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A dance with love and fear: the Yoko Ono exhibit and the Takashi Murakami exhibit in Vancouver (Canada)

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It seems Japanese artists are ‘having a moment’. There’s a documentary (Kusama—Infinity) about contemporary Japanese female artist, Yayoi Kusama, making the festival rounds this year (2018). Last year (2017), the British Museum mounted a major exhibition of Hokusai’s work (19th Century) and in 2017, the Metropolitan Museum of Art Costume Institute benefit was inspired by a Japanese fashion designer, “Rei Kawakubo/Comme des Garçons: Art of the In-Between.” (A curator at the Japanese Garden in Portland who had lived in Japan for a number of years mentioned to me during an interview that the Japanese have one word for art. There is no linguistic separation between art and craft.)

More recently, both Yoko Ono and Takashi Murakami have had shows in Vancouver, Canada. Starting with fear as I prefer to end with love, Murakami had a blockbuster show at the Vancouver Gallery.

Takashi Murakami: a dance with fear (and money too)

In the introductory notes at the beginning of the exhibit: “Takashi Murakami: The Octopus Eats Its own Leg,” it was noted that fear is one of Murakami’s themes. The first few pieces in the show had been made to look faded and brownish to the point where you had to work at seeing what was underneath the layers. The images were a little bit like horror films something’s a bit awry then scary and you don’t know what it is or how to deal with it.

After those images, the show opened up to bright, bouncy imagery commonly associated with Mrjakami’s work. However, if you look at them carefully, you’ll see many of these characters have big, pointed teeth. Also featured was a darkened room with two huge warriors.At a guess, I’d say they were 14 feet tall.

It  made for a disconcerting show with its darker themes usually concealed in bright, vibrant colour. Here’s an image promoting Murakami’s Vancouver birthday celebration and exhibit opening,

‘Give me the money, now!’ says a gleeful Takashi Murakami, whose expansive show is currently at the Vancouver Art Gallery. Photo by the VAG. [downloaded from https://thetyee.ca/Culture/2018/02/07/Takashi-Murakami-VAG/]

The colours and artwork shown in the marketing materials (I’m including the wrapping on the gallery itself) were  exuberant as was Murakami who acted as his own marketing material. I’m mentioning the money It’s very intimately and blatantly linked to Murakami’s art and work.  Dorothy Woodend in a Feb. 7, 2018 article for The Tyee puts it this way (Note: Link have been removed),

The close, almost incestuous relationship between art and money is a very old story. [emphasis mine] You might even say it is the only story at the moment.

You can know this, understand it to a certain extent, and still have it rear up and bite you on the bum. [emphasis mine] Such was my experience of attending the exhibition preview of Takashi Murakami’s The Octopus Eats Its Own Leg at the Vancouver Art Gallery.

The show is the first major retrospective of Murakami’s work in Canada, and the VAG has spared no expense in marketing the living hell out of the thing. From the massive cephalopod installed atop the dome of the gallery, to the ocean of smiling cartoon flowers, to the posters papering every inch of downtown Vancouver, it is in a word: huge.

If you don’t know much about Murakami the show is illuminating, in many different ways. Expansive in extremis, the exhibition includes more than 50 works that trace a path through the evolution of Murakami’s style and aesthetic, moving from his early dark textural paintings that blatantly ripped off Anselm Kiefer, to his later pop-art style (Superflat), familiar from Kanye West albums and Louis Vuitton handbags.

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… make no mistake, money runs underneath the VAG show like an engine [emphasis mine]. You can feel it in the air, thrumming with a strange radioactive current, like a heat mirage coming off the people madly snapping selfies next to the Kanye Bear sculpture.

The artist himself seems particularly aware of how much of a financial edifice surrounds the human impulse to make images. In an on-stage interview with senior VAG [Vancouver Art Gallery] curator Bruce Grenville during a media preview for the show, Murakami spoke plainly about the need for survival (a.k.a. money) [emphasis mine] that has propelled his career.

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Even the title of the show speaks to the notion of survival (from Woodend’s article; Note: Links have been removed),

The title of the show takes inspiration from Japanese folklore about a creature that sacrifices part of its own body so that the greater whole might survive. In the natural world, an octopus will chew off its own leg if there is an infection, and then regrow the missing limb. In the art world, the idea pertains to the practice of regurgitating (recycling) old ideas to serve the endless voracious demand for new stuff. “I don’t have the talent to come up with new ideas, so in order to survive, you have to eat your own body,” Murakami explains, citing his need for deadlines, and very bad economic conditions, that lead to a state of almost Dostoyevskyian desperation. “Please give me the money now!” he yells, and the assembled press laughs on cue.

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The artist’s responsibility to address larger issues like gender, politics and the environment was the final question posed during the Q&A, before the media were allowed into the gallery to see the work. Murakami took his time before answering, speaking through the nice female translator beside him. “Artists don’t have that much power in the world, but they can speak to the audience of the future, who look at the artwork from a certain era, like Goya paintings, and see not just social commentary, but an artistic point of view. The job of the artist is to dig deep into human beings.”

Which is a nice sentiment to be sure, but increasingly art is about celebrity and profit. Record-breaking shows like Alexander McQueen’s Savage Beauty and Rei Kawakubo/Comme des Garçons: Art of the In-Between demonstrated an easy appeal for both audiences and corporations. One of Murakami’s earlier exhibitions featured a Louis Vuitton pop-up shop as part of the show. Closer to home, the Fight for Beauty exhibit mixed fashion, art and development in a decidedly queasy-making mixture.

