Archive for the ‘Art’ Category

Korean artist Jeeyoung Lee creates three-dimensional fantasy worlds.

With her background in visual design and photography, Lee captures her dreams, experiences, memories and emotions by building elaborate sets for her ongoing self-portrait series “Stage of Mind.”

In one of her latest works, “La Vie en Rose,” Lee drew inspiration from a Korean proverb, “Life is a thorny path,” and sculpted thorns made out of resin and plaster to represent life’s countless hardships.

“Pretty much anything surrounding me can become a source of inspiration,” Lee tells CNN.

Lee photographs herself as a character in each set and then records their destruction using video. “I could have used other models, but I find it more suitable to model myself since my work is very biographical. It reflects my identity and my life.” Her creations are cathartic, a way to remember and meditate.

Each installation takes Lee between two to three months to produce — from buying supplies to setting up lights — and the cost of each set varies from hundreds to thousands of dollars. Lee works completely solo and her photos are free of digital manipulations.

“This entire process is an act of discipline and training. I wouldn’t be able to experience these emotions through Photoshop.”

Her newest images, which were recently exhibited at the Gallery GO in Korea. Below, Lee discusses her work with CNN Style.

CNN: Why did you choose to create “a room” to capture your thoughts and memories?

Lee: When we visit someone else’s room, we can guess a lot about that person. A room is an enclosed and private space and my work is about creating a space that represents my psychological state of mind. So I thought characteristics of a room would be suitable.

CNN: Does being Korean influence your work in anyway?

Lee: I guess there would be a subconscious cultural element, since the environment that a person grows up in affects his or her identity. Some of my previous works, such as “Nightscape”, “Resurrection” and “Treasure Hunt” depict the Korean landscape that I saw growing up.

CNN: Why do you favor creating real scenes, as opposed to creating them using software programs like Photoshop?

Lee: The fact that I’m reflecting on real events and emotions that I’ve experienced makes my work real. On the other hand, the fact that the scenes I am creating only exist in my head makes it surreal.
I am creating installations to bring my thoughts into the real world, and taking photos of them to capture a part of my life and reminisce that moment.

By destructing the scene at the end, I’m putting the moment back in the past, where it belongs. This entire, emotional process is an act of discipline and training for me. I wouldn’t be able to experience this through Photoshop.
CNN: Your gaze is always fixed away from the camera in your photos. Why is that?
Lee: I want people to look at the entire scene, not just the model. Also, by not revealing particular facial expressions, it becomes an indirect expression of my emotions and allows for a wider interpretation of my work. Even though I am a protagonist in my work, I want the person to appear as one of the objects in the picture.

READ: Chinese artist makes mountains from tower blocks and construction sites
CNN: What is most challenging about realizing your work?

Lee: My installation is a very labor-focused work. So it’s physically hard, and eventually it’s a battle with myself. Sometimes traumatic memories I have with the story I’m recreating disturbs me.
CNN: Tell us about your most memorable project.

Lee: “Anxiety” means a lot to me. It was a very experimental work. I consider the entire process of building a set, taking a photograph, and destroying it, as my work. In most cases, the photograph is the final result, but for “Anxiety,” I exhibited two photographs and a video.

“Anxiety”

This work addresses common worries, insecurity, and doubts that we go through in our everyday lives.
In it, a performer makes a strange noise and I’ve cut the sound of the phrase “it’s okay” per syllable, and she reads them as if she’s singing. It sounds very disturbing, but since the work deals with concerns and insecurity, I wanted to deliver those feelings to the audience more directly.
CNN: What is your dream project that you hope to work on?

Lee: I have a lot of projects that I’d like to work on. Since I’m creating different sets inside the studio, there definitely are spatial limitations and there are limitations to the kind of light I can use. I want to work in a really large space, so large that a person will appear as small as a dot. I also want to try building an installation in the back of a truck and move around like a traveling theater.

http://www.cnn.com/2016/12/21/arts/artist-jeeyoung-lee-surreal-rooms/index.html

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Urban artist Biancoshock has converted Milanese manholes into tiny rooms to spotlight the extreme conditions people around the world are forced to live in.

