It was a relationship that, from the outset, was not fated to last. She knew that.
JJ Peet might surreptitiously reach into a drawer of kernels, grab an equalizer in the form of a wire or a pin and apply it to one of the dueling opponents—a sock-covered brick (the Resistant) and a home-made miniature cannon (the Luxury Leader).
Joan Waltemath’s paintings are not to be seen, but experienced. Their architectural nature speaks to the body and its 1:1 connection to surface. In this Post-Impressions, Mary Jones speaks to the artist, writer, and educator about the importance of touch and language on perception.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
Keith Tyson explains his “Artmachine” computer program, which pulls pieces of information from a reservoir of different sources and matches them at random to create project proposals which are then considered for construction.
Ralph Humphrey asked me about ten times what I thought of his last show. I said something different each time he asked.
Jackie Winsor talks to Craig Gholson about the influences of color on her sculptures and the discoveries she comes across through her work, as well as the dichotomous elemental impact of fire.
Mark Pauline and Survival Research Laboratories are leading exponents of machine performance.
Alan Scarritt discusses his mandala-esque plaster spirals, and the sound of a harmonica in a warm room, with fellow artist Keith Sonnier.