A journal by artist and designer John Coulthart.
Architecture
The Coliseum by Piranesi #2 (1995).
Fore-Edge Book (2001).
Just two of Abelardo Morell‘s striking photographs.
These are from his Books series. His Alice in Wonderland
tableaux are especially inventive.
Elsewhere on { feuilleton }
• The etching and engraving archive
Part of the Playstation Season, “a partnership between PlayStation and 5 international public arts institutions renowned for an innovative approach to arts programming — BALTIC, the V&A, ENO, Sadler’s Wells and the BFI.”
A luminous interactive installation will transform the V&A’s John Madejski Garden this winter. Volume is a sculpture of light and sound, an array of light columns positioned dramatically in the centre of the garden.
Volume responds spectacularly to human movement, creating a series of audio-visual experiences. Step inside and see your actions at play with the energy fields throughout the space, triggering a brilliant display of light and sound.
The piece is a collaboration between lighting designers United Visual Artists (UVA) and Robert Del Naja (alias 3D) of Massive Attack and his long-term co-writer Neil Davidge (as part of their music production company, one point six).
Looks like a cross between Jenny Holzer‘s vertical signs and the Edmond J Safra Fountain Court at Somerset House which I had the opportunity to photograph one gloomy evening back in May (below). And speaking of that square, it’s been turned into an ice rink again for the winter.
The photorealist urban landscape paintings of Richard Estes.
Bus Reflections (1972).
Café Express (1975).
Well I did look for some of Walter’s arcades (or passages couverts as the French call them), assisted by this excellent guide, but the ones I tracked down were closed. This narrow street (the Cour du Commerce St-André) in St-Germain-des-Prés made up for that. Looks better at night when all the restaurants are open but is more difficult to photograph.
Back home again with enough photos to make postings for a whole year. I’ll restrain myself, however, and for now you can see the result of my quest to capture the perfect Eiffel Tower shot. This involved waiting patiently for other tourists at the Trocadero to move away from the one spot on the balustrade that allows a symmetrical view then setting up the mini tripod. For those who appreciate such details, my small Canon PowerShot was shooting at F8.0 with a 4″ exposure. The big arc lights to the left and right were part of some exposition whose construction was in progress around the fountain.