The satirical intervention — titled ‘Borderlife’ — draws specifically from living standards in Bucharest, where more than 600 people call the city’s sewers home.

‘If some problems cannot be avoided, make them comfortable,’ Biancoshock says ironically.

The artist describes his work as ‘ephemeral experiences’ that play with the urban landscape of European cities.

He made the headlines in 2012 with a stress-reducing installation at a Milan bus stop, where customers could kill time waiting for their bus by bursting bubble wrap.


This photo provided by Australian Synchrotron and the National Gallery of Victoria, shows an image discovered with X-ray fluorescence microscopy, beneath Edgar Degas’ Portrait of a Woman. (Right) Degas’ painting Portrait of a Woman.

By Merrit Kennedy

Using specialized X-ray imaging, a team of researchers in Australia has revealed a striking painting of a woman’s face hidden under French Impressionist Edgar Degas’ Portrait of a Woman.

The researchers believe the auburn-haired woman in the hidden work — which they also attribute to Degas — is Emma Dobigny, who was reportedly one of Degas’ favorite subjects and modeled for him in 1869 and 1870.

It’s long been known that another painting lay beneath the image of an unknown woman in a black dress and bonnet, housed in the collection at the National Gallery of Victoria, Australia. Since at least 1922, the research team explains in Scientific Reports, another form has slowly become visible, discoloring the bonneted woman’s face.

“Degas painted directly on the underlying portrait with no intermediate ground paint layer using exceptionally thin paint layers, thus little pigment is present to provide hiding power,” the researchers wrote. “The hiding power of paint layers often decreases as oil paintings age.”

Even as the traces of a ghostly form emerged over the course of decades, conventional imaging technology could only provide hints of what the hidden portrait looked like.

Now, an enhanced process known as X-ray fluorescence elemental mapping gives a far better picture. The technique allowed the researchers to scan for the individual elements — such as iron, zinc and copper — found in different colors of paint. This chart shows maps of elements the researchers tested:


(Left) Eleven elemental maps providing an overview of the construction of the painting. (Right) Detail of zinc map.

The team said the maps “can be used to deduce pigment use based on the elements observed within the context of the painting.” For example, “Fe and Mn are co-located in the hidden sitter’s hair … strongly suggesting the use of the brown pigment umber.” The researchers detected cobalt in the face, and deduced that it is “probably present as a blue pigment, which is useful in defining flesh tones.”

By layering the elemental maps together, the researchers were able to create this representation of the hidden work:

It didn’t take long for them to identify Dobigny as the painting’s likely subject, study co-author Daryl Howard told the BBC: “Once the image had come through, basically what I did was to look up Degas’s catalogue of works. And I would say in under five minutes, it seemed that we had a good match. … I think the likeness is quite amazing.”

The researchers think at least seven years passed between the two portraits. The earlier work uses lighter and cooler tones, while the later painting is warmer and darker. This was helpful to the imaging process — as the researchers explained, “his change in palette provides exceptional elemental contrast.”

The X-ray fluorescence technique was previously used on Vincent Van Gogh’s Patch of Grass to reveal a portrait of a peasant woman, as NPR reported in 2008.

The team in Australia said the technology has advanced since then — it’s faster and can measure “spatial resolutions on the order of the size of a paint bristle.”

This technique, researchers concluded, “will significantly impact the ways cultural heritage is studied for authentication.”

http://www.npr.org/sections/thetwo-way/2016/08/05/488824963/x-rays-reveal-hidden-portrait-under-painting-by-edgar-degas


The statue by Sophie Ryder had to be moved because people on their phones were bumping into it.

By Sophie Jamieson

A massive 20ft statue of two clasped hands had to be relocated after people texting on their mobile phones kept walking into it.

The sculpture, called ‘The Kiss’, was only put in place last weekend, but within days those in charge of the exhibition noticed walkers on the path were bumping their heads as they walked through the archway underneath.

Artist Sophie Ryder, who designed the sculpture, posted a video of it being moved by a crane on her Facebook page.

