Joris Laarman Lab – Design in the Digital Age, at the High Museum (Photo Challenge: Tour Guide)

Come see the future: Joris Laarman Lab – Design in the Digital Age encompasses a search for beauty as well as functionality, art in addition to technology, and includes maker-chairs, a bio-luminescent lamp, and yes, an exhibit on start-up company MX3D’s 3D-printing project to build a pedestrian bridge across an Amsterdam canal.

These elegant chairs were cast in 3D printed molds. They were designed using computer software based on the work of German professor Dr. Claus Mattheck, utilizing growth patterns of bones and trees to provide minimal structure for maximum strength.

Bone Rocker - beige noir marble and synthetic resin - Joris Laarman Lab - High Museum Atlanta GA 2018

Bone Rocker, Beige Noir marble and synthetic resin, 2007.

Bone Chair - marble and resin - Joris Laarman Labs - High Museum exhibit 2018

Bone Armchair, Carrara marble and synthetic resin, 2007.

As beautiful as they are, I have to admit, the first thing I thought was “What about the dust?” The second thing I thought was “The spiders would love these.”  Apparently I am too plebeian to have lovely minimalist chairs. They are gorgeous museum pieces, and if found in a home, it would be the home of someone with maid service.

Then I wondered about comfort. When I was in my 30’s (like these designers) that didn’t worry me at all. I loved my Arts-and-Crafts oak furniture with square sides and hard seats, and scoffed at comments about discomfort because who cared? — it looked good. Now I put pillows on everything, even one of Sam’s Eames chairs, to his dismay.

This robotic arm is building three “Digital Matter” tables from metal cubes that are 3D versions of pixels, large, medium, and small. (they’re “voxels” — volumetric pixels)

Still from video - Joris Laarman Lab - assembling Digital Matter Tables - photo from High Museum exhibit, Atlanta GA

Joris Laarman Lab – robot assembling Digital Matter Tables – photo still taken from exhibition video – High Museum exhibit, Atlanta GA, 2018

The three “Digital Matter” tables were commissioned by the High in 2011 and are now in the permanent collection — if soaked in acetone, the pieces separate and can be used to build something new. “Wow,” I thought, “that would have solved so many of my downsizing issues.”  It’s been slow work to clear the hoard while honoring my quest to be environmentally correct, and get stuff reused or recycled instead of taken to a landfill. 

Three Digital Matter Tables - High Museum, Atlanta GA - Joris Laarman Labs

With three sizes of cubes, the tables have graduating resolution. 

Here’s a detail of the middle table —

Digital Matter Tables/detail - Joris Laarman Labs -High Museum Atlanta GA

The ornamentation is a tribute to “Super Mario”, but up top, there’s a tip of the hat to Pac-Man…

Digital Matter tables - pac man detail - Joris Laarman Lab - High Museum Atlanta GAAnd here I go with “Art Museum Eyes” again — leaving the exhibition I saw this view out the window —

Cousins Building - art museum eyes

There’s far more in this innovative (and fun) exhibition than I can communicate in one blog post, so if you’re near Atlanta, come and see it for yourself. If you can’t make it by closing on May 13, come anyway, the High’s permanent collection features more work from Joris Laarman Lab than any museum outside the Netherlands.

High Museum of Art, Atlanta GA, Feb 18-May 13, 2018.

I wonder how many reconstituted tables it would take to make a building? We may find out. There are projects afoot …


More on the Weekly Photo Challenge: Tour Guide

More on the exhibition



Lofts, Stairs, Castleberry Hill, and the Weekly Photo Challenge: Ascend

One of the things I love about lofts is that they can be so, um, lofty. That means they have stairs, and in many and varied forms. Here are a couple of my favorites from an October outing to the Castleberry Hill Loft tour.

Castleberry Hill loft stair

The ascending view, with a spiral staircase, colorful art, and a fabulous gallery wall above.

Here’s the descending view. I’m always leery of tumbling down, so I like to lurk about until Sam goes first, then I stop, catch my balance, and take a photo of him. 
Spiral stair, Castleberry Hill loft

Here’s another staircase, from another elegant and art-filled space.
Castleberry Hill - Loft stair ascending


… and the descending view.
Loft stair from top - Castleberry Hill tour

In transit between homes, we encountered this chicken, who had just crossed the road.

