Original Image by Noah Freidman-Rudosky for the New York Times | Photo Composite

Lithium Salt Flats, Salar de Uyuni, Bolivia
Showing posts with label infrastructure. Show all posts
Showing posts with label infrastructure. Show all posts

Saturday, December 8, 2018

SF GENESES

GENESES; christine corday; san francisco art; public art; cesar rubio photography; som architects; moscone; art


Installation of GENESES. 
City of San Francisco Commission. Howard Street, Moscone North Plaza. 

Project by Artist Christine Corday with San Francisco Arts Commission Project Manager Marcus Davies, SOM Architects, Tectonic Engineering, Webcor, Atthowe, Claude Engle Light Design and Project Fabricator: KC Fabrications. 

Studio Image: @2018 Corday Studio
Installation Image Credit: © 2018 César Rubio Photography








Saturday, December 10, 2016

Releasing Center


copernicus, galileo, grothendieck

the center of our sensory/intellectual bias has found different positions in the last thousand years. eppur si muove. the practice of re-locating the center of our thought, world, and greater phenomena, enough times eventually releases the comfort of needing center altogether. 

a relative point of view provides a point of thinking. 
but not a place, position, or object more privileged than any other.

this work is interested in the conversation of its measurements





Saturday, July 16, 2016

How Humans Shape Form

kevin frayer_artist_displaced_migrants_immigrants_war_art
Newspaper clipping of Kevin Frayer Image / New York Times 2006
Portion of Destroyed Wall between Egypt and Gaza



















human nature is Nature working with one additional force: will

Wednesday, July 22, 2009

Art as Infrastructure, Unknown Body of Reality and the Scale of Potential

The Information Age has progressed man beyond the need of his own physicality and yet man must still contend with the reality of his body. Through the feats of our Industrial past, man achieved the scale required of living with more than himself. The structure of his bridges, diameters of his water works, tunnels and frontiers of his road and railways are symbols of the iron infrastructure of his collective body named City.


The industrialized materials of a City’s infrastructure holds the familiarity of a public skin. The Forms of the PROTOIST Series render this collective skin for intimate encounter. PROTOIST Forms engender the physical touch of material potentiality for the collective as individual and the individual as collective. At it’s intersection, this Art as infrastructure, the body of the city and individual man are poised at an unknown – a body of reality of ceaseless potential

or the obsolete.