The artwork was positioned on a path leading up to Salisbury Cathedral in Wiltshire.

Made from galvanised steel wire, The Kiss had a 6ft 4in gap underneath the two hands that pedestrians could walk through.

But Ms Ryder said people glued to their phones had not seen it coming.

She said on social media: “We had to move ‘the kiss’ because people were walking through texting and said they bumped their heads! Oh well!!”

Her fans voiced their surprise that people could fail to notice the “ginormous” sculpture.

Cindy Billingsley commented: “Oh good grief- they should be looking at the beautiful art instead of texting- so they deserve what they get if they are not watching where they are going.”

Patricia Cunningham said: “If [sic] may have knocked some sense into their heads! We can but hope.”

Another fan, Lisa Wallis-Adams, wrote: “We saw your art in Salisbury at the weekend. We absolutely loved your rabbits and didn’t walk into any of them! Sorry some people are complete numpties.”

Sculptor Sophie Ryder studied at the Royal Academy of Arts and is known for creations of giant mythical figures, like minotaurs.

The sculpture is part of an exhibition that also features Ryder’s large “lady hares” and minotaurs, positioned on the lawn outside the cathedral. The exhibition runs until 3 July.

http://www.telegraph.co.uk/news/uknews/12164922/Massive-sculpture-relocated-because-people-busy-texting-kept-walking-into-it.html

Visitors to a new exhibition at The Dali Museum in St. Petersburg, Florida, won’t just be looking at art. Thanks to virtual reality, they’ll be exploring a Dali painting in a dreamy, three-dimensional world that turns art appreciation into an unforgettable, immersive experience.

The new exhibition, “Disney and Dali: Architects of the Imagination,” tells the story of the relationship between Salvador Dali, the surrealist artist, and Walt Disney, the great American animator and theme-park pioneer.

But the museum exhibition’s highlight comes after visitors have seen the Disney-Dali show’s paintings, story sketches, correspondence, photos and other artifacts. As visitors leave the exhibition area, they’ll be invited to don a headset to try the virtual reality experience.

Called “Dreams of Dali,” the VR experience takes viewers inside Dali’s 1935 painting “Archeological Reminiscence of Millet’s ‘Angelus.'” The painting depicts two towering stone figures along with tiny human figures in a bare landscape with a moody sky. Users can move around inside the painting, using Oculus Rift headsets to navigate a trippy three-dimensional environment that includes motifs from other Dali works like elephants, birds, ants and his “Lobster Telephone” sculpture.

Accompanied by a haunting piano soundtrack punctuated by bird cries, the VR visuals also include a crescent moon, a stone tunnel and even an image of rocker Alice Cooper, whom Dali featured in a hologram he created in 1973.

“You actually have a three-dimensional feeling that you’re inside a painting,” said Jeff Goodby, whose firm Goodby Silverstein & Partners created the VR experience. “It’s not just like you’re inside a sphere with things being projected. It’s actually like there are objects closer and further away and you’re walking amidst them. It’s a vulnerable feeling you give yourself up to. It’s not like anything you’ve ever felt before.” The VR experience was previewed in New York for the media 10 days before its opening Saturday at the Florida museum.

Disney and Dali met in the 1940s in Hollywood, according to museum director Hank Hine. “Their sensibilities were very connected,” Hine said. “They wanted to take art off the palette, out of the canvas and into the world.” The exhibition looks at the castle motif that became a symbol of Disney parks, along with Dali’s “Dream of Venus” pavilion from the 1939 World’s Fair, which some consider a precursor of contemporary installation art.

Disney and Dali also collaborated on a short animated movie, “Destino,” that was eventually completed by Disney Studios. The six-minute movie, which can be found on YouTube, features a dancing girl with long dark hair, a sundial motif and a song with the line, “You came along out of a dream. … You are my destino.” Clips will be played within the gallery for the Disney-Dali exhibition and the full short will be shown at the museum’s theater.