There is money to be made in culture of a certain scale, with scale being the operative word. Get big or get out.

Woodend also relates the show and some of the issues it raises to the local scene (Note: Links have been removed),

A recent article in the Vancouver Courier about the Oakridge redevelopment plans highlighted the relationship between development and culture in raw numbers: “1,000,000 square feet of retail, 2,600 homes for 6,000 people, office space for 3,000 workers, a 100,000-square-foot community centre and daycare, the city’s second-largest library, a performing arts academy, a live music venue for 3,000 people and the largest public art program in Vancouver’s history…”

Westbank’s Ian Gillespie [who hosted the Fight for Beauty exhibit] was quoted extensively, outlining the integration between the city and the developer. “The development team will also work with the city’s chief librarian to figure out the future of the library, while the 3,000-seat music venue will create an ‘incredible music scene.’” The term “cultural hub” also pops up so many times it’s almost funny, in a horrifying kind of way.

But bigness often squeezes out artists and musicians who simply can’t compete. Folk who can’t fill a 3,000-seat venue, or pack in thousands of visitors, like the Murakami show, are out of luck.

Vancouver artists, who struggle to survive in the city and have done so for quite some time, were singularly unimpressed with the Oakridge development proposal. Selina Crammond, a local musician and all-around firebrand, summed up the divide in a few eloquent sentences: “I mean really, who is going to make up this ‘incredible music scene’ and fill all of these shiny new venues? Many of my favourite local musicians have already moved away from Vancouver because they just can’t make it work. Who’s going to pay the musicians and workers? Who’s going to pay the large ticket prices to be able to maintain these spaces? I don’t think space is the problem. I think affordability and distribution of wealth and funding are the problems artists and arts workers are facing.”

The stories continue to pop up, the most recent being the possible sale and redevelopment of the Rio Theatre. The news sparked an outpouring of anger, but the story is repeated so often in Vancouver, it has become something of a cliché. You need only to look at the story of the Hollywood Theatre for a likely ending to the saga.

Which brings me back around to the Murakami exhibit. To be perfectly frank, the show is incredible and well-worth visiting. I enjoyed every minute of wandering through it taking in the sheer expanse of mind-boggling, googly-eyed detail. I would urge you to attend, if you can afford it. But there’s the rub. I was there for free, and general admission to the VAG is $22.86. This may not seem like a lot, but in a city where people can barely make rent, culture becomes the purview of them that can afford it.

The City of Vancouver recently launched its Creative Cities initiative to look at issues of affordability, diversity and gentrification.

We shall see if anything real emerges from the process. But in the meantime, Vancouver artists might have to eat their own legs simply to survive. [Tyee]

Survival issues and their intimate companions, fear, are clearly a major focus for Murakami’s art.

For the curious, the Vancouver version of the Murakami retrospective show was held from February 3 – May 6, 2018. There are still some materials about the show available online here.

Yoko Ono and the power of love (and maybe money, too)

More or less concurrently with the Murakami exhibition, the Rennie Museum (formerly Rennie Collection), came back from a several month hiatus to host a show featuring Yoko Ono’s “Mend Piece.”

From a Rennie Museum (undated) press release,

Rennie Museum is pleased to present Yoko Ono’s MEND PIECE, Andrea Rosen Gallery, New York City version (1966/2015). Illustrating Ono’s long standing artistic quest in social activism and world peace, this instructional work will transform the historic Wing Sang building into an intimate space for creative expression and bring people together in an act of collective healing and meditation. The installation will run from March 1 to April 15, 2018.

First conceptualized in 1966, the work immerses the visitor in a dream-like state. Viewers enter into an all-white space and are welcomed to take a seat at the table to reassemble fragments of ceramic coffee cups and saucers using the provided twine, tape, and glue. Akin to the Japanese philosophy of Wabi-sabi, an embracing of the flawed or imperfect, Mend Piece encourages the participant to transform broken fragments into an object that prevails its own violent rupture. The mended pieces are then displayed on shelves installed around the room. The contemplative act of mending is intended to promote reparation starting within one’s self and community, and bridge the gap created by violence, hatred, and war. In the words of Yoko Ono herself, “Mend with wisdom, mend with love. It will mend the earth at the same time.”

The installation of MEND PIECE, Andrea Rosen Gallery, New York City version at Rennie Museum will be accompanied by an espresso bar, furthering the notions of community and togetherness.

Yoko Ono (b. 1933) is a Japanese conceptual artist, musician, and peace activist pioneering feminism and Fluxus art. Her eclectic oeuvre of performance art, paintings, sculptures, films and sound works have been shown at renowned institutions worldwide, with recent exhibitions at The Museum of Modern Art, New York; Copenhagen Contemporary, Copenhagen; Museum of Contemporary Art, Tokyo; and Museo de Arte Latinoamericano de Buenos Aires. She is the recipient of the 2005 IMAJINE Lifetime Achievement Award and the 2009 Venice Biennale Golden Lion for Lifetime Achievement, among other distinctions. She lives and works in New York City.

