If you think the ‘Green Juice’ smoothie that your coworker gets from the juice truck is disgusting — because it is — wait until you check out some of the ingredients inside the crazy concoctions comprising Josh Kline’s refrigerator-case sculpture, Skittles (2014).
Fifteen different smoothie flavors line the shelves of Kline’s light box-encased commercial refrigerator. Each bottle lists the unorthodox ingredients contained within, including inedible items such as latex gloves, duct tape, Ritalin and fragments of Google Glass eyewear.
These high-tech materials, synthetic chemicals, and organic substances evoke specific locations as well as contemporary lifestyles, industries and brands. With varieties like Big Data and Supplements, the indigestible ‘drinks’ inside this glowing cooler clearly illustrate the ways in which our bodies have been engineered, chemically altered, and transformed by technologies of consumption.
Which ‘Flavor’ is your favorite? Take closer look, below!
Apple’s MacBooks, iMacs, and iMac Pros are great for a number of reasons. They are packed with great hardware that make them capable machines. They also come with macOS, which offers smooth user experience and plenty of macOS apps for your every need. Even better, Macs are generally beautifully-made and well-designed, which is why they are so appealing to many.
As reliable as Macs can be, they are not problem-free. Things can still go wrong with your iMacs and MacBooks, and when they do, fixing the problems can be both easy and challenging. To help you deal with some of the most common problems with Apple Macs, we are going to take a closer look at them and discuss how you can solve the problem in this article.
It Won’t Boot
One of the most common problems with Macs is the computer not being able to boot into macOS properly. There are a lot of things that may cause startup issues on a Mac, including missing or broken drivers, corrupt drives, and even hardware failure.
All Photos By Gail. All Text By The Guggenheim Museum
László Moholy-Nagy (b. 1895, Borsód, Austria-Hungary; d. 1946, Chicago) believed in the potential of art as a vehicle for social transformation, working hand in hand with technology for the betterment of humanity. A restless innovator, Moholy-Nagy experimented with a wide variety of mediums, moving fluidly between the fine and applied arts in pursuit of his quest to illuminate the interrelatedness of life, art, and technology. An artist, educator, and writer who defied categorization, he expressed his theories in numerous influential writings that continue to inspire artists and designers today.
Walter Gropius invited him to join the faculty at the Bauhaus school of art and design, where Moholy-Nagy taught in Weimar and Dessau in the 1920s. In 1937, he was appointed to head the New Bauhaus in Chicago; he later opened his own School of Design there (subsequently renamed the Institute of Design), which today is part of the Illinois Institute of Technology.
Among Moholy-Nagy’s radical innovations were his experiments with camera-less photographs (which he dubbed photograms); his unconventional use of industrial materials in painting and sculpture; experiments with light, transparency, space, and motion across mediums; and his work at the forefront of abstraction, as he strove to reshape the role of the artist in the modern world. Moholy-Nagy: Future Present features paintings, sculptures, collages, drawings, prints, films, photograms, photographs, photomontages, projections, documentation, and examples of graphic, advertising, and stage design drawn from public and private collections across Europe and the United States.
On display in the museum’s High Gallery is Room of the Present (Raum der Gegenwart), a contemporary fabrication of an exhibition space conceived of by Moholy-Nagy in 1930, but not realized in his lifetime.
Light Prop for an Electric Stage
On view for the first time in the United States, the large-scale work contains photographic reproductions and design replicas as well as his kinetic Light Prop for an Electric Stage (Lichtrequisit einer elektrischen Bühne, 1930; recreated 2006). Room of the Present illustrates Moholy-Nagy’s belief in the power of images and the significance of the various means with which to view and disseminate them — a highly relevant paradigm in today’s constantly shifting and evolving technological world.
This is a massive retrospective with lots to see and learn about the genius of László Moholy-Nagy. Here are a few more photos from this must-see show!
