I guess this is close to how I feel
Bipolar: Scott Sternbach at the Earth’s Extremes
In 2008, the photographer Scott Sternbach travelled to the world’s southern extreme to create “Antarctic Souls,” a project that focussed on the thirty-odd researchers, biologists, cooks, pilots, and boat captains who are involved in a federal project to study the effects of global warming on the region. Sternbach, who currently serves as the director of photography at LaGuardia Community College, has long dreamed of visiting the far north as well. He recently got his chance thanks to a grant from CUNY, which sent him to the Arctic National Wildlife Refuge, in Alaska, where he spent eight weeks photographing one of the state’s last living tribes, the Neetsaii Gwich’in.
- Click through to read about Sternbach’s experience, and for more photographs from his time among the Neetsaii Gwich’in: http://nyr.kr/tSXoTz
This is interesting.
The Company
Ellis & Cuius
The Company
A suspended surface of tungsten lamps form a catenary arch, playing host to live performances and revisiting the sounds of the 19th century East River industrial icons. Live adaptation of the soundscape reintroduces routine and mechanical process to the space.
The piece intends to bring back an atmosphere informed by the architectural legacy, a machine being delivered to occupy the space that was once a bustling industrial environment.
The Company, a machine in a space producing light.
Sound Wall. I got my photoshop raw update and I return! I recently went to the Bring To Light art festival in Greenpoint a few weeks ago and snapped just a few shots since I got there close to the end of the show and didn’t have my tripod with me.
Eli Keszler
Psaltery
With 48-foot high ceilings, Psaltery transforms one of Greenpoint’s most dramatic interiors into a monumental acoustic installation. Equipping the massive space with an extensive network of piano wires attached by motorized beaters, Keszler’s installation turns the entire building into an instrument. Positioned to strike in a series of complex and endless patterns, the beaters are activated by a microcontroller, engaging them so that ample time if left between each strike, giving voice to frequencies inherent to the space. Attempting to extend the presence of the emptied building, Psaltery activates a startling energy, turning the unused space into a place that literally resonates with the audience.
Eli Keszler lives and works in New York.
