Event 3: Natural History Museum of Los Angeles County

One of the most fascinating museums in Los Angeles, the Natural History Museum of Los Angeles County has always been one of my favorites. Perhaps the most time-honored and cherished parts of the museum are the Dioramas. These incredibly life-like, picturesque scenes include gorgeous painted backdrops, sculpted rocks, trees, and other scenery, and of course, taxidermic animal specimen. The Museum has housed a full-time diorama program and display since the 1920s, and audiences of all ages continue to enjoy their beauty. Successful in providing viewers with a close up experience with animals in recreations of the natural habitats in which they were found, these dioramas proved essential in promoting species conservation, as many large mammals had become highly endangered beginning in the 1920s and onward.

The African savannah, complete with a painted backdrop, 3D natural features, and taxidermic animals.

The Dioramas feature a variety of animals and habitats from across the globe. The Natural History museum describes taxidermy as an art, stating that it is a commonly misunderstood medium. Simply put, the taxidermic process includes sculpting clay over an animal’s skeleton, and then stretching the skin over this lightweight mannequin. This process requires great artistic skill, as it is necessary to have an in-depth knowledge of the animal specimen’s anatomy combines with the ability to sculpt well. 

Dad enjoying the buffalo diorama.

Artistic design and technological use play a large role in creating these dioramas. Artistic placement of specimens, recreating habitat scenes, and developing ways in which to make the dioramas seem realistic require a degree of technological innovation. Plaster molds, texture patterns, and heat-pressed plastic combine to make a single leaf; clay, paint, and liquefied plaster create a large boulder. In viewing these dioramas, I was able to observe how art and technology are both vital parts to creating an artwork that transports the viewer to an entirely different world and time. 

What struck me the most about these dioramas was their ability to convey such a strong message about biodiversity and the importance of habitat and species conservation. For the first time, I was able to appreciate the way in which art combines with scientific knowledge in order to strongly express the necessity for both in order to better understand our changing world. These dioramas managed to reinforce one of my favorite concepts of DESMA 9: that the combination of art and science makes both areas infinitely more powerful when unified as a single culture. The dioramas at the Natural History Museum were for me a reminder or the beauty of the natural world, and how we must work to protect the life and biodiversity that is present in all habitats across the Earth.

This image depicts the edge of the African savannah diorama, with the walls of the museum visible behind it, effectively making the diorama seem accessible to the museum visitors.

The author and family enjoying a day at the Natural History Museum (taken in front of the entrance path). 

For fascinating words from diorama artists and historians from the Natural History museum and the process of creating these works of art, check out: https://www.youtube.com/watch?v=f3WYnNV8Yic&list=SP37FA960FC8DA9259&index=11

Event Two: The Getty Center

Upon arriving at The Getty Center, it is easy to appreciate the beauty it contains. This beauty is evident not only in the magnificent works of art it houses, but also in the structure and design of the museum itself. Perhaps the most astounding feature of The Getty is The Central Garden, completed in 1997 by artist Robert Irwin. The 134,000 square-foot design features over 500 varieties of plants, and contains a natural ravine and several areas of grouped plants, such as the cactus garden. From above, the center hedges create a pattern that repeats “G” and “C” for Getty Center, as explained by a helpful tour guide. Looking at the beauty of the landscaping, it is easy to see why The Central Garden is a favorite spot among museum visitors

Overlook of The Central Gardens, with ariel views of the many different types of plants

The Central Gardens offer visitors with a unique interaction with art and nature. Visitors are invited to walk through the foliage and observe nature in action; it is possible to see small insects roaming around the flowers, to appreciate the beauty of different species of plants, and to observe the water feature and natural ravine. In addition, this unique design space offers guests the option of relaxing on the grass with a picnic lunch, all the while surrounded by the white marble of The Getty Center buildings and the brilliant green of The Central Gardens. The Central Gardens remind visitors of their interactions with both art and nature, and how these interaction become cherished and important features of our everyday lives.

Visitors of The Central Garden enjoy the beauty of The Central Gardens, which promote interaction with nature and artistic design.