Ad For The London Underground Circa 1936 – 37
Detail from Above Work
László Moholy-Nagy is a central figure in the history of the Solomon R. Guggenheim Museum. In 1929, Solomon R. Guggenheim and his advisor, German-born artist Hilla Rebay, began collecting his paintings, works on paper, and sculpture in depth for the Guggenheim’s growing collection of nonobjective art. His work held a special place at the Museum of Non-Objective Painting — the forerunner of the Guggenheim Museum — where a memorial exhibition was presented shortly after his untimely death in 1946.
Moholy-Nagy: Future Present Runs Through September 7th, 2016 at the Guggenheim Museum, Located at 1071 Fifth Ave at 89th Street, NYC.
Swedish design firm Front’s Surface Tension Lamp (2014) was the result of a collaboration with the Dutch design firm Booo. Asked to create a light that used LED technology, the group took a counter-intuitive approach.
LED bulbs last an extremely long time, so [they wondered] could the lampshade itself be temporary? Front came up with a perfect symbol of ephemerality: the bursting soap bubble
The three members of Front, Sofia Lagerkvist, Charlotte von der Lancken and Anna Lindgren met while studying industrial design at Konstfack, Stockholm’s leading art school. As a trio of women, they have attracted attention in an industrial design world still overwhelmingly populated by men, but they do not feel that gender is necessarily a part of their work’s content.
On display at the Museum of Arts and Design in Columbus Circle, Manhattan, the Surface Tension Lamp produces bubbles intermittently throughout the day.
Peter Blume’s Light of the World (1932) delivers an allegorical critique of modernity and the unquestioning embrace of progress. The four figures are transfixed by the bright light of a fantastical lamp whose brilliance contrasts with the darkening sky overtaking a cathedral based on Notre Dame in Paris – a juxtaposition implying that the faith once reflected in Gothic architecture’s soaring spires had been transferred to modern technologies. Blume identified the mustachioed figure as a ventriloquist’s dummy – his personal symbol for the voiceless and impotent American worker – another hint of the societal pressures that keep us in thrall to technological progress, often against our best interests.
Photographed in the Whitney Museum of American Art in NYC.
Discovering cool public art in NYC is part of what makes being an art lover in this city so rewarding. Even though they have been up since February 19th, I just read about Paula Hayes’ Gazing Globes installation in Madison Square Park last week, and with less than a month left to check it out, I felt encouraged by the promise of less frigid weather to head over there this past weekend.
The work features eighteen transparent polycarbonate spheres that hold the remnants of contemporary culture, including up-cycled radio parts, industrial materials, acrylic wands, and other pieces of vintage technology sprinkled with fairy dust made of pulverized CDs. In this way, Hayes is using new materials and adding fresh content to her objects while retaining some of the form of her well-known plant terrariums.
The heights of the pedestals varies, which adds a keen visual dynamic as well. It is like walking into a magical fairy land!
Each see-through globe lit from within features a mixture of analog radio parts, castoff electronic transistor parts, glass vacuum tubes, micro glass beads, shredded rubber tires, and recycled plastic flotsam. To these mixed remnants of technology and culture the artist added crystals and minerals.
A shimmering fairy dust was made from pulverized CDs and is layered within each sculpture’s interior. Hayes, who typically works with varieties of plant materials, determined that everyday castoffs are indicative of a society’s behavior and value system and symptomatic of the current landscape.
The artist states, “I used vintage parts because technology moves at such a fast pace. These play a role in the current landscape and how information is transmitted from one part of the globe to the next. I made an illuminated landscape evocative of the designed landscape of Madison Square Park. Both are born of human imagination and technology.”
Since the Globes are illuminated, the optimal viewing time is at dusk or, ideally, in the dark. We arrived maybe 20 minutes before full sunset, but due to being underdressed for a sudden temperature drop, we were just too cold to remain outside any longer.
Gazing Globes by Paula Hayes’s will be on view through April 19th, 2015 at the West Gravel area of Madison Square Park, Located on the North East Lot at Intersection of 23rd Street and Broadway, New York City.