While most of the shows have taken place over two, three, or four floors, “Mend Piece” was on the main floor only,

Courtesy: Rennie Museum

There was another “Mend Piece” in Canada, located at the Gardiner Museum and part of a larger show titled: “The Riverbed,” which ran from February 22 to June 3, 2018. Here’s an image of one of the Gardiner Museum “Mend” pieces that was featured in a March 7, 2018 article by Sonya Davidson for the Toronto Guardian,

Yoko Ono, Mend Piece, 1966 / 2018, © Yoko Ono. Photo: Tara Fillion Courtesy: Toronto Guardian

Here’s what Davidson had to say about the three-part installation, “The Riverbed,”

I’m sitting  on one of the cushions placed on the floor watching the steady stream of visitors at Yoko Ono’s exhibition The Riverbed at the Gardiner Museum. The room is airy and bright but void of  colours yet it’s vibrant and alive in a calming way. There are three distinct areas in this exhibition: Stone Piece, Line Piece and Mend Piece. From what I’ve experienced in Ono’s previous exhibitions, her work encourages participation and is inclusive of everyone. She has the idea. She encourages us to  go collaborate with her. Her work is describe often as  redirecting our attention to ideas, instead of appearances.

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Mend Piece is the one I’m most familiar with. It was part of her exhibition I visited in Reykjavik [Iceland]. Two large communal tables are filled with broken ceramic pieces and mending elements. Think glue, string, and tape.  Instructions from Ono once again are simple but with meaning. Take the pieces that resonate with you and mend them as you desire. You’re encourage [sic] to leave it in the communal space for everyone to experience what you’ve experienced. It reminded me of her work decades ago where she shattered porcelain vases, and people invited people to take a piece with them. But then years later she collected as many back and mended them herself. Part contemporary with a nod to the traditional Japanese art form of Kintsugi – fixing broken pottery with gold and the philosophy of nothing is ever truly broken. The repairs made are part of the history and should be embraced with honour and pride.

The experience at the Rennie was markedly different . I recommend reading both Davidson’s piece (includes many embedded images) in its entirety to get a sense for how different and this April 7, 2018 article by Jenna Moon for The Star regarding the theft of a stone from The Riverbed show at the Gardiner,

A rock bearing Yoko Ono’s handwriting has been stolen from the Gardiner Museum, Toronto police say. The theft reportedly occurred around 5:30 p.m. on March 12.

The rock is part of an art exhibit featuring Ono, where patrons can meditate using several river rocks. The stone is inscribed with black ink, and reads “love yourself” in block letters. It is valued at $17,500 (U.S.), [emphasis mine] Toronto police media officer Gary Long told the Star Friday evening.

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As far as I can tell, they still haven’t found the suspect who was described as a woman between the ages of 55 and 60. However the question that most interests me is how did they arrive at a value for the stone? Was it a case of assigning a value to the part of the installation with the stones and dividing that value by the number of stones? Yoko Ono may focus her art on social activism and peace but she too needs money to survive. Moving on.

Musings on ‘mend’

Participating in “Mend Piece” at the Rennie Museum was revelatory. It was a direct experience of the “traditional Japanese art form of Kintsugi – fixing broken pottery with gold and the philosophy of nothing is ever truly broken.” So often art is at best a tertiary experience for the viewer. The artist has the primary experience producing the work and the curator has the secondary experience of putting the show together.

For all the talk about interactive installations and pieces, there are few that truly engage the viewer with the piece. I find this rule applies: the more technology, the less interactivity.

“Mend” insisted on interactivity. More or less. I went with a friend and sat beside the one person in the group who didn’t want to talk to anyone. And she wasn’t just quiet, you could feel the “don’t talk to me” vibrations pouring from every one of her body parts.

The mending sessions were about 30 minutes long and, as Davidson notes, you had string, two types of glue, and twine. For someone with any kind of perfectionist tendencies (me) and a lack of crafting skills (me), it proved to be a bit of a challenge, especially with a semi-hostile person beside me. Thank goodness my friend was on the other side.

Adding to my travails was the gallery assistant (a local art student) who got very anxious and hovered over me as I attempted and failed to set my piece on a ledge in the room (twice). She was very nice and happy to share, without being intrusive, information about Yoko Ono and her work while we were constructing our pieces. I’m not sure what she thought was going to happen when I started dropping things but her hovering brought back memories of my adolescence when shopkeepers would follow me around their store.

Most of my group had finished and even though there was still time in my session, the next group rushed in and took my seat while I failed for the second time to place my piece. I stood for my third (and thankfully successful) repair attempt.

At that point I went to the back where more of the “Mend” communal experience awaited. Unfortunately, the coffee bar’s (this put up especially for the show) espresso machine was not working. There was some poetry on the walls and a video highlighting Yoko Ono’s work over the years and the coffee bar attendant was eager to share (but not intrusively so) some information about Yoko and her work.

As I stated earlier, it was a revelatory experience. First, It turned out my friend had been following Yoko’s work since before the artist had hooked up with John Lennon and she was able to add details to the attendants’ comments.

Second, I didn’t expect was a confrontation with the shards of my past and personality. In essence, mending myself and, hopefully, more. There was my perfectionism, rejection by the unfriendly tablemate, my emotional response (unspoken) to the hypervigilant gallery assistant, having my seat taken from me before the time was up, and the disappointment of the coffee bar. There was also a rediscovery of my friend, a friendly tablemate who made a beautiful object (it looked like a bird), the helpfulness of both the gallery assistants, Yoko Ono’s poetry, and a documentary about the remarkable Yoko.

