Burtynsky’s work is a powerful indictment of capitalism’s effects on our planet. With striking compositions of mass production, strip-mining and congested highways, taken from a aerial point-of-view, his photographs are both disgusting and aesthetically beautiful.edward-burtynsky-oil

In his TED talk here, he speaks about the tension between the depressing content and the sheet beauty of his work, directing the viewer away from a didactic dialogue about human effect on the planet and instead infiltrating our artistic sensibilities with environmental issues.


Today Benton came out to help at the last minute with production for our performance, Postgravity Art :: Syntapiens which is happening this Tuesday evening - you should buy tickets if you haven't!   Benton is a former fellow of the Education Lab, an awesome VJ and co-founder of Glowing Pictures where they create digital experiences in a world made of light.

Glowing Pictures draws upon 50 years of collective experience creating visions and visual designs. We work with a wide range of creative professionals and consultants in New York and around the world on projects that range from 1 to 100 people. We have wide ranging collaborations from scientists, engineers to performing artists to chefs and storytellers.



Tonight opens the full compilation of my Video Portraits artwork in the video room at Micaela Gallery (San Francisco) as part of the Winter Salon 2009 series.



Moolah: An Exhibit About Money
November 13th – December 11th
Reception: Sunday, November 15th, 1-4 PM

The Arts Guild of Rahway
1670 Irving Street
Rahway, New Jersey 07065



Market Forces 2009
Piemonte Share Festival
Museo Regionale di Scienze Naturali
via Giolitti 36
Torino, Italy

Shared by reBlog @ Eyebeam


The parking garage is the Rodney Dangerfield of building types, the troubled snag in the urban fabric, the Gordian Knot of design. But for all the ugly-red-haired-stepchild car parks of the world and the many generic, bunker-like auto warehouses, there are also stunning examples of man-and-machine triumph that incorporate both function and aesthetics. And they are about to be celebrated in an exhibition that opens tomorrow at the National Building Museum, in Washington, D.C.


openstudios “Uncommon Ground” will be displayed at Eyebeam’s Open Studios this weekend.

Uncommon Ground is a sound installation created in collaboration with Victoria Estok. Using stethoscopes against a five by five foot planter box, people can hear the plants commentary, discussions, and inner thoughts – which are normally inaudible to human beings.

The plants are voiced by comedians and neighbors, including; Reggie Watts, James Bewley, Cathleen Carr, Maria Del Piano, Courtney Robinson, Jonathan Shahn, Steve Trevelise, Kenya Robinson, Stefanie Connell, Maya Connell, and Larry Bogad.


Graham Parker stopped by for a studio visit, and we had a great conversation. The highlight was when he told me to “choose my words less carefully.” In the description he writes:

First in a series of studio and show visits with contemporary artists. I’ve known Michael for some years - probably since a friend directed me to his Shop Mandiberg project. He’s recently been a research fellow at Eyebeam and is having an open studio there soon - mostly showing off work he has been producing with a laser cutter. He invited a few people along to do some studio visits in advance of that and I happened to have my camera with me when I went along. He’d set up a lot of work in one of Eyebeam’s main display spaces, so the effect was much more like a solo show than a regular studio visit.



James Wagner and Barry Hoggard came to see my installation last Monday. James has written up his impressions. James says:

Mandiberg goes where no laser cutter has ever gone before. Some of the work physically and dramatically distinguishes important newly-established contemporary technologies from their aging or defunct antecedents (many of which could once have been described as cutting edge themselves), The result is a visual dialogue charged with the passage of time and composed in the empty spaces we see “written” in and on various kinds of reference books.

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