The show also displays the Dali painting that inspired the VR experience, “Archeological Reminiscence of Millet’s ‘Angelus.'” The surrealist work was Dali’s interpretation of a 19th-century painting by Jean-Francois Millet depicting two peasants in a field, heads bowed in prayer. Dali said that his work was a “fantasy during which I imagined sculptures of the two figures in Millet’s ‘Angelus’ carved out of the highest rocks.”

Museum marketing director Kathy Greif said record numbers of visitors attended its last two major shows exploring Dali’s relationships with Andy Warhol and Pablo Picasso. Given the Disney brand’s immense popularity and the VR novelty, attendance expectations for this show are high as well.

Dali “wanted art that took you over,” said Goodby. “He wanted to take you away and do something different with your head and that’s what this does.”

http://bigstory.ap.org/urn:publicid:ap.org:bbb7d86c27c34a5d8a53310f2ece2c98

A series of photos sees Japanese dads jumping next to their daughters
They are part of a new book by Japanese photographer Yûki Aoyama
The book’s title roughly translates as Daughter and Salary Man

Sick of awkward father-daughter portraits? Well one photographer has found an effective – if a little odd – way of making them more interesting.

Japanese photographer Yûki Aoyama’s latest series of images capture po-faced teenagers pictured next to their fathers leaping into the air.

In each picture the daughter looks directly into the camera smiling while her father pulls a dramatic pose.

The images are from the 37-year-old’s latest book which roughly translates into Daughter and Salary Man.

According to the photographer’s website the images allow the father who usually has to act serious to express his fun side by being ‘a hero jumping the sky, enfold(ing) strong excitement and hope.’

http://translate.google.com/translate?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=ja&u=http://yukiao.jp/

Salary man may refer to the choice of clothing in the shoot which sees each dad in a sharply dressed suit.

The images see the fathers pull energetic poses despite their age with some of the expressions of the older fathers looking slightly pained.

Very little else is known about the pictures or why they have come into existence but they are already drumming up plenty of interest online for their curious nature.

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Read more: http://www.dailymail.co.uk/femail/article-3021238/Bizarre-Japanese-trend-fathers-photographed-JUMPING-daughters.html#ixzz3WovRtiSv

A one thousand year old Anglo-Saxon remedy for eye infections which originates from a manuscript in the British Library has been found to kill the modern-day superbug MRSA in an unusual research collaboration at The University of Nottingham.

Dr Christina Lee, an Anglo-Saxon expert from the School of English has enlisted the help of microbiologists from University’s Centre for Biomolecular Sciences to recreate a 10th century potion for eye infections from Bald’s Leechbook an Old English leatherbound volume in the British Library, to see if it really works as an antibacterial remedy. The Leechbook is widely thought of as one of the earliest known medical textbooks and contains Anglo-Saxon medical advice and recipes for medicines, salves and treatments.

Early results on the ‘potion’, tested in vitro at Nottingham and backed up by mouse model tests at a university in the United States, are, in the words of the US collaborator, “astonishing”. The solution has had remarkable effects on Methicillin-resistant Staphylococcus aureus (MRSA) which is one of the most antibiotic-resistant bugs costing modern health services billions.

The team now has good, replicated data showing that Bald’s eye salve kills up to 90% of MRSA bacteria in ‘in vivo’ wound biopsies from mouse models. They believe the bactericidal effect of the recipe is not due to a single ingredient but the combination used and brewing methods/container material used. Further research is planned to investigate how and why this works.

The testing of the ancient remedy was the idea of Dr Christina Lee, Associate Professor in Viking Studies and member of the University’s Institute for Medieval Research. Dr Lee translated the recipe from a transcript of the original Old English manuscript in the British Library.

The recipe calls for two species of Allium (garlic and onion or leek), wine and oxgall (bile from a cow’s stomach). It describes a very specific method of making the topical solution including the use of a brass vessel to brew it in, a straining to purify it and an instruction to leave the mixture for nine days before use.

The scientists at Nottingham made four separate batches of the remedy using fresh ingredients each time, as well as a control treatment using the same quantity of distilled water and brass sheet to mimic the brewing container but without the vegetable compounds.