All in all, it was a perfect reflection of imperfection (wabi-sabi), brokenness, and wounding in the context of repair (Kintsugi)/healing.

Thank you, Yoko Ono.

For anyone in Vancouver who feels they missed out on the experience, there are some performances of “Perfect Imperfections: The Art of a Messy Life” (comedy, dance, and live music) at Vancity Culture Lab at The Cultch from June 14 – 16, 2018. You can find out more here.

The moment

It certainly seems as if there’s a great interest in Japanese art, if you live in Vancouver (Canada), anyway. The Murakami show was a huge success for the Vancouver Art Gallery. As for Yoko Ono, the Rennie Museum extended the exhibit dates due to demand. Plus, the 2018 – 2020 version of the Vancouver Biennale is featuring (from a May 29, 2018 Vancouver Biennale news release),

… Yoko Ono with its 2018 Distinguished Artist Award, a recognition that coincides with reissuing the acclaimed artist’s 2007 Biennale installation, “IMAGINE PEACE,” marshalled at this critical time to re-inspire a global consciousness towards unity, harmony, and accord. Yoko Ono’s project exemplifies the Vancouver Biennale’s mission for diverse communities to gain access, visibility and representation.

The British Museum’s show (May 25 – August 13, 2017), “Hokusai’s Great Wave,” was seen in Vancouver at a special preview event in May 2017 at a local movie house, which was packed.

The documentary film festival, DOXA (Vancouver) closed its 2018 iteration with the documentary about Yayoi Kusama. Here’s more about her from a May 9, 2018 article by Janet Smith for the Georgia Straight,

Amid all the dizzying, looped-and-dotted works that American director Heather Lenz has managed to capture in her new documentary Kusama—Infinity, perhaps nothing stands out so much as images of the artist today in her Shinjuku studio.

Interviewed in the film, the 89-year-old Yayoi Kusama sports a signature scarlet bobbed anime wig and hot-pink polka-dotted dress, sitting with her marker at a drawing table, and set against the recent creations on her wall—a sea of black-and-white spots and jaggedy lines.

“The boundary between Yayoi Kusama and her art is not very great,” Lenz tells the Straight from her home in Orange County. “They are one and the same.”

It was as a young student majoring in art history and fine art that Lenz was first drawn to Kusama—who stood out as one of few female artists in her textbooks. She saw an underappreciated talent whose avant-pop works anticipated Andy Warhol and others. And as Lenz dug deeper into the artist’s story, she found a woman whose struggles with a difficult childhood and mental illness made her achievements all the more remarkable.

Today, Kusama is one of the world’s most celebrated female artists, her kaleidoscopic, multiroom show Infinity Mirrors drawing throngs of visitors to galleries like the Art Gallery of Ontario and the Seattle Art Museum over the past year. But when Lenz set out to make her film 17 long years ago, few had ever heard of Kusama.

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I am hopeful that this is a sign that the Vancouver art scene is focusing more attention to the west, to Asia. Quite frankly, it’s about time.

As a special treat, here’s a ‘Yoko Ono tribute’ from the Bare Naked Ladies,

Dance!

Upcoming PoetryFilm appearances and events

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It’s been a while since I last (in a March 17, 2015 post) featured PoetryFilm. Here’s the latest from the organization’s Oct. 2015 newsletter,

Forthcoming
  • I have been invited to join the International Jury for the CYCLOP International Videopoetry Festival, 20-22 November 2015 (Kiev, Ukraine)
  • PoetryFilm Paradox events, featuring poetry films about love, as part of the BFI LOVE season, 6 and 22 December 2015 (London, UK)
  • PoetryFilm screening + Zata Banks in conversation with filmmaker Roxana Vilk at The Scottish Poetry Library, 3 December 2015 (Scotland, UK)
  • I have been invited to judge the Carbon Culture Review poetry film competition (USA)
  • poetryfilmkanal in Germany recently invited me to write an article about the poetry film artform – it can be read here

FYI, the “I” in the announcement’s text is for Zata Banks, the founder and director of PoetryFilm since 2002.

There’s more about the CYCLOP International Videopoetry Festival in a Sept. 13, 2015 posting on the PoetryFilm website,

*The 5th CYCLOP International Videopoetry Festival will take place on 20 – 22 November 2015 in Ukraine (Kyiv). The festival programme features video poetry-related lectures, workshops, round tables, discussions, presentations of international contests and festivals, as well as a demonstration of the best examples of Ukrainian and world videopoetry, a competitive programme, an awards ceremony and other related projects.

One of the projects is a new Contest for International poetry films within the framework of the CYCLOP festival. The International Jury: Alastair Cook (Filmpoem Festival, Edinburgh, Scotland), Zata Banks (PoetryFilm, London, United Kingdom), Javier Robledo (VideoBardo, Buenos Aires, Argentina), John Bennet (videopoet, USA),  Alice Lyons (Videopoet, Sligo, Ireland), Sigrun Hoellrigl (Art Visuals & Poetry, Vienna, Austria), Lucy English (Liberated Words, Bristol, United Kingdom), Tom Konyves (poet, video producer, educator and a pioneer in the field of videopoetry, British Columbia, Canada), Polina Horodyska (CYCLOP Videopoetry Festival, Kyiv, Ukraine) and Thomas Zandegiacomo (ZEBRA Poetry Film Festival, Berlin, Germany).

