“Desert Breath” The Cones Of Egypt


By: Annalee Newitz Via: Unique Daily

These strange cones and holes look like a bizarre wind formation in the Egyptian desert, until you see the pattern they make from the air.

Created by Greek artist Danae Stratou and the DAST art team in the mid-1990s, this earthwork art is called “Desert Breath.” It covers 100,000 square meters in the Egyptian desert near the Red Sea, and took several years to create. At its center was a fairly deep pool of water, and the whole project was designed to slowly erode over time. Which is exactly what’s happened


This is a view of the project via a satellite photo taken shortly after it was created.


And this is what it looks like today. It is eroding beautifully.

Via: Virtual Globtrotting
The project is the brainchild of three young, intrepid Greek artists known collectively as the D.A.S.T. Art Team: sculptor Danae Stratou; her sister Alexandra, an industrial designer; and architect Stella Constandinidis. The installation, which has taken months of hard work in extreme heat and scathing winds, was scheduled to be inaugurated on November 30. But a late-autumn reminder of the desert’s cruel beauty, in the form of fierce rains, pushed back the completion date to early January 1997.

“Desert Breath” is a thoughtful work of great beauty and ambition. Carved into a flat expanse of sand in El Gouna, bordering the Red Sea on the Sahara’s eastern tip, it occupies 25 acres. The installation consists of two interlocking logarithmic spirals, which fan out from a common center in the same direction of rotation. One spiral is comprised of protruding cones, the other of incised cones dug into the sand.

The size of each of the 178 cones is relative to its distance from the center: The first cone, at the spiral’s entrance, is 3.75-meters high and 15 meters in diameter; the subsequent cones gradually diminish in size as the viewer follows them into the center-thus creating an impression of infinite inward and outward motion. At the center is a 30-meter-wide conical vessel that is sunk into the ground and filled to the brim with water; in fact, it is an incised cone, within which is a protruding cone whose cut-off tip rests at water level, suggesting a small island, a place of birth and rebirth, generation and regeneration.

“Our goal is to create a reality that can be experienced through time and become part of one’s physical memory,” Danae Stratou explains. The choice of materials and forms adhered to the desert’s innate rhythms. The shifting, conical sand dunes, formed by gusts of wind, led to the selection of the geometric cone as the work’s predominant form. Sand, of course, became the primary material. Small mirrors placed at the tip of each cone form an optical illusion-a mirage, in the language of the desert-of water.

What won’t be a mirage is the slow decomposition of the installation, which will be completely erased by the winds

For more information, and more photos, check out Stratou’s gallery.

Image Dump: 102808

Coach Jules Winnfield Via: You Tube

Fly in the eye Via: You Tube

Dickins Cider Advertisment Via: You Tube

Best salute to the LHC Via: My Confined Space

Ice bullets Via: Neatorama

Road Kill Carpet Via: Neatorama

Fuck the rain Via: Art Lebedev Studio

Gadgets and technology

The 3M Mpro 110 Micro Projector Via: larryfire
At only 11cm long, 5cm wide and 2cm high, the Mpro 110 can easily fit into a pocket, handbag or computer case. Images can be projected up to 50 inches and is great for business and home use. It can be connected to a laptop using a VGA cable and also iPods, digital cameras and multimedia mobile phones using a video cable.  The MPro 110 is expected to retail for $359 and will be available on September 30th

EyeClops Night Vision Goggles Via: Uncrate
Needle-free injections Via: National Geographic

A little art never hurts

Sadko in the Underwater Kingdom. Ilya Yefimovich Repin 1876
Oil on canvas. 323 × 230 cm. The State Russian Museum, St. Petersburg.
Via: My Confined Space

17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra
Via: My Confined Space


The Shield Via: The Last Apple

Lost Season 5 teaser Via: DoCarzt

Random Blog links
Where is Bob? Tales of an absentee manager
Steve Willings Blog
Glowing Monkeys

Beautiful Losers

Beautiful Losers celebrates the spirit behind one of the most influential cultural movements of a generation. In the early 1990’s a loose-knit group of likeminded outsiders found common ground at a little NYC storefront gallery. Rooted in the DIY (do-it-yourself) subcultures of skateboarding, surf, punk, hip hop & graffiti, they made art that reflected the lifestyles they led. Developing their craft with almost no influence from the “establishment” art world, this group, and the subcultures they sprang from, have now become a movement that has been transforming pop culture. Starring a selection of artists who are considered leaders within this culture, Beautiful Losers focuses on the telling of personal stories…speaking to themes of what happens when the outside becomes “in” as it explores the creative ethos connecting these artists and today’s youth.

