I know this has been a difficult six months for everyone, but there were some good things that have happened in 2020.
A bright spot for me was the publication of a Special Issue of the Journal of Mathematics and the arts devoted to Artist’s statements. Titled “Artists Viewpoints”, you can find it for free until the end of the year by following this link and scrolling down to volume 14.
It has been a great honor to edit this issue. JMA is going to continue publishing an artist statement in each new issue. I encourage any artists with mathematical themes in their work to consider submitting their statement. To do that, click on the “Submit an article” button, set up an account and follow the instructions.
It is a strange year! I hope all of you are well!
Most Summers I attend the Bridges Math Art conference, and feature some of the artwork from the exhibition in this blog. This year with an active, deadly pandemic circulating the globe, the in-person conference was cancelled. Instead a virtual alternative was created. I contributed a video about some of my newest drawings. Here is my video.
Robert Bolick recently wrote a nice piece on some of my early collaborations with Dikko Faust and Esther K. Smith of Purgatory Pie Press in New York. These book arts projects feature my counted marking drawings. It also describes my Accordion Moebius form, called the “Happersett Accordion”.
Check out Robert’s article here.
The Kirkland Museum in Denver Colorado has a large collection of fine and decorative art. In addition to the studio of painter Vance Kirkland the museum displays an eclectic selection of art. A few of the works feature mathematical themes.
Clark Richert’s painting R-P/Kepler is a complex tiling featuring rhombi, pentagons as well as irregular quadrilaterals.
Richard Kallweit uses small wooden cubes the build geometric sculptures.
One of Kallweit’s sculptures was also part of the JMM exhibition.
Both Richert and Kallweit are represented by Rule Gallery which is located in the Santa Fe arts district in Denver. Stop by the gallery to see some other examples of their work.
New York sparkles with light displays this festive season.
The “Luminaries” art installation in the Winter Garden at Brookfield Place at the World Trade Center features a grid of glowing lanterns.
The curvilinear plane soars through the space following the path of the grand stairs.
Each of the lanterns are almost cubes. One of the vertical sides is slightly longer. This creates different shapes viewed from different angles.
The colors changed based on the music creating an exciting environment.
Wishing everyone Health, Happiness, and lots of Math Art in 2020,
Seizan Gallery is currently presenting “Notre Terre / Our Earth” a solo exhibition of Étienne Krähenbühl’s prints and sculptures.
Krähenbühl creates sculptures using steel aluminum and nickel titanium that incorporate a subtle sense of movement and shadows.
“Au Gil de l’O” ( In the Flow) from 2018 consists of a series of Corten steel concentric circles suspended and slightly swinging on nickel titanium wires. In the gallery, lights are positioned to create a repetitive shadow on the floor. This creates an interesting ripple effect of intersecting circles.
“Bing Bang Bois I ( Bing Bang Wood I) “ from 2015 features burned oak rods suspended using aluminum and nickel titanium. Each blackened wood element moves independently to form a quivering sphere in space.
Today a guest blog entry from Elizabeth Whiteley:
If you find yourself in the Baltimore area, check out the current exhibit at the Walters Gallery. Titled “Designing the New: Charles Rennie Mackintosh and the Glasgow Style” it’s a large show with works by the famed Scottish architect and other designers such as Christopher Dresser, Jessie M. King, Margaret Macdonald, and Talwin Morris. It will be on display until January 5, 2020.
The wall note for this textile design, ‘Wave Pattern in Purple, Pink, Orange, and Black’, ca. 1915-23, says “Mackintosh’s precise use of contrast and symmetry here created a brilliant optical illusion. He aligned the white, purple, and orange loops vertically against the penciled grid, but the wavy arcs of pink and black create strong diagonals that pull the eye away from the underlying structure of the pattern.”
This drawing is a lampshade design for the standard lamp, The Hill House, 1905. It shows an effective way to use bilateral symmetry on a lozenge shape.
The wall note for this chair (1904-5) says, “This chair, which Mackintosh designed for his own home, is a slightly taller version of one he first created to accompany a writing desk for The Hill House. At first glance, the chair seems rigidly angular, especially with the two columns of squares, yet Mackintosh always offset such severe geometries with a subtle softer curving line—here seen in the tall, gently concave back.
Mignoni Gallery on the Upper East side of Manhattan is currently presenting an exhibition that juxtaposes Donald Judd’s aluminum wall sculptures and Kennet Noland’s geometric striped canvases.
“Untitled (Bernstein 88-14)” red anodized aluminum from 1988 explores the concept of positive and negative space. The solid raised rectangular boxes go from large to small, from left to right. The empty spaces between go from small to large from left to right. Judd’s horizontal structure creates a sense of linear movement across the wall of the gallery.
Noland’s “Galore” from 1996 is also an horizontal construction. The long flattened diamond shaped canvas is painted with a series of colorful straight lines. But instead of going straight across the wall, they run parallel to the lower left and upper right sides of the rhombus. This angled formation leaves the viewer slightly unbalanced.
This summer I had the privilege of seeing Manfred Mohr’s video “Cubic Limit” from 1973-1974. I was so happy to be able to see it again at Bitforms Gallery in NYC this Fall. The gallery is presenting “Manfred Mohr A Formal Language: Celebrating 50 Years of Artwork and Algorithms (1969-2019”. There is the full range of Mohr’s art on display including some more recent work.
The painting “P-511-0” from 1995-97. Is a static example of a algorithm based geometric work
The video “P-777_MA1” from 2002 is a dynamic colorful computer driven dance of geometry.
The exhibition has been extended until November 3rd
In The center of the city in Linz a huge interactive series of art installations has been installed until Oct 13th. Curated by Katherina Lackner and Genovea Ruckert, the exhibition tagline is “Elastic, Plastic, Fantastic”. The basic elements of visual art as a sensory thrill- point, line, space and time. Both contemporary work and important historical art are included in this ambitious exhibition. The viewer walks through of a circuit of installations situated on many floors and outside on the roof of the building.
This is a still shot from Manfred Mohr’s computer generated movie “Cubic Limit” from 1973-1974. Using straight lines and grids Mohr has shown a progression of cubic forms moving through space.
Mariana Apollonio’s Op Art piece “Spazio ad Attivazione Cinetica”, 1966-2015 creates the optical illusion of a warped plane using black and white concentric circles.
The most ambitious contemporary installation is on the roof. “Tube Linz” , 2019 is by the collective “Numen / For Use”
Viewers become part of the art when they climb into the undulating network of tunnels. The bright blue grid structure looks different from every position. Exploring line, space, and motion.