*Copy taken from the CYCLOP website

You can find the CYCLOP website here but you will need Ukrainian language reading skills.

I can’t find a website for the Carbon Culture Review poetry film competition or a webpage for it on the Carbon Culture Review website but  here’s what they have to say about themselves on the journal’s About page,

Carbon Culture Review is a journal at the intersection of new literature, art, technology and contemporary culture. We define culture broadly as the values, attitudes, actions and inventions of our global society and its subcultures in our modern age. Carbon Culture Review is distributed in the United States and countries throughout the world by Publisher’s Distribution Group, Inc. and Annas International as well as digitally through 0s&1s, Magzter and Amazon. CCR is a member of Councils of Literary Magazines and Presses and also publishes monthly online issues.

The last item from the announcement that I’m highlighting is Zata’s essay for poetryfilmkanal ,

Poetry films offer creative opportunities for exploring new semiotic modes and for communicating messages and meanings in innovative ways. Poetry films open up new methods of engagement, new audiences, and new means of self-expression, and also provide rich potential for the creation, perception and experience of emotion and meaning.

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We are surrounded by communicative signs in literature, art, culture and in the world at large. Whilst words represent one system of communicating, there are many other ways of making meanings, for instance, colour semiotics, typographic design, and haptic, olfactive, gustatory and durational experiences – indeed, a comprehensive list could be infinite. The uses of spoken and written words to communicate represent just two approaches among many. Through using meaning-making systems other than words, by communicating without words, or by not using words alone, we can bypass these direct signifiers and tap directly into pools of meaning, or the signifieds, associated with those words. Different combinations of systems, or modes, can reinforce each other, render meanings more complex and subtle, or contrast with each other to illuminate different perspectives. Powerful juxtapositions, associations and new meanings can therefore emerge.

The essay is a good introduction for beginners and a good refresher for those in need. Btw, I understand Zata got married in March 2015. Congratulations to Zata and Joe!

Michelangelo, clinical anatomy, mathematics, the Golden Ratio, and a myth

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I would have thought an article about Michelangelo, mathematics, and the Golden Ratio would be in a journal dedicated to the arts or mathematics or possibly both. Not even my tenth guess would  have been Clinical Anatomy. As for the myth, not everyone subscribes to the Golden Ratio theory of beauty.

A July 20, 2015 Wiley Periodicals press release (also on EurekAlert) announces the publication of the research,

New research provides mathematical evidence that Michelangelo used the Golden Ratio of 1.6 when painting The Creation of Adam on the ceiling of the Sistine Chapel. The Golden Ratio is found when you divide a line into two parts so that the longer part divided by the smaller part is equal to the whole length divided by the longer part.

The Golden Ratio has been linked with greater structural efficiency and has puzzled scientists for centuries due to its frequent occurrence in nature–for example in snail shells and flower petals. The Golden Ratio can also be found in a variety of works by architects and designers, in famous musical compositions, and in the creations of many artists.

The findings suggest that the beauty and harmony found in the works of Michelangelo may not be based solely on his anatomical knowledge. He likely knew that anatomical structures incorporating the Golden Ratio offer greater structural efficiency and, therefore, he used it to enhance the aesthetic quality of his works.

“We believe that this discovery will bring a new dimension to the great work of Michelangelo,” said Dr. Deivis de Campos, author of the Clinical Anatomy study.

Here’s a link to and a citation for the paper,

More than a neuroanatomical representation in The Creation of Adam by Michelangelo Buonarroti, a representation of the Golden Ratio by Deivis De Campos, Tais Malysz,  João Antonio Bonatto-Costa, Geraldo Pereira Jotz, Lino Pinto De Oliveira Junior, and Andrea Oxley da Rocha. Clinical Anatomy DOI: 10.1002/ca.22580 Article first published online: 17 JUL 2015

© 2015 Wiley Periodicals, Inc.

This paper is open access.

Golden Ratio myth

One final comment, it seems not everyone is convinced that the Golden Ratio plays an important role in design, art, and architecture according to an April 13, 2015 article by John Brownlee for Fast Company titled: The Golden Ratio: Design’s Biggest Myth,

In the world of art, architecture, and design, the golden ratio has earned a tremendous reputation. Greats like Le Corbusier and Salvador Dalí have used the number in their work. The Parthenon, the Pyramids at Giza, the paintings of Michelangelo, the Mona Lisa, even the Apple logo are all said to incorporate it.

It’s bullshit. The golden ratio’s aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don’t use it, and if they do, they vastly discount its importance. There’s also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam.

Fascinating, non?

Bacterial art lovers

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With all the emphasis on eradicating bacteria (with signs everywhere telling you to wash your hands, often will illustrated instructions), it’s easy to forget that some bacteria are necessary for health. It also turns out that some bacteria can help us preserve art works. From the June 7, 2011 news item on Nanowerk,

Researchers at the Institute of Heritage Restoration (IRP) and the Centre for Advanced Food Microbiology (CAMA), both from the Polytechnic University of Valencia (Spain), are beginning to experiment with this new technique on the frescoes of Antonio Palomino from the 17th century in the Church of Santos Juanes in Valencia.

