Nov
19th
Thu
19th
(via pinkcowzfly)
This Is Hilarious, You Should Watch It of the Day: The Bloomington Bros. reinterpret Nickleback’s “Photograph.” And by “reinterpret” I mean “make listenable.”
[thedailywhat:via.]
sorry for any nickleback related whiplash this causes. it’s amazing. just watch it.
gpoyw- bonus round
An aerial view of Robert Smithson’s “Spiral Jetty” in Utah, taken by a camera attached to a latex weather balloon from about 800 feet in the air.
gpoy(&art)w
if great artwork is stolen, i must be batting 1.000 today
i can’t get the grey’s anatomy stuff out of my head or my palette. pictures soon.
un:
Natural fractals from Origins of Life (film)
Click through to watch it on Hulu! I am watching it now!
Expect more math in nature spam from this film beginning in…
..5..4…3…2…1…. :)
Ahhh now I finally understand what the first 20 images I looked at were from. kewl.
must put this film in my queue!
How Do You Conserve Robert Smithson’s ‘Spiral Jetty’?
Hasn’t the idea of the spiral jetty always been about entropy and impermanence? why do we desire to preserve what was intended to be destroyed and reclaimed. spiral jetty isn’t as remote as it once was- common knowledge and interest in those things far flung and remote draw more people in now than ever, but shouldn’t the destruction of this work be it’s final act?
After the piece was constructed in 1970, it spent decades underwater as the lake rose. It has re-emerged in the last few years because of drought, but its appearance has changed markedly, whitened by salt crystals and the buildup of silt. Mr. Smithson, who was fascinated by the concept of entropy, might have welcomed this transformation. But it is less clear what he would have thought about changes wrought by visitors to the remote site, who have, at times, carried off some of the rocks as art souvenirs. Or moved them to construct their own tiny spiral jetties nearby. Or, in one case, used them to spell out what they were undoubtedly drinking at the time — “BEER” — in the pink-hued sand next to the earthwork.
Issues like this recently prompted the Dia Art Foundation, which owns the work, to begin exploring the idea of systematically documenting the site, photographing it from year to year to give curators and conservators a better idea of how it is changing and a better basis for making decisions — always tricky in the world of land art — about whether to intervene.
“In my field we’re trained to make condition reports,” said Francesca Esmay, Dia’s conservator, but she added of Smithson’s work, composed of more than 6,000 tons of rock and soil: “Its scale is such that I can’t just go out with a camera and pencil and clipboard by myself and describe it.”
the solution is weather balloons and a camera:
photo by the dia art foundation