But The Central Gardens are much more than a picturesque feature of The Getty Center. The gardens incorporate artistic design with environmental ideas. The cactus garden, for example, proves to be environmentally sound as the plants do not require much water. Many other California native plants make The Central Gardens environmentally friendly and can be sustained in the California climate. In an effort to be an example for water conservation, all water features in The Central Gardens have been turned off, declaring to visitors a message of water consumption mindfulness in the face of the California drought. The Central Gardens at The Getty Center helped me better understand the application of math to art, as features of the gardens, such as the central hedges or the spaces allotted for walkways and garden boxes, require careful mathematical planning in order to create a work of art. Additionally, the idea of two cultures is present in The Central Gardens; by combining aspects of environmental science and artistic design, it is evident that these gardens were successful in conveying ideas concerning science and art to the visitors who enjoy the outdoor area. The Central Gardens definitely influenced me in designing my final project: by being able to observe the way in which an artist made nature harmonious with man-made structures, I found inspiration for creating a project which would apply this concept to a variety of aspects of human society. The Central Gardens are a shining example of sustainability and promoting artistic design in nature.

The author at The Getty Center in front of a map and information about the events of the day.

Week 9: Space and Art

When on October 4, 1957 the Soviet Union launched Sputnik I, life as was previously known changed forever. From that moment on, the development of space technologies spread like wildfire, inciting a so-called Space Race between the United States and the Soviet Union. In this real life drama, competition between the two countries was fierce: one nation would develop an amazing new technology, and in response the other would produce a technology even more astounding. The tensions during the Cold War fueled this Space Race, and led to greater development of outer-space technology faster than any other previous space research periods. 

Sputnik’s influence upon the Cold War and space technologies had a profound effect on shaping aerospace development.

http://blogs.lt.vt.edu/baileyk8/2013/11/03/its-a-bird-its-a-plane-its-sputnik/

This led the United States to invest more money into education and placed more emphasis on math and science in schools. The growing interest and emphasis in space technology shaped both American society and art culture. Throughout events such as sending a chimpanzee to space, the failure of the Challenger launch, the moon landing, and various other milestones in both US and international space development, space technology and the cosmos captured the attention of citizens and had a subsequent effect on popular culture. Art now began to incorporate ideas of space and technology; concepts which had been previously nonexistent were now visible manifestations. As Petkovic states, “The moon and outer space have long symbolized mystery, romance, adventure, escapism, the fears and seduction of the unknown.”

Artistic representation of space, such as this Normal Rockwell image, romanticized outer space and further fueled human fascination with the cosmos.

http://andromeda.rutgers.edu/~hbf/sfhist.html

This fascination with outer space manifested itself in various forms of art. In television, we see cartoon representations of space in “The Jetsons” and of galactic exploration and extraterrestrial life in classic movies and shows such as “Star Wars” and “Star Trek.” Artistic design in architecture and entertainment was prominent in Disneyland’s Tomorrowland, as the 1960s saw the opening of rides such as “Adventure Thru Inner Space” and “Flight to the Moon.” Countless book series such as Tom Swifty engaged readers in outer space adventures, and the science fiction genre exploded with new works. Various areas of artistic exhibition, ranging from paintings to sculptures, to music and comic books, greatly reflected the synthesis of art and science, allowing this age of the fascination with space exploration to be preserved in popular culture through different artistic mediums. Not only did developments in space exploration better our scientific societies, but it also bettered our artistic society, successfully blending science and art into a single culture.

Examples of various space-influenced manifestations in 20th century pop culture.

http://en.wikipedia.org/wiki/Adventure_Thru_Inner_Space

http://christophercummings.com/2009/03/13/bonus-content-josie-the-pussycats-in-outer-space-model-sheets/

http://en.wikipedia.org/wiki/Star_Trek:_The_Original_Series

References:

Garber, Steve. “Sputnik and the Dawn of the Space Age.” NASA. Web. 10 October 2007.http://history.nasa.gov/sputnik/

Franklin, H. Bruce. “Science Fiction: The Early History.” Andromeda. Web. http://andromeda.rutgers.edu/~hbf/sfhist.html

NASA. “NASA art remembers 50 years of space exploration.” NASA. Web. 26 May 2011. http://www.newscientist.com/gallery/nasa-art-remembers-50-years-of-space-exploration/8