They have shown that a certain type of micro-organism is capable of cleaning works of art in a fast, specific and respectful way as well as being non-toxic for the restorer or the environment.

Here’s the background on the problem the art restorers were trying to fix (from the news item),

The project came about when the IRP [Institute of Heritage Restoration] was in the process of restoring the murals of the Church of Santos Juanes that were virtually destroyed after a fire in 1936 and were improperly restored in the 1960s. The researchers tested new techniques for filling with transferred printed digital images in spaces without painting, but had great difficulty dealing with salt efflorescence, the white scabs caused by the build up of crystallized salts and the enormous amount of gelatine glue remaining on the pulled-off murals.

With the problem defined, the researchers then investigated a technique developed in Italy that looked promising (from the news item),

Therefore, Rosa María Montes and Pilar Bosch travelled to Italy to learn from the authors about the pioneering studies that used bacteria to remove hardened glue that was very difficult to treat with conventional methods.

The restoration of the Campo Santo di Pisa wall paintings was performed under the direction of Gianluiggi Colalucci, restorer of the Sistine Chapel, and his colleagues Donatella Zari and Carlo Giantomassi who applied the technique developed by microbiologist Giancarlo Ranalli. The researcher had also been testing with black crusts that appear on sculptures and artistic monuments.

The team returned to Spain to practice the technique and add some refinements (from the news item),

Back in Valencia, the multidisciplinary team perfected this method and trained the most suitable strain of Pseudomonas bacteria to literally eat the saline efflorescence found in the lunettes of the vault behind which pigeons nest.

“By the action of gravity and evaporation, the salts of organic matter in decomposition migrate to the paintings and produce a white crust hiding the work of art and sometimes can also cause the loose of the painting layer” says Pilar Bosch.

These scientists have managed to reduce the application time, and have also innovated in the way of extending the bacteria. According to Dr. Bosch: “In Italy they use cotton wool to apply the micro-organisms. We, however, have developed a gel that acts on the surface, which prevents moisture from penetrating deep into the material and causing new problems.

“After an hour and a half, we remove the gel with the bacteria. The surface is then cleaned and dried.” Without a wet environment, the remaining bacteria die.

Here’s a picture that demonstrates the advantages of the new process according to whomever wrote up the caption in Spanish (I may have gotten the translation wrong),

Las ventajas del nuevo proceso (The advantages of the new process) image downloaded from RUVID website

If you do have the Spanish language skills you can read the article as it was written originally here.

I have from time to time (in my Sept. 20, 2010 posting and Oct. 26, 2009 posting) featured a different nano art restoration technique as it’s practiced by Piero Baglioni’s (Correction Mar. 1, 2013: Name was changed from Pier Baglioni) team on projects in Mexico and Italy. Baglioni and his cohorts use a technique involving a micro-emulsion partially derived from cellulose. From an Oct. 26, 2009 article written by Michael Berger on Nanowerk,

The solution developed by Baglioni and his team has been to develop a micro-emulsion cleaning agent that is designed to dissolve only the organic molecules on the surface of a painting or other artwork. This emulsion is not only suitable for removing the aged coating on paintings but also for the removal of aged organic varnishes from the surface of easel paintings or gilded surfaces, as an alternative to gels traditionally used in conservation.

The cleaning agent is made by dissolving the volatile solvent p-xylene in water and thickening it into a gel with hydrophobically modified hydroxyethylcellulose (hmHEC) – a gelling and thickening agent derived from cellulose. This oil-in-water emulsion has a microstructure of tiny droplets of oil-coated water trapped in the cellulose chains, and these will dissolve organic polymers on the painting’s surface, thereby restoring the original, clean finish.

Science and dance in Vancouver

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The performances (Nov. 25 – 27, 2010) of a dance/science project, Experiments: Logic and Emotion Collide (World Premiere) will take place at the Scotia Bank Dance Centre 677 Davie Street @ Granville St in Vancouver (Canada).

As part of their publicity campaign, the producers (SFU [Simon Fraser University] Centre for Dialogue, in association with LINK Dance Foundation) gave a series of three talks on art and science  prior to the performances later this week. I attended the Art, Science and Creativity: Common Threads and Unique Expressions panel discussion (Nov. 9, 2010) which featured the choreographer, Gail Lotenberg, sculptor and evolutionary biologist, Lee Gass, spoken word artist, Nadia Chaney, and poet, Sonnet L’Abbé and moderator, Mark Winston, evolutionary biologist and Academic Director for the Centre for Dialogue.

From the Centre for Dialogue page about the dance/science project,

SFU Centre for Dialogue, in association with LINK Dance Foundation, is pleased to present a series of Dialogues on Art and Science. Explore the similarities and differences between both disciplines as they employ creativity, experimentation, logic and intuition to understand the world around us.

These Dialogues precede the World Premiere of LINK Dance Foundation’s new work Experiments: Logic and Emotion Collide. Over the past three years, LINK Artistic Director Gail Lotenberg has been working with dancers and ecologists to create an ensemble piece interweaving movement, sound, video and lighting, appealing to both halves of the brain.

