As you may have noticed, activity on Art Sponge has slowed down over the past few weeks (months?) and the reason for that is simply a lack of effort on my part, faced with other growing priorities and parallel personal projects. Letting the blog die however has never been an option I’ve considered though, and I do intend on reviving things here in some form or another—I just need some help.
Without going into many details about how I envision the future of Art Sponge I’d like to make an open call to any Berlin-based creatives interested in working with me to provide new content for the blog. I’m very open to new ideas and would love to discuss new ways of developing this blog!
All I ask of anyone interested beforehand is that you be based in Berlin, speak English and/or German and have preferably relevant experience in blogging, visual art curation or something of the sort. This isn’t a call for an intern: if we’re on similar wavelengths and we find collaborative potential, the blog will gradually become your online channel to showcase art and design which inspires you, your own personal projects and hopefully local talents as well.
If interested please send a few words about yourself, what you think you could contribute and maybe an idea of something you’d see yourself working on with the blog (no need to be too serious).
While collecting copyright-free material for personal projects I came across these magnificent photographs by Edward Sheriff Curtis from around 1914. These are all included in the Museum of Photographic Arts Collection, part of the Flickr Commons.
No Land is a photography project by Kiritin Beyer:
“‘No Land’ is a constant battle between man-made structures and artificial landscapes, based on the idea of ownership, compared to the naturally created lands where spirits dance and cheer.
The project shows how the industrial revolution has effected our land, flora, and fauna. Abandoned structures of an industrial age are an echo of generations past — many of these places carry an idea of mass production and creation — but when pitted against the supreme creator, it is nature which prevails powerfully in its simplicity and perfection.”
Fantastic variety of typographic posters by Jessica Svendsen
Drawings by Thomas Raimondi:
“I am Thomas Raimondi aka Thomas Ray aka El Ray, a 31 year old man from a small city near Milan, Italy. I create images from the underground. Like a Wolf Eyes song I wanna burn your house down. No Mercy. No Regrets. No Hope. No Future. No God. No Church. No Fathers. Life’s a bitch, whom I have no money to give.”
Generative visual art by Jonathan McCabe:
“The Method goes something like this. Imagine a square sheet of paper, and mark a dot somewhere on it and record its position. Fold the paper along a random axis, and watch where the dot ends up, recording this position. Repeat this thirty-two times. Use a weighted average of that list of points to determine the colour (or at least hue and brightness) of that original point. Now repeat, using the same folds, for as many points on the square as you like (say, several million). What I love about this is that despite the intensely tactile quality of the surfaces, these images have no “thing” to them: they’re visualisations of transformations of space – traces of topological history. This generative technique has lots of neat features. It’s resolution-independent (you can sample as many points as you like), the procedure is simple and compact (32 folds) and because it’s a sequence, it’s richly connected with image structure: the first fold is the most significant in controlling macro-structure, and the last fold influences the smallest level of detail. McCabe uses genetic algorithms to search and “optimise” the space of possible fold sequences / images.”[this quote relates to McCabe’s exhibition The Origami Butterfly Method, not these displayed artworks]
Photography by Maurice van Es:
“In my own work I always try to describe my relationship towards my subject, which is always personal. I’m not that much of a photo designer. Yes I design the objects I find but they always came to me by accident, just from living my life. I would never buy objects in a store to photograph them. That just doesn’t feel right and a bit forced. For me it’s really important that there’s still an attachment to life itself.“
Laurie Mccall is an artist, designer and illustrator based in Cornwall:
“I love the often unpredictable nature of working with found imagery and I’m always surprised by the outcomes.”