As part of the background to her process, Karle took 3D scan data of bones from the California Academy of Science’s collection and then rendered the data and applied generative algorithms to create sculptures. She also created sculptures growing crystals on 3D printed lattices. This work led her to pursue growing designs in actual bone with actual stem cells.
Regenerative Reliquary is a 3D printed scaffold made of biodegradable hydrogel that disintegrates over time, with the aim that stem cells seeded onto the design will grow tissue and mineralize into bone along the scaffold. To create this work, Karle collaborated with bio/nano and materials scientists at Autodesk. The project is still under development and Karle is seeking scientific and biomedical partners to collaborate on cell culture and establish repeatable successful results for stem cell grown into bone in this or a similar method. She is also seeking sponsors and museums to show this work.
Regenerative Reliquary: Bringing Bones To Life, Materia
The scyphomedusa Deepstaria is certainly odd, with its bag-like appearance, and bell that can open more than a meter wide. Speculation on the identity of a mystery blob has become a YouTube sensation, sparking heated and entertaining debates over its identity. That video of Deepstaria reticulum (described by Larson, et al., in 1988) looks especially unusual because the medusa is being blown around by the thrusters of the Remotely Operated Vehicle, and eventually turns completely inside-out.
In this ART21-produced special feature, artist Kimsooja collaborates with scientists and nanotechnologists to create an iridescent steel and polymer sculpture for the Cornell University campus in Ithaca, NY. Developed in collaboration with architect Jaeho Chong and Cornell nano material engineer Ulirich Wiesner, Ph. D., the 46-foot-tall needle-shaped structure “A Needle Woman: Galaxy was a Memory, Earth is a Souvenir” (2014) is the result of the artist’s first-ever collaboration with scientists. “This tradition of bringing art and science together precedes modernism,” says Stephanie Owens, director of Cornell Council for the Arts. “So [Kimsooja] and [Wiesner] working at a similar interface related to light and objects was a definite continuation of this tradition.”
The sculpture’s plexi-glass panels are coated with an nano polymer film—molecularly engineered by Cornell materials scientists in Wiesner’s lab—to produce experiences inspired by naturally-occurring light phenomenon. “We use iridescence as a principle in order to mimic the effect of the butterfly wing,” says Wiesner.
“A Needle Woman: Galaxy was a Memory, Earth is a Souvenir” was created as part of the artist’s residency for the Cornell Council for the Arts 2014 Biennial. Learn more about the project at:
Kimsooja’s videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. In videos that feature her in various personas (Needle Woman, Beggar Woman, Homeless Woman), she leads us to reflect on the human condition, offering open-ended perspectives through which she presents and questions reality.
Habitat dioramas—the kind with a painted background, plants in the foreground, and an animated animal in mid-action—are generally credited to Carl Akeley, a taxidermist and expeditionist during the late 19th and early 20th centuries. Ironically, these museum displays were created, in part, to promote the conservation of the species that had been killed for display, highlighting the strange tension between animals as hunting trophies and creatures worthy of our empathy.
As Akeley saw it, though, the habitat diorama embodied a different tension, one between science and art. Akeley had become frustrated with the habitat-free, single-subject exhibition style common to most museums. If it were just about the animals, the older, curio-style displays would suffice—but Akeley wanted to give museum visitors a sense of the animal’s life, to animate the inanimate behind glass. On museum expeditions, he would measure the carcasses of his kills, preserve their hides with salt, and, once back at the museum, sculpt the animals’ musculature out of clay or plaster. Akeley’s 1890 muskrat diorama, which many consider the first specimen of the form he pioneered, is still viewable at the Milwaukee Public Museum, in an unassuming hallway near the bathroom.
The artful representation of the habitat is part of the narrative of dioramas. From the muskrats on, Akeley was careful to create animacy in his taxidermy, crafting habitats that conveyed both realism and emotion. On his plan for the American Museum of Natural History’s gorilla diorama, Akeley wrote: “I have been constantly aware of the rapid and disconcerting disappearance of African wildlife. [This] gave rise to the vision of the culmination of my work in a great museum exhibit, artistically conceived, which should perpetuate the animal life, the native customs, and the scenic beauties of Africa.” Both the real (animal skins and habitat details like plants) and the rendered (how the human artist interprets and frames the animal) work together to provide the narratives of habitat dioramas.
Around the turn of the 20th century, museum expeditions like Akeley’s hunted and killed a staggering number of animals around the world. For Americans, the timing of this newfound access to animals—transformed from from wild and possibly dangerous, creatures to mummified curios—was especially poignant. The 1893 Chicago Columbian Exposition, which debuted some of the first major habitat dioramas, was also the setting of Frederick Jackson Turner’s declaration that the American West had been closed.
This is the story of Teacher, Scientist, Artist- Bobby Jaber.
Bobby is my Great Uncle and for years I have wanted to tell his story. This short documentary film doesnt even scratch the surface of the amount of work and art Bobby has produced. Sit back and enjoy what my family and myself have had all our lives, the artistry and story of Bobby Jaber.