HDR Photography
A bird’s eye view can shrink the impact of many human-made objects, but Calder’s “Stegosaurus” (1973) jumps from the foreground not only not only for its color, but also for the way in which it breaks the symmetry of the square in front of Hartford’s City Hall.
This shadow-of-a-hypercube sculpture is pretty enormous, but the sense of space and structure changes when view from a drone floating above.
This car/plane sculpture at Bombay Beach looks either very ready or very unready to head off into the sunset—but I can’t figure out which.
AI-generated images have perhaps made us so inured to impossible images as to dilute the shocking impact of the truly surreal. Bombay Beach’s sculptures, planted in the shores of the Salton Sea, “floating” in the sky, truly look like nothing else I’ve ever seen.
While most of Oscar Wilde’s family home in Dublin is of a fairly traditional architecture of the era, the bright solarium on the second floor seems like quite the outlier. I like the perspective lines converging to Piper, watching from the doorway.
The welded three-dimensional shadow of a four-dimensional hypercube amongst the desolate setting of Bombay Beach does not seem to fit all that well with a baby.
Today, a completely different view of the tetrahedral sculpture at Bombay Beach that I’ve showcased previously. I really find this thing fascinating; placing it in greater landscape context takes away none of its surreal presence.
I guess there are worse tautological statements to make into a sign.
Whether water or earth, the nonlinear and irregular forms of nature are in stark contrast with the Bombay Beach tetrahedron’s straight lines and round connectors.
After being on display at Burning Man, Randy Polumbo’s “Lodestar”—a modified aircraft, effectively—has come in for a landing at Bombay Beach, on the apocalyptic shores of the Salton Sea.
Though it may be a semi-intended consequence of Manhattan’s zoning rules regarding floor space, setbacks, and public space, public art in downtown Manhattan is still refreshing. Jean Dubuffet’s Groupe de Quatres Arbres and its curving lines fits so nicely against the linear structure of the building behind it that I’m naturally drawn in.
Rodin’s “The Gates of Hell,” Rodin Museum, Philadelphia.
Photo of “Iroquois” by Mark di Suvero.
Decaseconds 