In trying better understand the underpinnings for Experiments, I located a posting by Lotenberg where she describes the impetus for the piece (excerpted from Lotenberg’s Oct. 29, 2010 posting),

Mark [Winston] is the Academic Director of the Simon Fraser University Centre for Dialogue. He had been impressed with my first work created through this collaboration with scientists (in the field of Behavioural Ecology) and he wanted to help spearhead a new piece, even larger in scale and more ambitious in content. I was gamed. So he asked, “what would you want to create a piece about?” I said, “Experimental Design in Science.” He was surprised, to say the least. What I said next, however, hooked him. “Experimental Design,” I told him, “is as much a reflection of the personality and personal beliefs of a scientist, as it is a reflection of the natural world under investigation. And the elegance of a good design is as beautiful as dance.” He totally agreed and totally jumped in, feet first.

Mark was visibly thrilled that I understood this aspect of experimental design that it is a mirror for personality and a pursuit of elegance in how to ask a refined question. I guess he knew that it was the consequence of having fallen in love with a scientist and seeing first hand the passion, the wit, and the artistry that my husband brings into the process of designing a good experiment. I love how the personality of a scientist is so evident in their experiments–a witty mind creates a trap, a romantic mind seeks evidence of deep connectivity between things, a social activist looks for the influence of community on individual actions in animal behaviour. I was charmed by the spirit of scientists, like when you first begin to see the personality of a child emerging from a newborn.

I was also charmed by how scientists use language. As terse as poetry! Melodic like music. They speak in a way about their research, that gave me a sense of accompaniment for dance. Precise, razor-sharp, impassioned.

These are some of the starting points for this project and they are beginning to become visible in the outcomes of our creative process. Months of experimentation and finally I find myself deeply satisfied to witness what was only in my imagination finding real expression in movement, music, etc. The impulse to translate their poetry; to capture their personalities inside their experiments; interpreting the elegance of a clean set of results with an elegant phrase of dance. I think I am finding the answer to why I undertook the massive endeavour …

I had the idea that Behavioural Ecologists and Choreographers sharing a key aspect in our work–that we both interpret movement and actions as meaningful information, enough to build a career around. A cool idea but until it is presented in some way, it remains only that … an idea. To be brave is to speak that idea out loud through this production.

Interesting insight into how the arts and science are connected, eh?

Tickets for the performances can be purchased here.

Music, art, and science

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I recently stumbled across a couple of artistic and musical items about science on nanopublic (Dietram Scheufele’s blog) in a posting from Wednesday, May 12, 2010, When art meets science: “Symphony of Science.” (ETA, May 19, 2010: link to specific post) There’s  a reference to an interview with Adam Bly, founder and editor of SEED MAGAZINE (science-oriented magazine) talking about “What science can learn from the arts” on the Big Think website. It’s an excerpt from a 2008 interview with Bly, a Canadian born in Montréal, Québec, now living in New York City. In the same item, Scheufele features a video titled, “Symphony of Science” (SOS) from the website of the same name. From the SOS website,

The Symphony of Science is a musical project headed by John Boswell designed to deliver scientific knowledge and philosophy in musical form. Here you can watch music videos, download songs, read lyrics and find links relating to the messages conveyed by the music.

The project owes its existence in large measure to the wonderful work of Carl Sagan, Ann Druyan, and Steve Soter, of Druyan-Sagan Associates, and their production of the classic PBS Series Cosmos, as well as all the other featured figures and visuals.

So there it is: music, art, and science.

Site remediation and nano materials; perspectives on risk assessment; Leonardo’s call for nano and art; a new nano art/science book

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The Project on Emerging Nanotechnologies (PEN) is holding an event on site remediation on Feb. 4, 2010 (12:30 pm to 1:30 pm EST). From the news release,

A new review article appearing in Environmental Health Perspectives (EHP) co-authored by Dr. Todd Kuiken, Research Associate for the Project on Emerging Nanotechnologies (PEN), Dr. Barbara Karn, Office of Research and Development, U.S. Environmental Protection Agency and Marti Otto, Office of Superfund Remediation and Technology Innovation, U.S. Environmental Protection Agency focuses on the use of nanomaterials for environmental cleanup. It provides an overview of current practices; research findings; societal issues; potential environment, health, and safety implications; and possible future directions for nanoremediation. The authors conclude that the technology could be an effective and economically viable alternative for some current site cleanup practices, but potential risks remain poorly understood.

PEN’s Contaminated Site Remediation: Are Nanomaterials the Answer? features the EHN article’s authors  Kulken, Karn, and Otto on a panel with David Rejeski, PEN’s executive director moderating. PEN also has a map detailing almost 60 sites (mostly in the US, 2  in Canada, 4 in Europe, and 1 in Taiwan) where nanomaterials are being used for remediation.  More from the news release,

According to Dr. Kuiken, “Despite the potentially high performance and low cost of nanoremediation, more research is needed to understand and prevent any potential adverse environmental impacts, particularly studies on full-scale ecosystem-wide impacts. To date, little research has been done.”

In its 2004 report Nanoscience and nanotechnologies: opportunities and uncertainties, the British Royal Society and Royal Academy of Engineering recommended that the use of free manufactured nanoparticles be prohibited for environmental applications such as remediation until further research on potential risks and benefits had been conducted. The European Commission’s Scientific Committee on Emerging and Newly Identified Health Risks (SCENIHR) called for further risk research in 2005 while acknowledging environmental remediation technology as one of nanotechnology’s potential benefits.