The remedy was tested on cultures of the commonly found and hard to treat bacteria, Staphylococcus aureus, in both synthetic wounds and in infected wounds in mice.

The team made artificial wound infections by growing bacteria in plugs of collagen and then exposed them to each of the individual ingredients, or the full recipe. None of the individual ingredients alone had any measurable effect, but when combined according to the recipe the Staphylococcus populations were almost totally obliterated: about one bacterial cell in a thousand survived.

The team then went on to see what happened if they diluted the eye salve – as it is hard to know just how much of the medicine bacteria would be exposed to when applied to a real infection. They found that when the medicine is too dilute to kill Staphylococcus aureus, it interfered with bacterial cell-cell communication (quorum sensing). This is a key finding, because bacteria have to talk to each other to switch on the genes that allow them to damage infected tissues. Many microbiologists think that blocking this behaviour could be an alternative way of treating infection.

Dr Lee said: “We were genuinely astonished at the results of our experiments in the lab. We believe modern research into disease can benefit from past responses and knowledge, which is largely contained in non-scientific writings. But the potential of these texts to contribute to addressing the challenges cannot be understood without the combined expertise of both the arts and science.

“Medieval leech books and herbaria contain many remedies designed to treat what are clearly bacterial infections (weeping wounds/sores, eye and throat infections, skin conditions such as erysipelas, leprosy and chest infections). Given that these remedies were developed well before the modern understanding of germ theory, this poses two questions: How systematic was the development of these remedies? And how effective were these remedies against the likely causative species of bacteria? Answering these questions will greatly improve our understanding of medieval scholarship and medical empiricism, and may reveal new ways of treating serious bacterial infections that continue to cause illness and death.”

University microbiologist, Dr Freya Harrison has led the work in the laboratory at Nottingham with Dr Steve Diggle and Research Associate Dr Aled Roberts. She will present the findings at the Annual Conference of the Society for General Microbiology which starts on Monday 30th March 2015 in Birmingham.

Dr Harrison commented: “We thought that Bald’s eyesalve might show a small amount of antibiotic activity, because each of the ingredients has been shown by other researchers to have some effect on bacteria in the lab – copper and bile salts can kill bacteria, and the garlic family of plants make chemicals that interfere with the bacteria’s ability to damage infected tissues. But we were absolutely blown away by just how effective the combination of ingredients was. We tested it in difficult conditions too; we let our artificial ‘infections’ grow into dense, mature populations called ‘biofilms’, where the individual cells bunch together and make a sticky coating that makes it hard for antibiotics to reach them. But unlike many modern antibiotics, Bald’s eye salve has the power to breach these defences.”

Dr Steve Diggle added: “When we built this recipe in the lab I didn’t really expect it to actually do anything. When we found that it could actually disrupt and kill cells in S. aureus biofilms, I was genuinely amazed. Biofilms are naturally antibiotic resistant and difficult to treat so this was a great result. The fact that it works on an organism that it was apparently designed to treat (an infection of a stye in the eye) suggests that people were doing carefully planned experiments long before the scientific method was developed.”

Dr Kendra Rumbaugh carried out in vivo testing of the Bald’s remedy on MRSA infected skin wounds in mice at Texas Tech University in the United States. Dr Rumbaugh said: “We know that MRSA infected wounds are exceptionally difficult to treat in people and in mouse models. We have not tested a single antibiotic or experimental therapeutic that is completely effective; however, this ‘ancient remedy’ performed as good if not better than the conventional antibiotics we used.”

Dr Harrison concludes: “The rise of antibiotic resistance in pathogenic bacteria and the lack of new antimicrobials in the developmental pipeline are key challenges for human health. There is a pressing need to develop new strategies against pathogens because the cost of developing new antibiotics is high and eventual resistance is likely. This truly cross-disciplinary project explores a new approach to modern health care problems by testing whether medieval remedies contain ingredients which kill bacteria or interfere with their ability to cause infection”.

http://www.nottingham.ac.uk/news/pressreleases/2015/march/ancientbiotics—a-medieval-remedy-for-modern-day-superbugs.aspx