade, demonstrate an explosive, unprecedented scope of artistic expression,” said curator Ronald T. Labaco.
In keeping with the Museum of Arts and Design’s curatorial policy there is a focus on experimental uses of materials and technologies in art and industry, rather than products designed for the mass market.
“The cross-disciplinary nature of the work and the exploration of seemingly disparate themes and concepts allows for boundless creativity,” Labaco added. “The exhibition puts these pioneering works in dialogue, highlighting at once their vast diversity and the trends and ideas that connect them.”
Several of the exhibits have previously featured on Dezeen, including a 3D-printed dress for Dita Von Teese, a boot for American football players with 3D-printed studs, and a shoe by Dutch designer Marloes ten Bhömer that can be printed for a perfect fit.
We’ve also published stories about a polygonal plywood pavilion at a German university, a proposal for a web-like printed house, and a marble armchair by Joris Laarman based on the way bones grow, all of which feature in the show.
Visitors to the exhibition will be invited to try out technologies including computer-aided modelling software and 3D printers, while designers-in-residence will be on hand to demonstrate some of the processes.
The Museum of Arts and Design announced last month that it has appointed Glenn Adamson as its new director. Adamson had been head of research at the V&A, where he co-curated the 2011 exhibition Postmodernism: Style and Subversion 1970 to 1990.
Here are some more details about the exhibition from the Museum of Arts and Design:
Out of Hand: Materializing the Postdigital
Exploring the latest trends in digital fabrication, Out of Hand: Materializing the Postdigital at the Museum of Arts and Design is the first in-depth survey dedicated to exploring the impact of computer-assisted methods of production on contemporary art, architecture, and design. Opening in October, this landmark exhibition brings together more than 120 works of sculpture, jewelry, fashion, and furniture by 85 artists, architects, and designers from 20 countries to examine how new technologies are pushing the boundaries of artistic expression and creation. The cutting-edge works highlighted in the exhibition demonstrate the reciprocal relationship between art and technological innovation as well as materials and new techniques—an area of exploration that has long been at the core of MAD’s mission and curatorial program.
To mark the launch of MAD’s new holiday hours, visitors are invited for a sneak peek of the exhibition on Columbus Day, October 14. The completed exhibition will be on view October 16, 2013, through July 6, 2014.
Organized by Ronald T. Labaco, MAD’s Marcia Docter Curator, the exhibition features new and recent work from 2005 to the present, including commissions created especially for Out of Hand and objects never presented before in the U.S. by such artists, architects, and designers as Barry X Ball, Bespoke Innovations, Wim Delvoye, Richard Dupont, Zaha Hadid, Anish Kapoor, Joris Laarman, Daniel Libeskind, Maya Lin, Greg Lynn, Lucas Maassen, Jürgen Mayer- Hermann, Achim Menges, Marc Newson, Nike, Alan McCollum, Roxy Paine, Frank Stella, Hiroshi Sugimoto, and Unfold, among many others. Two large-scale sculptures—a fifteen-foot- high digitally scanned mask of artist Richard Dupont’s face, and a towering abstraction of wrestling figures created through digital milling techniques by Michael Rees—will activate the space outside the Museum on Columbus Circle and serve as an introduction to the exhibition.
“The compelling works in Out of Hand expand audience understanding of the ways artists and designers from around the world are utilizing these new technologies to extend their artistic practice, revealing how these innovations are also transforming practices in manufacturing, healthcare, and other fields not readily associated with the contemporary art world,” said David McFadden, MAD’s William and Mildred Lasdon Chief Curator. “By examining these trends through the lens of artistic expression, MAD is opening up a dialogue on the significance of digital technologies to our larger culture and global society.”