Petkovic, John. “Moon landing, outer space have long inspired pop culture.” Cleveland. Web. 19 July 2009. http://www.cleveland.com/entertainment/index.ssf/2009/07/moon_landing_outer_space_have.html

Vesna, Victoria. “Space Exploration + Art part 2.” Youtube. Web. 29 July 2013. https://www.youtube.com/watch?v=hLZMDpoP-u0

Week 8: Nanotechnology and Art

As our technological and scientific capabilities progress, it is inevitable that nanotechnology will play a greater role in our everyday lives. Already different types of computer parts, medical technologies, and countless other inventions are a vital part of our societies. As mentioned in Professor Vesna’s article, “Nanotechnology works at a scale where biotech, chemistry, physics, electrical and mechanical engineering converge, and thus has real potential to impact every aspect of our lives.” 

Nanotechnology explores the possibilities of science and art and the molecular and atomic level based off of the substance’s structure.

http://www.innovationintextiles.com/uploads/3940/dreamstime_xs_17092455[1].jpg

A popular catch phrase, “seeing is believing” is a rather difficult idea to apply to nanotechnology. As National Geographic states, “how do you make something so miniscule and abstract appear real to the ordinary eye?” For many people, it is hard to fathom the breakdown of molecules and atoms in general, much less on a scientific and technological scale. 

But what if we use art to make nanotechnology a more concrete and easily grasped idea?

In 2004, LACMA exhibited “NANO,” an interactive display on nanotechnology. From creating a Quantum physics tunnel, to making life-sized buckyballs which recreate the structure of certain types of nano particles, the “NANO” exhibit makes nanotechnology more easily envisioned, if not more accessible. Flash forward ten years, and we are currently surrounded by the prospects of nanotechnology. From advanced microchips, to materials to enhance clothing, to the possibility of self-assembling skin grafts, nanotechnology’s prevalence makes it essential to incorporate creative design to make it both functional and fathomable. 

LACMA’s “NANO” exhibit provided interactive experiences with nanotechnology, such as the buckyball exhibit pictured here.

http://nano.arts.ucla.edu/nano_pub_updates04/2004_ats/spotlight//homepage%20pics/bucky1.jpg

We often do not consider extremely scientific processes and innovations to be artistic, yet when looking at images on the nano-scale, we are overcome by their unique beauty. Cris Orfrescu’s “NanoArt” images expose the astounding beauty that previously only a handful of scientists had ever see. Through artistic representation, such as that of “NANO” at LACMA, or through the images we see of nano-particles in “NanoArt”, it is possible to view the way in which art and design influence, and even create, our sense of understanding of scientific technologies. This idea of art improving our understanding of science is important to acknowledge as society progresses and it seems as though science and art are becoming increasingly separated; rather, we should view art as a way to understanding science, and science as a creator of art. 

Orfrescu’s “NanoArt” displays the beauty of nanotechnology.

http://news.discovery.com/tech/scientists-artists-nanoart-exhibition-111109.htm

References:

Cortado, Rhea. “LACMA exhbit brigs together science, art.” Daily Bruin. 11 February 2004. Web. http://dailybruin.com/2004/02/11/lacma-exhibit-brings-together/

Gimzewski, Jim; Vesna, Victoria. “The Nanomeme Syndrome: Blurring of fact & fiction in the construction of a new science.” 26 January 2004. Web. http://citeseerx.ist.psu.edu/viewdoc/download;jsessionid=0AF1EFEE1A90856EC5DB09D1E5AA8C79?doi=10.1.1.127.8516&rep=rep1&type=pdf

Johnson, Reed. “A quantum leap.” Los Angeles Times. 22 December 2003. Web. http://articles.latimes.com/2003/dec/22/entertainment/et-johnson22

Lovgren, Stefan. “Can Art Make Nanotechnology Easier to Understand?” National Geographic. 23 December 2003. Web http://news.nationalgeographic.com/news/2003/12/1223_031223_nanotechnology.html

“Nanotechnology Products.” National Nanotechnology Infrastructure Network. 2015. Web.http://www.nnin.org/news-events/spotlights/nanotechnology-products

Week 7: Neurosci and Art

“Since to be wholly of the present means to be fully conscious of one’s existence as a man, it requires the most intensive and extensive consciousness, with a minimum of unconsciousness,” so states Carl Jung, renowned psychiatrist who had a deep effect on society through his founding of analytical psychology. Consciousness is defined as “awareness of something for what it is; internal knowledge.” However, the state of consciousness is subjective; we cannot define this state in a particular way, nor can we determine a correct way to achieve consciousness. To many, consciousness means possessing a clear mindset that is unaltered by external influences, while for others, a state of heightened consciousness is achieved through drug substances. The 1960s in American counterculture were characterized by this idea, as the development and experimentation with hallucinogenic drugs created a movement to free the mind through expanding one’s internal awareness.

