Contemporary artist Rafiee Ghani swaps paint brushes for chainsaws as he debuts wood sculpture series at Galeri Puteh in Kuala Lumpur
Magical sculpture series opens up a new world for abstract painter Rafiee Ghani
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Interactive Kinetic Sculptures
kinetic sculpture – BREAKFAST, a world-renowned new media artist studio that has captured many eyeballs of late by putting together some of the world’s most inno…
‘The bridge really comes alive at night’: John Emslie’s best phone picture
John Emslie and his wife, Liz, were on a city break to Rotterdam when he took this photo. “We were on the Erasmusbrug, nicknamed the Swan, which links the northern and southern halves of the city,” he says. “The long, white pylon and its distant glow, and the angled cable stays picked out by the projector lights, drew me in; I wanted to capture all of that light, form, scale and perspective. All I had to do was wait for the final element: the passing motorcyclist and his headlight.”
Emslie describes himself as an “enthusiastic amateur” and used his Google Pixel 7 to capture the scene. “I’m not sure my main camera could have produced such quality under such challenging shooting conditions. In low light, getting a manual camera set up is tricky and the moment is often lost by the time I’m ready,” he says. “The smartphone’s ‘brain’, on the other hand, is so fast and clever that shots like this are made possible. I can’t claim any credit other than for keeping my phone steady!”
Modesty aside, Emslie regards this as one of his most special shots, in which “everything fell into place … It seems sprinkled with some kind of magic fairy photo dust.”
Yes, that life-sized sculpture is made from thousands of pieces of black Lego. Inside the astounding art of Ekow Nimako
The Ghanian-Canadian artist is part of a group exhibition “Power” at OCAD’s Onsite Gallery starting Jan. 24.
Damian jones hi-res stock photography and images – Alamy
This Camera Takes 1,000 Years to Capture a Single Photograph
An experimental philosopher from the University of Arizona has set up what he’s calling the Millennium Camera: a device designed to take a single image of the Tucson, Arizona landscape over the course of a thousand years.
Creator Jonathon Keats says he wants the Millennium Camera to provoke deeper thought about the past, present, and future of humanity – and what our society might look like by the time we get into the 31st century.
“Most people have a pretty bleak outlook on what lies ahead,” says Keats. “It’s easy to imagine that people in 1,000 years could see a version of Tucson that is far worse than what we see today, but the fact that we can imagine it is not a bad thing.”
“It’s actually a good thing, because if we can imagine that, then we can also imagine what else might happen, and therefore it might motivate us to take action to shape our future.”
The camera comprises a steel pole with a copper cylinder on top. As light enters the cylinder, it goes through a pin-sized hole in a thin sheet of 24-karat gold, then on to a surface treated with an oil paint pigment called rose madder.
Keats could only make an educated guess on the kind of material that would change gradually enough over the course of centuries to leave a recognizable image, but hopes the rose madder pigment’s fading in the repeated cycles of daylight does the trick.
Set near a hiking trail on Tumamoc Hill, overlooking Tucson, the camera is accompanied by a notice that encourages passers by to reflect on what the next millennium might hold.
When the picture is finally revealed, the most static parts of the landscape will look the clearest, while areas that have regularly changed will take on more ghostly forms.
What’s most likely is that the outline of the natural landscape will be strongly imprinted, while the number and design of the buildings in the shot will change over the centuries – though the camera project is neutral in terms of forward planning.
“By no means is the camera making a statement about development – about how we should build the city or not going forward,” says Keats. “It is set there to invite us to ask questions and to enter into conversation and invite the perspective of future generations in the sense that they’re in our minds.”
What life will look like in a thousand years is hard to imagine, though it’s an interesting thought experiment. If you go back a millennium, we were still in the Middle Ages, fighting our battles with swords and axes.
By the time another thousand years have passed, climate change, AI technology, and many other factors will no doubt have changed our world in ways that mean it’s very different from today.
Keats admits that there are “so many reasons” why the Millennium Camera might not work as intended: no one has built a camera like this before, and it could even be removed by future generations. However, the intention is to keep it in operation until 3023.
“If we open in the interim, then it diminishes the imagining that we need to be doing,” says Keats.
Up close and personal: Wildlife photographer’s retrospective collection on display at art museum
Most people rarely have a chance to get close to wildlife. But at the Art Museum of Eastern Idaho’s newest exhibit, attendees can get close enough to see each hair and whisker. The museum is hosting “A Life in the Wild,” a retrospective collection from renowned wildlife photographer Thomas Mangelsen.
This exhibit will be at the art museum, 300 S. Capital Ave. in Idaho Falls, from now through March 30.
Thomas Mangelsen is pictured here with a camera.
A photograph by Thomas Mangelsen of a cougar.
Who is Arun Yogiraj? The sculpture behind Ram Lalla idol at Ram Mandir, Ayodhya
Arun Yogiraj, hailing from a lineage of five generations of renowned sculptors in Mysore, has emerged as the most sought-after sculptor in the nation.
Snow sculptures inspired by Alaskan wildlife built in Mustamäe
Snow sculptures inspired by the Alaskan wildliife have been created at Kadaka Stadium in Tallinn’s Mustamäe district. The sculptures were finally built after collecting almost 100 tonnes of snow and battling constant changes in the weather.
America, According to Ernest Cole
Ernest Cole’s life was defined by exile. In 1966, the photographer landed in New York from South Africa. He was still fresh-faced at 26, but he wasn’t in America by choice. Earlier that year, the authorities had arrested Cole for documenting Black life under the country’s hellish system of apartheid. By the time he’d landed in the home of the free, he was on his native country’s “banned list.”
In 1967, Cole’s House of Bondage was released, the first and only book of those early South African photographs published during his lifetime. Though it was widely acclaimed, and copies were sent to the chairman of the United Nations Special Committee on Apartheid, Cole refused to consider doing another book, which would have featured his American photographs. He said he still didn’t understand the country well enough.