Chicken in the road; Castleberry Hill

Chicken in the road: no word on why he crossed it….

Do some lofts have a view from the top? Well yes. On this rooftop, Sam pointed out that we could see the building where he lives… here, it’s a tiny spire in the distance.

Rooftop view, Castleberry Hill loft tour

Now in an up-and-down-again, there-and-back-again, across-the-road-again way, the next photo is Sam’s view back toward Castleberry Hill. The stadium building (with the Mercedes sign, on the left in the photo above) is barely visible on the horizon in the lower right, below. It’s just above the red V-for-Varsity sign.

View south from midtown Atlanta

View south from midtown Atlanta

So we’re back again and ready for next year’s Castleberry Hill loft tour.

Do you have a favorite local homes tour?


More on the Weekly Photo Challenge: Ascend

And, some information on next year’s Castleberry Hill Loft Tour

More Buttons, More MAD, and the Weekly Photo Challenge: Rounded

It’s hard to get more rounded than a button, so I’ll take this excuse to post yet another kind of button collection —

Assorted buttons...

Assorted buttons… mostly rounded.

Not that this is a conscious collection, it’s a group of ‘found’ buttons I put together when I came across them while packing up. Some must have been Bob’s (Politically Incorrect). Later I found political buttons old enough to have been his father’s, but by now they’re packed up again. They may show up in a later post.

Here’s a button collection from a display at MAD’s (the Museum of Art and Design) Counter Couture show last March.  It’s a time-capsule, an interesting aside to the exhibition, and a flashback if you remember the Sixties (but as the saying goes, if you remember the Sixties you weren’t really there). It was a big time for buttons, so someone got a little humor out of the ‘Ban Buttons’ button —

The Sixties: Buttons at MAD Counter Couture

A Historical View: Sixties Buttons at MAD’s Counter Couture

While we’re at MAD,  here’s a view of a gorgeous and eye-popping crocheted wrap and bathing suit with rounded patterns. Curves may have been synonymous with groovy there for a while. —

Birgitta Bjerke - Red Hands bathing suit , 1968

Birgitta Bjerke – Red Hands bathing suit (wool), and on the wall, Heather Daltrey coat , 1968 (wool)  Wait, what — wool bathing suit?

As for the Sixties, here’s a test: “Remember what the dormouse said?”

More on the Weekly Photo Challenge: Rounded




1970s-Era Denim, Counter-Couture at the MAD Museum, and the Weekly Photo Challenge: Textures

Downsizing got a little all-consuming around here this spring. This week’s ‘Textures’ challenge reminded me I hadn’t shared pictures from Counter-Couture – Handmade Fashion in an American Counterculture, a show we saw at the Museum of Art and Design (MAD) in New York in March. And who wouldn’t want to see, or wear, a flaming horse (or chicken!) flying in the sky —

MAD Museum - Embroidery Detail - Anna Polesny - Fancy Jacket 1974

Detail: Anna Polesny – Fancy Jacket, 1974

These pieces were in the Levi’s Denim Art Contest of 1974. Anna Polesny was born in Czechoslovakia. This embroidery tells the story of her life and travels.

Here’s the winner of the 1975 Levi’s contest —

MAD Museum - Billy Shire - Welfare - Sneed - My Personal Belt - Detail

Billy Shire – Welfare – Sneed – My Personal Belt

The artist’s clothing has been worn by musicians in the bands Chicago and the Doobie Brothers, and by Elton John.

This is an 11-pound jacket. Rockers work hard. Some materials: upholstery tacks, handset studs, rhinestones… and yes, that’s a desk bell, meant to chime when the jacket is worn. There is also purportedly an ashtray, but I believe I remember it was on the back. On the belts: bicycle reflectors, rivets, and luggage-bottom studs.

MAD Museum - Billy Shire Denim Jacket detail

MAD Museum – Billy Shire Denim Jacket detail

Counter-Couture, Handmade Fashion in an American Counterculture is on display at MAD through August 20, 2017.