The 1960s started a drug movement which emphasized an expansion of consciousness through drug experimentation.

http://imgarcade.com/1/1960s-hippies-drugs/

Today, this idea promoted by American hippies lives on in our current society. While not to the same overwhelming extent, the experimentation with drugs remains a popular way by which to explore human consciousness and understanding. American artist Bryan Lewis Saunders blends drugs, art, and neurological exploration in his experimental artworks. Saunders explains, “After experiencing drastic changes in my environment, I looked for other experiences that might profoundly affect my perception of self.  So I devised another experiment where everyday I took a different drug or intoxicant and drew myself under the influence.” His self portraits document the mind under the influence of drugs, and the neurological effects substances have upon our realities and perceptions. His portraits, ranging from vivid and grotesque, to empty and simply, give the viewer a peek into the mind under the influence. The use of narcotics creates a different state of consciousness, and Saunder’s self portraits under the influence offer a striking example of art and neurology as he makes the choice of both mental and artistic experimentation.

Some examples of the self portraits created by Saunders under the influence of various narcotics.

http://bryanlewissaunders.org/drugs/

By utilizing the brain as an artistic medium, we often run into religious and philosophical questions. Heightening our state of consciousness through awareness is achieved through many forms: meditation, drugs, art, and a combination of other means. Expansion of consciousness is a primary function of art in general; it is often in art that we discover so-called “religion,” or the sense of being spiritually awakened by an artistic force greater than our own individual.

Art serves as a way for us to express our neurological effects in a way that we cannot do through any other medium.

http://kryanhenisey.com/2014/10/12/in-color-and-shape/

References:

Cherry, Kendra. “Carl Jung Biography.” About Education. 2015. Web. http://psychology.about.com/od/profilesofmajorthinkers/p/jungprofile.htm

“Consciousness.” Dictionary.com. Web. 2015. http://dictionary.reference.com/browse/consciousness

Jung, Carl. “The Spiritual Problem of Modern Man.” 1928. Print. PDF. Web Accessed. 

Richards, Samantha. “The Influence of Drugs Throughout Music in the 1960s: The Psychedelic Era.” Longwood. 29 April 2013. Web.http://blogs.longwood.edu/worldmusicsm/2013/04/29/the-influence-of-drugs-throughout-music-in-the-1960s-the-psychedelic-era/

Saunders, Brian Lewis. “Under the Influence.” 2008. Web. http://bryanlewissaunders.org/drugs/

Event 1: The Hammer Museum

Upon entering the Hammer Museum in Westwood, California, it is easy to appreciate the design of the exhibition spaces and unique artwork presented. Located on the upper floor of the Hammer Museum is the current featured exhibition, “Provocations: The Architecture and Design of Heatherwick Studios.” This spectacular display showcases the work of an architecture studio who proposes and completes various projects featuring top-line architecture and modern design. It is the perfect real-life manifestation of what we have been studying in our DESMA 9 class. 

The interior space of Provocations in the Hammer museum

The “Provocations” exhibit is a combination of astounding architecture and beautiful design. Upon entering the exhibition space, it was clear to me that many of the ideas from DESMA were evident in the artwork. “Provocations” blends the two cultures of art and mathematical science in a way that benefits larger society. Mini models and photographs/conceptual drawings of the projects by Heatherwick Studios are on display, and offer an up-close experience of the kinds of structures that Heatherwick Studios produces. All of the projects created are both beautiful and functional, highlighting the importance of design when creating structures. 

Two examples of the kinds of projects that have been conceived by Heatherwick Studios.

