Mostly Carved Away Eggshell. This is What Happens When You Give Thousands of Stickers to Thousands of Kids. This December, in a surprisingly simple yet ridiculously amazing installation for the Queensland Gallery of Modern Ar, artist Yayoi Kusama constructed a large domestic environment, painting every wall, chair, table, piano, and household decoration a brilliant white, effectively serving as a giant white canvas.
Over the course of two weeks, the museum’s smallest visitors were given thousands upon thousands of colored dot stickers and were invited to collaborate in the transformation of the space, turning the house into a vibrantly mottled explosion of color. How great is this? Given the opportunity my son could probably cover the entire piano alone in about fifteen minutes. The installation, entitled The Obliteration Room, is part of Kusama’s Look Now, See Forever exhibition that runs through March 12. If you liked this you’ll also enjoy Roman Ondak’s Room of Heights and Karina Smigla-Bobinski’s helium-filled kinetic drawing sculpture. Wood That Works Portfolio of Kinetic Sculptures. Pic of the Day: Press-On Nails Art. In her Peacocks series artist Laurel Roth, a former park ranger, uses fake fingernails, nail polish, barrettes, false eyelashes, and Swarovski crystals as her medium.
“My work juxtaposes traditional craft and artisanal techniques with non-traditional materials to examine mankind’s drive to modify itself as well as its environment,” she explains. “By playing with the convergence of biology and product design to create new cultural artifacts, I try to question social constructions of need, design, and individual desire.”
Click through to view more pretty peacocks. Beholder, 2010. A Helium-filled Kinetic Drawing Sculpture by Karina Smigla-Bobinski. ADA – Analog Interactive Installation, is a kinetic sculpture by German-based artist Karina Smigla-Bobinski.
The installation is made form an enormous helium-inflated sphere trapped inside a small room that’s spiked with dozens of protruding charcoal pieces which scrape the edges of the gallery wall as participants push, toss, and otherwise manipulate it. Most recently it was on display at the Electronic Language International Festival in São Paulo this Summer that took place in São Paulo. It’s fascinating to me that given the constraints of the sphere and room, a single outcome (pictured at bottom) is destined to emerge, but yet requires the participation of dozens if not hundreds of gallery visitors. Reminds me of the work of Roman Ondák. (via we make money not art, photos courtesy we make money not art, s.antonio, and the artist)