Building on MAD’s practice of making the artistic process accessible in the gallery spaces, audience participation plays a central role in the exhibition. The Museum’s second floor will be equipped with 3D printers, modeling software, and computer monitors, allowing visitors to experiment with the technologies explored in the show. Designers-in-residence working in the gallery will demonstrate various digital techniques and fabrication tools used to create objects like those in the exhibition, and a range of special workshops, public and educational programs that provide visitors with hands-on opportunities to deepen their engagement with 3D software and hardware throughout the exhibition’s run. Also integrated into the installation are video clips that explain individual artistic practices and the divergent approaches toward incorporating digital fabrication in the creative process. Additionally, a number of the featured works include interactive components.
The exhibition is conceptually organized around six themes, which provide a framework for navigating the diverse range of artwork on view and reflect aesthetic trends and artistic approaches:
“From sculptural fantasy to functional beauty to conceptual idiosyncrasies, the works of art in Out of Hand, all created in the past decade, demonstrate an explosive, unprecedented scope of artistic expression,” said Curator Ronald T. Labaco. “The cross-disciplinary nature of the work and the exploration of seemingly disparate themes and concepts allows for boundless creativity. The exhibition puts these pioneering works in dialogue, highlighting at once their vast diversity and the trends and ideas that connect them.”
To provide audiences with the full sweep of innovation in this rapidly growing field, the exhibition includes objects created through purely digital fabrication techniques alongside works that combine traditional handcrafted processes with these new methods.
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the Postdigital at MAD appeared first on Dezeen.
Shane Kohatsu’s Vapor Laser Talon for Nike / Frank Stella – ‘K.162’ (2011) sculpture
In what will certainly be a must-see exhibition this holiday season, New York City’s Museum of Arts and Design (MAD) is pleased to present Out of Hand: Materializing the Postdigital, which opens today and runs through July 6, 2014. Billed as “the first in-depth survey of digital fabrication in contemporary art, architecture, and design,” the exhibition includes a catholic selection of “more than 120 works of sculpture, jewelry, fashion, and furniture by 85 artists, architects, and designers from 20 countries.” Curated by Ronald T. Labaco, Out of Hand explores various approaches to and modes of computer-assisted production through works—”including commissions created especially for Out of Hand and objects never presented before in the U.S.”—by the likes of Ron Arad, Barry X Ball, Zaha Hadid, Anish Kapoor, Maya Lin, Greg Lynn, Mark Newson, Hiroshi Sugimoto, and many more.
Seeing as the works date from 2005 to present, MAD is clearly planting a stake in the ground with this first look at what will eventually be considered ‘early’ examples of art and design in the digital era. It’s too soon to tell whether some of the work on view will be canonized or it will be forgotten, but the fact that these technologies will likely evolve over the course of the nine-month run of the show is precisely the point: Out of Hand is a timely snapshot of the intersection of art and technology at this moment in time.
Dror Benshetrit – Volume.MGX Lamp (2009)
Richard Dupont – Untitled #5 (2008) / Michael Schmidt with Francis Bitonti – Articulated 3D-printed gown (2013)
We had the chance to speak to Labaco in anticipation of the opening.
Core77: How did this exhibition come about? Is there a serendipitous origin story, or has it been in the works for some time now?
Ron Labaco: The concept for the exhibition came out of a meeting with the director and chief curator about two years ago. We were tossing around ideas for exhibition topics and the subject of 3D printing came up. If you think back to then, which wasn’t so long ago, 3D printing was not as familiar a term with the general public as it is today. You could count the number of articles about it in popular magazines and newspapers on one hand.
But rather than simply focus on 3D printing, I suggested a more inclusive exhibition on digital fabrication—including CNC machining and digital knitting/weaving—to provide a broader look at how computer-assisted manufacture has changed our physical world. By doing so, I was able to develop a more complex story about how these methods of fabrication were being utilized in individual artistic practice across different disciplines. I opened up an interesting dialogue between practitioners who approached the same technologies from different perspectives with differing goals. At first I had also planned on examining developments in the medical sciences, but with the wealth of material that I was finding, I had to limit the scope to design, art and architecture.
Lucas Maassen & Unfold – Brain Wave Sofa (2010)
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