The display of “Provocations” helped me to better understand the ideas presented in DESMA 9. It was an incredible experience to be able to see examples of art and technology in action; some of the projects presented were so awe-inspiring that it was impossible to believe that they actually existed. I really appreciated the beauty of the studio’s work, and the message their structures send: it is possible to create large scale architecture that is gorgeous and tasteful, and is reflective of the functional and creative needs of society. Today, I feel as though so many of the structures around us are bland and uniform, with only small differences to demarcate their purpose, especially in Los Angeles where we are surrounded by grey, modern skyscrapers. Seeing the work of Heatherwick Studio definitely made me appreciate the high value of design, and the endless possibilities that occur when technology and creative art are both highly valued.

The author in front of the Hammer Museum exhibit sign, located in the interior courtyard of the upper floor. 

Week 6: Biotechnology and Art

In what is perhaps the most controversial and hotly-debated aspects of science and art. biotechnology has become a prominent topic of issue in the late 20th and 21st centuries. As art and science continue to expand, and expansion of artistic and scientific mediums are inevitable. Drawn to the body through human fixation, the issue of life itself as a valid expressive medium has no clear answer to the questions that surround it. As a society, we are continually shocked by the astounding discoveries of science and the modern expressionism of art. 

Eduardo Kac is one of the most noted forerunners of biotechnology as an expressive art form. His GFP bunny, Alba, raises a myriad of questions: how to we equalize the rabbit being both a friendly, cuddly bunny in the light, and a bizarre, glowing science experiment in the dark? How do we define art and morally classify its medium? As Kac states, there is an “ongoing dialogue between professionals of several disciplines (art, science, philosophy, law, communications, literature, social science) and the public on cultural and ethical implications of genetic engineering.” Perhaps this type of art-- the synthesis of biology, technology, and aesthetic awareness-- is the most inclusive of aspects from both sides of the two cultures. Due to the logistical and ethical implications of this type of art-science in a larger society, we are successful in creating an in-depth dialogue through art. 

Alba, a GFP rabbit, has been the center of debate over the ethics of art and science.

http://www.artnexus.com/Notice_View.aspx?DocumentID=19376

As stated by Ellen Levy, “Many contemporary artists working in artificial life are aware of its philosophical considerations and have probed its underlying assumptions.” This idea stands true, as exemplified by Kac and other artists working with life and the body as a medium. This form of art is highly influenced by other areas of thought and research; no longer is the artwork a single isolated artifact but rather a compilation of philosophical ideas, scientific questions, and moral reactions. 

Biotechnology has come to encompass ideas and issues from all aspects of life.

http://www.canstockphoto.com/word-cloud-for-biotechnology-11730322.html

I was fortunate enough to take a class with Professor Kelty, and so it was a wonderful experience to read his article on outlaw biology. He writes, “Today a young biologist is confronted by a heterogeneous scramble of basic biology, commercially driven research, patent lawyers, bio-ethicists, software engineers and impresarios creating more tests than anyone can interpret, more drugs than anyone needs and more promises than anyone can fulfill.” I find my professor’s words particularly striking as a conclusion to the unit: the future is controlled by my generation’s artists and scientists alike, and each individual is presented with multiple challenges from hundreds of aspects of society. the fusion of art and biotechnology raises moral questions and challenges our understanding of the relationship between art and science, drawing in a new era of exploration and creativity. 

Professor Kelty, pictured here, explores the understanding of biology and art as it harbors and uncharted future. 

http://kelty.org/

References:

Kac, Eduardo. “GFP Bunny.” Eduardo Kac. 2015. Web. http://www.ekac.org/gfpbunny.html

Kelty, Christopher M. “Meanings of Participation: Outlaw Biology?” Web. http://www.desminopathy.info/pdf/jcom09012010c03.pdf

Levy, Ellen. “Defining Life: Artists Challenge Conventional Classifications.” Web. http://nanobioart.artscicenter.com/hybrid/sites/default/files/Ellen_Levy_BioArt.pdf

Miranda, Carolina A. “Weird Science: Biotechnology as Art Form.” Art News. 18 March 2013. Web. http://www.artnews.com/2013/03/18/biotechnology-as-art-form/

Vensa, Victoria. “Biotechnology and Art part 1.” Youtube. Web. https://www.youtube.com/watch?v=PaThVnA1kyg