Now back to downsizing — remember downsizing? I thought I’d donated or recycled all my oldest jeans, but here’s some denim I found in the depths of the closet this spring. My oldest jeans This isn’t even all the old jeans. No embroidery here, but the green jeans are 1970s era bellbottoms. As for embroidery, I do remember having some small well-behaved embroidery patches over holes, but of course nothing on the scale of the wonderful show items. I can offer this colorful inside label —

Green jeans vintage label

Vintage rainbow label in my 70s-era green jeans…

I guess having these makes me Ms Green Jeans. Is anyone else old, um, vintage enough to remember Mr Green Jeans?

More on Counter-Couture at MAD

More on the WordPress Weekly Photo Challenge: Textures



Bologna, The Whitney Biennial 2017, and the Weekly Photo Challenge: Unusual

“It smells like bologna in here,” Sam said.  He meant bologna sausage, aka ‘baloney’. We were at the Whitney Biennial, and he’d been further into the room than I had. Here’s what we found when we went to investigate —

Claim: Whitney Biennial Version - Pope.L aka William Pope.L

Claim: Whitney Biennial Version – Pope.L aka William Pope.L. The hand stitched banner above is by artist Cauleen Smith. (I’m fond of the symmetry of the two red bags)

This is a grid of 2,755 slices of bologna, each tacked onto the appropriately pink background with a black and white photocopy portrait attached —

Detail - Claim:Whitney Biennial Version - Pope.L aka William Pope.L

Detail – Claim: Whitney Biennial Version – Pope.L aka William Pope.L

Playing with words and numbers, the artist’s ‘claim’ is that the number is related to New York’s percentage of Jewish population, though the photographs were chosen randomly. See that drip in the photo above? We were there a couple of weeks after the exhibition opened, and the passage of time was wreaking a little havoc with the materials in this piece.

Claim:Whitney Version - Pope.L aka William Pope.L

Greasy Art Stuff – nope, it’s not archival.

The curator’s note tells us that Pope.L has made other versions of this work, many focusing on Black subjects, and goes on to say that “Claim (Whitney Version) plays with our tendency to project ourselves onto numbers and stokes our awareness that such counting often lays the groundwork for systematic acts of discrimination.”

Conceptual art can challenge the viewer in ways that strictly visual art does not. Still, it’s rewarding to see it through, even though it’s dependent on our patience in being willing to read about it.

Um, there may be one potential problem here —Service dog at the WhitneyWe went on to view the next floor, so can’t say what happened when dog met art. Hopefully, training prevailed.

Claim won the the Bucksbaum Award, which recognizes one artist from each Biennial exhibition. The Whitney will host a show of Pope.L’s work this fall.

What do you think of this exhibition?

More on the Weekly Photo Challenge: Unusual

The Whitney Biennial, 2017 (Catching up with the Past Weekly Photo Challenge: Reflecting)

Want to know what these people are looking at?  We’re in New York at the Whitney Biennial in March, and it’s hard to know whether to look up, down, out, or over.

Samara Golden - The Meat Grinder's Iron Clothes, 2017 Whitney Biennial, NYC

Samara Golden – The Meat Grinder’s Iron Clothes, 2017 Whitney Biennial, NYC

Here’s a view from the platform —

Samara Golden - The Meat Grinder's Iron Clothes, 2017 Whitney Biennial, NYC

Samara Golden – The Meat Grinder’s Iron Clothes, 2017 Whitney Biennial

You can tell this is a huge and site-specific installation, but even standing there in it, I couldn’t tell exactly how many floors were part of it and how many were illusions. The sky was down, or was it up? The traffic was up (and down) and the Hudson River was out (wasn’t it?). To each side were floors of sculpted interiors – with stratified layers of furniture, office, and institutional space, some nightmarish. Were they all even right-side up? I don’t think so.

Samara Golden - The Meat Grinder's Iron Clothes, 2017 Whitney Biennial

The clouds and the traffic, along with the occasional helicopter, provided movement. It was hypnotic. With so much going on, I didn’t take in the social commentary until I read about it. Not unusual, since I’m all about the visual when it comes to looking at art.

