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Vija Celmins, Moon Surface (Luna 9) #1, 1969, Graphite on acrylic ground on paper, 13 3/4 x 18 1/2”, MoMA, Mrs. Florene M. Schoenborn Fund. © 2010 Vija CelminsJennifer Wiseman on Vija Celmins’s Galaxy (1999)

As a professional astronomer with more than a passing knowledge of the views of space from the Hubble telescope, my first reaction to Vija Celmins’s rendition of a Hubble image was a sense of unfamiliarity and rediscovery I did not expect. The Hubble Deep Field, represented here in her work, was created by pointing the telescope at a relatively “average” region of space with no known outstanding features. Light was collected from the same small field of view or several days, thereby detecting even the faintest glimmer of distant objects. What emerges in the resulting image is a fantastical array of colourful lights, like fuzzy gems against the backdrop of dark, empty space. When one realises that each dot of light in the image is an entire galaxy of hundreds of billions of stars, the response is always one of astonished humility, whether from a scientist or a casual observer.

What Celmins masterfully achieves is a new perspective on Hubble’s view of the universe, spawning my own reaction of rediscovery. For when the image from the telescope is examined, the usual immediate response is to peer into the details of individual galaxies, noting the beauty of colours and spiral arms and diverse shapes. The scientist will take the focus on detail to even greater depths, asking: “How distant is this galaxy?”; “Which camera was used for this image?”; “What types of stars make up this cluster?” In contrast, by removing the distractions of colour and detail, Celmins enables us to focus on the view as a whole, discovering a pattern of light on a background sea of darkness. She excels at noticing and re-creating the large-scale patterns of exquisite beauty in nature often overlooked: skyscapes, desert floors and ocean waves. Here, her display of galaxies is reminiscent of the words in Genesis: “And God made two great lights, the greater light to rule the day, and the lesser light to rule the night: he made the stars also.” She has captured a new essence of the Hubble Deep Field - a grand pattern representing unfathomable numbers of places as yet unexplored. We are reminded that we are part of something bright, immense and sublime. (via)

Vija Celmins, Star Field III, 1982-83. Graphite on acrylic ground on paper, 21 x 27”, MoMA, Gift of Edward R. Broida. © 2010 Vija Celmins

Vija Celmins, Night Sky No. 22, 2001, Charcoal on paper, 18 3/4 x 22”, MoMA, Purchase. © 2010 Vija Celmins

Vija Celmins, Untitled #13 (Comet), 1996, Charcoal on paper, 17 x 22”, MoMA, Gift of Edward R. Broida. © 2010 Vija Celmins

Moon Surface (Surveyor I), 1971-72, Graphite on acrylic ground on paper, 14 x 18 1/2”, MoMA, Gift of Edward R. Broida. © 2010 Vija CelminsThinking Drawing: Simon Grant Interviews Vija Celmins
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Vija Celmins, Moon Surface (Luna 9) #1, 1969, Graphite on acrylic ground on paper, 13 3/4 x 18 1/2”, MoMA, Mrs. Florene M. Schoenborn Fund. © 2010 Vija Celmins

Jennifer Wiseman on Vija Celmins’s Galaxy (1999)

As a professional astronomer with more than a passing knowledge of the views of space from the Hubble telescope, my first reaction to Vija Celmins’s rendition of a Hubble image was a sense of unfamiliarity and rediscovery I did not expect. The Hubble Deep Field, represented here in her work, was created by pointing the telescope at a relatively “average” region of space with no known outstanding features. Light was collected from the same small field of view or several days, thereby detecting even the faintest glimmer of distant objects. What emerges in the resulting image is a fantastical array of colourful lights, like fuzzy gems against the backdrop of dark, empty space. When one realises that each dot of light in the image is an entire galaxy of hundreds of billions of stars, the response is always one of astonished humility, whether from a scientist or a casual observer.

What Celmins masterfully achieves is a new perspective on Hubble’s view of the universe, spawning my own reaction of rediscovery. For when the image from the telescope is examined, the usual immediate response is to peer into the details of individual galaxies, noting the beauty of colours and spiral arms and diverse shapes. The scientist will take the focus on detail to even greater depths, asking: “How distant is this galaxy?”; “Which camera was used for this image?”; “What types of stars make up this cluster?” In contrast, by removing the distractions of colour and detail, Celmins enables us to focus on the view as a whole, discovering a pattern of light on a background sea of darkness. She excels at noticing and re-creating the large-scale patterns of exquisite beauty in nature often overlooked: skyscapes, desert floors and ocean waves. Here, her display of galaxies is reminiscent of the words in Genesis: “And God made two great lights, the greater light to rule the day, and the lesser light to rule the night: he made the stars also.” She has captured a new essence of the Hubble Deep Field - a grand pattern representing unfathomable numbers of places as yet unexplored. We are reminded that we are part of something bright, immense and sublime. (via)



Vija Celmins, Star Field III, 1982-83. Graphite on acrylic ground on paper, 21 x 27”, MoMA, Gift of Edward R. Broida. © 2010 Vija Celmins



Vija Celmins, Night Sky No. 22, 2001, Charcoal on paper, 18 3/4 x 22”, MoMA, Purchase. © 2010 Vija Celmins



Vija Celmins, Untitled #13 (Comet), 1996, Charcoal on paper, 17 x 22”, MoMA, Gift of Edward R. Broida. © 2010 Vija Celmins



Moon Surface (Surveyor I), 1971-72, Graphite on acrylic ground on paper, 14 x 18 1/2”, MoMA, Gift of Edward R. Broida. © 2010 Vija Celmins

Thinking Drawing: Simon Grant Interviews Vija Celmins
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About

Jumpsuits & Teleporters is a blog about art, science, technology, and cultural bricolage.

Author

Hi! My name is Whitney Dail. I am an emerging cultural worker, arts administrator, and STEM to STEAM advocate who was raised in the DC/MD area with two brothers, a computer technician and an architect, by a Naval aviator-engineer and artist-entrepreneur. I have a Master’s in Arts Administration from Savannah College of Art and Design (SCAD). My goal is to explore relationships between art, science, and technology through writing, curating, and contributing to multidisciplinary creative communities.

The image above was created by Jonathan Yoerger.

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whitney.dail @ gmail.com

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