Archives for the Month of June, 2017

Günter Haese – Antenna Wired for Air Vortex Transmissions

 Günter HaeseChronos – Günter Haese [2004]

In Günter Haese’s Chronos [2004] an array of radio antenna appear to be wired for aeolian transmissions. Carried to their receivers by micro bifurcating air vortexes the turbulent noise of air flow is the signal in this instance. In the cubic lattice of Kalogo [1999] an freeze frame animatronic of photons appear to be propagating through a crystal slowed down by a factor of a trillion seen through a compound eye. Yoshiwara II [1972] appears to be a point cloud materialized, but sagging under the weight of its own indifference to the environment and its audience.

German artist Günter Haese made a little over 400 hundred fragile mobile kinetic sculptures from brass wire, cogwheels, coils and clock springs in his lifetime. His wireframes of vibrating constellations and quivering parts were powered entirely by the flow of air. In Golf [1997] it’s clear to see the Paul Klee influences that Hasse was keen to mention in his work, but there are also strong hints of Duchamp enclosed inside this cubic trap.

 Günter HaeseGolf – Günter Haese [1997]

 Günter Haese Quirin – Günter Haese [2012]

 Günter HaeseResponsa – Günter Haese [1965]

 Günter Haese Janus – Günter Haese [1992]

 Günter HaeseKalogo – Günter Haese [1999]

 Günter HaesePinkus – Günter Haese [unknown]

 Günter HaesePokos – Günter Haese [unknown]

 Günter HaesePythagoras – Günter Haese [1997]

 Günter HaeseTransit – Günter Haese [1993]

 Günter HaeseYoshiwara II – Günter Haese [1992]

 Günter HaeseBaghdad – Günter Haese [1965]

Irvin Geis – Molecular Aesthetics as Network Idolatry

Irvin Gies Myoglobin [1961] – Irvin Gies

In Irvin Geis’s graphic molecule paintings the lightness of the wireframe structures perfectly counterpoints the cast iron logic of each molecules cryptographic configuration. Myoglobin, his most famous illustration published in Scientific America in 1961, took 6 months to complete. It’s frozen lattice of lushly hued paths abstractly coalesce into a connectionist idol; molecular aesthetics as network idolatry. Ribonuclease, with its graphic specular lighting and constructivist blue and red tones, presents molecules as scaled-up utopian architectural constructs rejecting the tyranny of utility.

 Lysozyme2 -  Irvin GiesLysozyme – Irvin Gies

 Lysozyme -  Irvin GiesLysozyme 2 – Irvin Gies

 Crambin -  Irvin GiesCrambin – Irvin Gies

Geis was trained as an architect. But the great depression of the ’30’s threw a curved career ball and he found himself working in the golden age of hand illustration for Fortune Magazine in 1930’s and then with Scientific America in the 1950’s. ‘According to Richard Dickerson, the UCLA biochemist who co-authored a number of major books on biochemistry, Gies’s genius wasn’t in depicting a protein exactly how it looked, but drawing it in a such a way that showed how the molecule worked, an artistic process that Geis called, ‘selective lying.’

Ribonuclease S -  Irvin GiesRibonuclease S – Irvin Gies

B-DNA -  Irvin GiesB-DNA – Irvin Gies

Cytochrome C -  Irvin GiesCytochrome C – Irvin Gies

‘It Must Give Off and Receive Light Like a Tiny Space Station’ – Kenneth Snelson’s Atoms