If you wish to attend in person (i.e. you are in Washington, DC), you are asked to RSVP here (they provide a light lunch starting at 12 pm) or you can watch the webcast (no RSVP necessary and I will put up a link to the webcast closer to the date).

On the topic of risk, Michael Berger has written an in depth piece about a recently published article, Redefining research risk priorities for nanomaterials, in the Journal of Nanoparticle Research. From Berger’s piece,

While research in quantitative risk characterization of nanomaterials is crucially important, and no one advocates abandoning this approach, scientists and policy makers must face the reality that many of these knowledge gaps cannot be expected to be closed for many years to come – and decision making will need to continue under conditions of uncertainty. At the same time, current chemical-based research efforts are mainly directed at establishing toxicological and ecotoxicological and exposure data for nanomaterials, with comparatively little research undertaken on the tools or approaches that may facilitate near-term decisions.

In other words, there’s a big lag between developing new products using nanomaterials and the research needed to determine the health and environmental risks associated both with the production and use of these new materials. The precautionary principle suggests that we not produce or adopt these products until we are certain about risks and how to ameliorate and/or eliminate them. That’s an impossible position as we can never anticipate with any certainty what will happen when something is released to the general public or into the environment at large.  From Berger’s piece,

In their article, [Khara Deanna] Grieger [PhD student at Technical University of Denmark (DTU)], Anders Baun, who heads DTU’s Department of Environmental Engineering, and Richard Owens from the Policy Studies Institute in the UK, argue that there has not yet been a significant amount of attention dedicated to the field of timely and informed decision making for near term decisions. “We see this as the central issue for the responsible emergence of nanotechnologies” says Grieger.

Getting back to site remediation using nanomaterials, since it’s already in use as per the map and the authors state that there hasn’t been enough research into risks, do we pull back and adopt the precautionary principle or do we proceed as intelligently as possible in an area where uncertainty rules? That’s a question I will continue to explore as I get my hands on more information.

On a completely different nano front, the Leonardo magazine has issued a call for papers on nano and art,

2011 is the International Year of Chemistry! To celebrate Leonardo is seeking to publish papers and artworks on the intersections of chemistry,
nanotechnology and art for our on-going special section on nanotechnology and the arts. Since its inception nanotech/science has been intimately connected to chemistry; fullerenes, nanoputians, molecular machines, nano-inorganics and self-assembling molecular systems all spring from the minds and labs of chemists, biochemists and chemical engineers. If you’re a nano-oriented chemist who is serious about art, an artist working on the molecular level, or a chemical educator exploring the mysteries of nano through the arts we are especially seeking submissions from you.

You can send proposals, queries, and/or manuscripts to the Leonardo editorial office: leonardomanuscripts@gmail.com. You can read more about the call for papers here at Leblogducorps or you can go here to the Leonardo online journal.

Meanwhile, Andrew Maynard at 2020 Science is posting about a new book which integrates art work in an attempt to explain nanotechnology without ever mentioning it. From Andrew’s posting,

How do you write a book about something few people have heard off, and less seem interested in?  The answer, it seems, is to write about something else.

Felice Frankel and George Whitesides have clearly taken this lesson to heart. Judged by the cover alone, their new book “No Small Matter:  Science at the Nanoscale” is all about science in the Twilight zone of the nanoscale

– where stuff doesn’t behave in the way intuition says it should.

Drat! I can’t make the indent go away. At any rate, do visit 2020 as Andrew to read more from this posting and at least one other where he has gotten permission to excerpt parts of the book (text and images).

Nano Oreal, Bonifacho, and Krazy

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I received an invitation to a nanotech event “Small is Beautiful” just yesterday for a June 5, 2008 at the Woodrow Wilson Centre in Washington, DC. Luckily they webcast their events so you can tune in 1pm – 2pm EST here. And in case that link doesn’t work, you can try here in the invite and click in the right sidebar under Webcast Live. And, here’s why you might be interested. They’re featuring a representative from L’Oreal, Dr. Francis Quinn, and the Chief Science Officer for the Project on Emerging Nanotechnologies, Dr. Andrew Maynard. Apparently, L’Oreal ranks sixth in nanotech patents in the US. So, the beauty and cosmetics sector has embraced nanotechnology and introduced it into their products. I will be interested to hear about any risk assessments L’Oreal has made for people slathering nanoparticles onto their skin. Maynard should be interesting too. He writes a about risk on a Safenano Community blog here.

On another note, an artist I know, Bratsa Bonifacho, just had a launch event for his latest project, a series of street banners that have been placed along Cambie St. and its eponymous bridge in Vancouver. He was invited to Vancouver City Hall and feted by mayor Sam Sullivan and various city councillors yesterday for the launch. (late breaking…here are some links to articles about Bratsa and his banners…Vancouver Sun and Metro News…despite Metro News, the banners are not about anti-homophobic rallies…Bratsa did a series of paintings about computer viruses and that’s what you can see on the street banners)

Tomorrow I’m off to a press preview of Krazy! The delirious world of Anime + Comics + Video Games + Art at the Vancouver Art Gallery. More about that afterwards.

I was out of commission for a few days. Twisted ankle on Saturday, May 10 and tooth extraction yesterday, May 13. I should be back to normal in the next few days.