Like many recent exhibitions, this year’s Whitney Biennial was strong on social concerns. Suffice it to say that those layers were meant to provoke thoughts of social as well as visual stratification, referring to inequality and our political climate. I’ll share more images from this year’s exhibition in future posts.

How about it – do you look for the social implications or for the visual when you’re reflecting on art?


More on the Weekly Photo Challenge: Reflecting

More on the Whitney Museum


Travel Like a Pig Enthusiast – Catching Up with a Past Weekly Photo Challenge: Wanderlust

My best travel tip? Always keep an open mind in trip-planning. Sometimes our favorite adventures are things we discover along the way.

On a Southwest Airlines flight to New York City in March, Sam opened the inflight magazine straight to the puzzle page and found this note from a previous passenger. I was charmed and took a photo, but didn’t know until later that there was serendipitous magic afoot, working to set a theme for our trip.

'Pig Enthusiast' note: Sudoku Page/ Southwest Airlines

Archie, pig enthusiast, wishes us a wonderful life. Thank you, Archie.

I didn’t think about this note again until the next day, when we got to the Guggenheim. Here’s what reminded me –

Paul Gauguin, Haere Mai - Detail (Guggenheim Museum, NYC)

Paul Gauguin, Haere Mai – 1891 – Detail (Guggenheim Museum, NYC)

What? Gaughin? Pigs? I must have seen this painting many times, but it was never so memorable before. Backing up for the long view –

Paul Gauguin, Haere Mai  (Guggenheim Museum, NYC)

Paul Gauguin, Haere Mai (Guggenheim Museum, NYC)

At the Metropolitan Museum show Age of Empires, Chinese Art from the Qin and Han Dynasties (221 B.C – A.D. 220) we found these ancient porkers–

Two Pigs - Western Han Dynasty (206 B.C – A.D. 9)

Two Pigs, Western Han Dynasty (206 B.C – A.D. 9). Stone pigs, symbolizing wealth, were placed in tombs in the hands of the dead.

The next pigs-in-show were photo bombed by a chicken –

Pair of Pigs - Western Han Dynasty

Pair of Pigs, Western Han Dynasty (206-B.C. – A.D. 9). Earthenware with pigment. Yangling Mausoleum.

While Sam worked the puzzle page during our flight, I was reading a New York Times review of an exhibition at the Onassis Cultural Center and Museum: A World of Emotions: Ancient Greece, 700 BC – 200 AD. We’d never been to Onassis Center, and made a note to go. Now it’s definitely on our list for future trips.

Not long after we walked in, we discovered that even classical antiquity could be home to serious pig-enthusiasm.

Funerary Stele for a Lovable Pig, Victim of a Traffic Accident, 2nd-3rd century AD, Marble, Edessa, site of Longos, Ephorate of Antiquities of Pella, AKA 1674. Photography Orestis Kourakis.

Funerary Stele for a Lovable Pig, Victim of a Traffic Accident, 2nd-3rd century AD, Marble, Edessa, site of Longos, Ephorate of Antiquities of Pella, AKA 1674. Photography Orestis Kourakis.

“Here lies the pig, beloved by all, a young quadruped.  I left the land of Dalmatia, when I was given as a gift. I reached Dyrrachion and yearned for Apollonian. I crossed every land with my own feet, alone undefeated. But now I have left the light because of the violence of wheels. I wished to see Emathie and the wagon of the phallus, but now here I rest, although I was too young to pay my tribute to death.”   Pella, Ephorate of Antiquities.

In the words of another (famous) pig enthusiast, this must have been “some pig”.

I was prepared for gods and mortals, love, anger, and courage, envy, and the range of human emotions we know throughout history and mythology. What I didn’t foresee were the many touching tributes to animals. Dogs, geese (“Aphrodite’s sacred bird and a symbol of weddings”), and of course, the lovable pig. It reminded me of how far we’re removed from nature in our modern lives.

Sam wondered if the pig had a name, and if so, whether it was lost to the centuries or part of the original inscription but not translated. For synchronicity’s sake, we’d like to think its name was ‘Archie’.


More on the past weekly photo challenge: Wanderlust

More on the Onassis Cultural Center and the World of Emotions Exhibition