Siân Ede, Deputy Director of Calouste Gulbenkian Foundation and pioneer of ArtScience collaborations. In Art & Science (2005) — a book demonstrating how science affects the creation and interpretation of contemporary art and, conversely, how art informs new knowledge of human consciousness and existence.
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Rudolf Arnheim (1904-2007) in Visual Thinking, pg. 300-301 — a German-born author, art theorist, and gestalt psychologist.
Stephen Wilson (1944-2011), “Beyond the Digital: Preparing Artists to Work at the Frontiers of Technoculture” in Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture
Louie Psihoyos (director of The Cove) on mass extinction of species that’s underway in Drones, Getaway Cars, and Saving the Planet
“Scientists and artists are extremely innovative - it’s just the way they work looks different. The great scientists have models all over their desks; they’re tinkering, playing, ripping things up. And the best artists aren’t sitting there just making; they’re reflecting, thinking, spending years on an idea.”
image from Camille Rogine’s Montage 365 project
Q&A with Jane Marsching
"I hope that art that looks at environmental crises can help people to understand them better, but even more, can awaken in people a desire to make changes." —Jane Marsching
Here’s another art and science Q&A for your bookmarks:
Jane Marsching, associate professor at Massachusetts College of Art and Design, is a media artist who creates interdisciplinary eco-art about the impact of climate change. In 2005, she began a four-year investigation of the North Pole. The result of her research—including a trip to Arctic science research stations in Alaska—is a Creative Capital-supported project called Arctic Listening Post (2005-2009). The project presents a series of research-based works exploring the relationships between cultural history, climate science, and common attitudes toward the northern-most region. Marsching creates a portrait of the Arctic by mixing fiction with nonfiction and art with science and technology. She uses a combination of video installations, photography, data visualizations, and interactive websites to start a dialogue about climate change and sustainability. To learn more about Arctic Listening Post, we chatted with Marsching via e-mail about imagining the North Pole, her numerous collaborators, and the importance of environmental activism.
Read the full post on the National Endowment for the Arts’ Facebook page.
Postscript: Jane co-edited Far Field: Digital Culture, Climate Change and the Poles (2011) with Andrea Polli.
About a month ago, I interviewed artist Lisa Hochstein who organized a San Francisco/Santa Cruz based art/science exhibition called Earth Science Art. The interview just posted and can be read on the National Endowment for the Arts’ Facebook page. Here’s an excerpt:
There are many different kinds of art and many kinds of science, but I believe they all share a deep connection, as different expressions of a single human need to know ourselves and the world in which we exist. Despite substantive differences in methods and methodologies (including approaches to framing questions, evaluating information, and communicating results), the two disciplines share a persistent curiosity; an impulse to explore and probe deeply; and a desire to share provisional answers within traditions of thought and practice. Both seek to uncover truth. And both recognize that knowledge is elusive and always subject to challenge and refinement. At their best, artists and scientists share an attentive awareness and a capacity to step outside the comfort of predefined answers. —Lisa Hochstein
Don’t forget to read the full post by clicking the link above!
NEA: What do you see as the connection between art and science?Head on over to the official blog of the National Endowment for the Arts (above link) to read more of an interview I conducted with musician/composer/writer Michael Hearst.
HEARST: On a fundamental level, music is science—the way musical instruments and acoustics work: harmonics, wave-lengths, etc. But for me, they really just happen to be two big interests of mine. In the past, I’ve also made connection between art and literature with One Ring Zero’s As Smart As We Are. And art and food with The Recipe Project. Ultimately, I find that just about any subject can inspire art. And, in fact, I prefer to bounce around from subject to subject. But certainly science has been a big inspiration for me for at least the last couple albums. It feels exciting and fresh, and often magical, and so much of science is about continuing to learn beyond what we already know. There’s a whole world of unknown scientific information out there, and that unknown is inspiration in itself.
In researching my grandmother I’ve discovered a tidbit about the changing art world and thought I would share. This is from an article in The Narragansett Times from July 1981. Unfortunately, I don’t know the name of the author since the article is a xerox copy.
Pearl Marsh has a habit of allowing things to be simply said. She has definite opinions on the changes she’s seen in the art world since graduating second in her class from Rhode Island School of Design in 1928. Yes, there have been changes. Lots of them. For example, “People used to judge art shows for the honor of doing it. Now, if you want a judge, you pay them,” she said. “I can’t go along with those things.”She was a highly regarded illustrator living in the North East (outside of New York) and had a long career specializing in portraiture and landscapes. The article closes with her laughing and saying, “Old painters never die, they just paint away.”