Brandalism: A man, a can. His stencil and imagination

(image via: Banksy.co.uk)

A couple of years ago I stumbled onto this street artist named Banksy and was blown away by the creative nature of his work. I’ve never seen the work in public but would definetly love to. His mixture of motif and medium, imagery, subject matter, positioning / location and clever writing is a brilliant mix that he uses to address many of today’s key world and political issues. Many say his artwork is vandalism at the very basic level but how can something that forces us to think differntly about a situation or an event be so wrong. His artwork is both inspiring and thought provoking. Many of those willing to throw the first rocks at his art would also be first in line to profit from him or his talents if they were able to.

Well our friends over at WebUrbanist are in the process of doing an 8 part expo featuring Banksy and his work and it’s a top notch read. So I’ll update the links and leave the writing and creative talents to WebUrbanist and Banksy.

“The Human Race is an unfair and stupid competition. A lot of runners don’t even get decent sneakers or clean drinking water. Some people are born with a massive head start, every possible help along the way and still referees seem to be on their side. I’s not surprising some people have given up competing altogether and gone to sit in the grandstands, eat junk food and shout abuse. What we need in this race is a lot more streakers.”
via Cut It Out by Banksy
Happy spraying Banksy!

Via: http://weburbanist.com

The Banksy Paradox: 7 Sides of the World’s Most Infamous Street Artist

Banksy, the Famously Anonymous Street Artist: Part One in an Eight-Part Banksy Series

The Graffitti, Stencils and Drawings of Banksy: Part Two in an Eight-Part Banksy Series

Banksy Photos, Prints and Tattoos: Part Three in an Eight-Part Banksy Art Series

The Art of Banksy: Pieces Sold and For Sale: Part Four in an Eight-Part Banksy Series

The Art of Being Banksy: Interviews, Films and Videos Featuring the Elusive Street Artist: Part Five in an Eight-Part Banksy Series

No amount of skillful invention can replace the essential element of imagination.

Via: www.mentalfloss.com written by Andréa Fernades

In honor of artist, Edward Hopper’s 126th birthday, and via Metal Floss’ “Feel Art Again” written by Andréa Fernandes’ Circa71 features my favorite American artist, Edward Hopper and his 1929 painting “Chop Suey,” one of his many scenes of city life.

Though he’s known for city scenes like “Chop Suey” and the famous “Nighthawks,” Edward Hopper’s first big break was with a watercolor of a seaside home. “The Mansard Roof” was painted in 1923, during his first summer in Gloucester, MA, and was bought for the Brooklyn Museum’s permanent collection for $100—a decent amount at the time. Although he continued to vacation by the sea, Hopper’s watercolor production had slowed by 1946; he explained his lack of watercolor production by saying, “I think it’s because the watercolors are done from nature and I don’t work from nature anymore.”

Thanks to commercial artwork—which he loathed—Hopper was able to afford three trips to Europe, all of which centered around Paris. Unlike other artists who visited Paris, though, Hopper didn’t get in with the “it” crowd. He remarked: “Whom did I meet? Nobody. I’d heard of Gertrude Stein, but I don’t remember having heard of Picasso at all… Paris had no great or immediate impact on me.” While there, though, he did develop an affinity for the work of Edgar Degas and Édouard Manet and a dislike for Paul Cézanne’s work.

The two types of scenes that comprise the bulk of Hopper’s oeuvre—seaside houses and city nights—don’t seem to have much in common. They’re tied together, though, by Hopper’s emphasis on light and shadows. Hopper once said of his fascination with light, “Maybe I am slightly inhuman… all I ever wanted to do was to paint sunlight on the side of a house.”

As one of America’s most well-known artists, Hopper’s work has had a strong impact on pop culture. The house in Alfred Hitchcock’s Pscyho was heavily influenced by Hopper’s “House by the Railroad,” which was the first painting in the permanent collection of New York’s Museum of Modern Art. Turner Class Movies sometimes runs animated clips based on Hopper paintings prior to films, including “The Sunny Side of Life,” inspired by “Chop Suey.” According to Sister Wendy, “there was a period when every college dormitory in the country had on its walls a poster of Hopper’s ‘Nighthawks.’” And Madonna named her 1993 world tour after Hopper’s 1941 painting “Girlie Show,” even incorporating aspects of the painting into the performance.

Many scholars find “Chop Suey” particularly interesting because they believe the painting depicts a woman facing her doppelganger. Either way, the subjects of “Chop Suey” are less isolated and lonely than in most of Hopper’s other city scenes.

A larger version of “Chop Suey” is available here.

Fans of Edward Hopper should check out the exhibit guides from the NGA, the Tate Modern, and the MFA; Gordon Theisen’s Staying Up Much Too Late; the Edward Hopper Scrapbook; this YouTube video of Hopper paintings; Slate’s slideshow on Hopper architecture; the Smithsonian’s interview of Hopper; the ARC’s Hopper gallery; and the Edward Hopper House Art Center.