Clouds

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Shinseungback Kimyonghun Cloud Face, 2012.
Pigment print on cotton rag paper

 

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Aziz Hazara Bow Echo, 2019
‘In Bow Echo, five boys climb and try to stay perched atop a large rock, battered by high winds. Their aim is to play a plastic children’s bugle to announce the urgency of their community’s plight against repression, which includes the murder of children and others. The eerie sounds express a connection with the landscape, in which many traumatic events have taken place.’

 

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Gal Weinstein Fire Tire, 2010
Wax, acrylic textile fiber, wool, Styrofoam, graphite

 

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Luc Tuymans Cloud, 2014
oil on canvas

 

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Caitlind r.c. Brown & Wayne Garrett Cloud, 2012
‘CLOUD is a large-scale interactive sculpture created from 6,000 light bulbs (new and burnt out) by Canadian artists Caitlind r.c. Brown & Wayne Garrett. The piece utilizes everyday domestic light bulbs and pull strings, re-imagining their potential to create wonder and inspire collaboration. As part of the process of creating the sculpture, the artists collected burnt out incandescent light bulbs from the surrounding community, forging an informal relationship with non-artists, reducing costs, and asking audiences to reconsider household items in an alternative context. During exhibition, viewers interact with CLOUD by initiating impromptu collaborations, working as a collective to turn the entire sculpture on and off.’

 

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Alexandra Germán Estudio de precipitación, 2015
‘Alexandra Germàn extracts the cloud from the sky, and compels it to an immutable, chosen configuration which seems the very negation of the idea of an unpredictable stream of shapes and states of mind, of coalescing and vanishing experiences, that clouds have hitherto conveyed. The artist manufactures cotton clouds which are then set on a scene, as if they were characters perhaps, and these clouds which we can obviously see as non-clouds emanate a physical, quasi-hypnotic presence which they otherwise would not have, up there in the skies.’

 

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Vija Celmins Clouds, 1965–1968
graphite on paper

 

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Cai Zhisong Floating Cloud, 2018
Composite Material, Stainless steel

 

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Tara Donovan Untitled (Styrofoam Cups), 2003
Styrofoam cups and hot glue

 

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Latifa Echakhch L’air du temps, 2013
‘On entering the narrow, elongated exhibition room, visitors are faced with clusters of low-hanging black, wooden clouds suspended from the ceiling. Each formation is paired with an object of the kind one finds at a flea market, including a Kodak camera, a box of vinyl records, and a vintage perfume bottle, all smeared with black ink. In stark contrast with this mournful color, the reverse of each sculpture is painted with dainty blue-and-white cloud motifs. This unexpected shift of perspective has a positively uplifting effect, as one retraces one’s footsteps, drifting amid clouds.’

 

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Transsolar & Tetsuo Kondo Architects Cloudscapes, 2017
‘In one of the halls of the Architecture Biennale’s Arsenale exhibition space, Transsolar and Tetsuo Kondo Architects created an artificial 800sqm cloud. A spiraling cantilevered ramp allows the visitors of the installation to experience the ethereal cloudscape from below, within, and above. The cloud is created through climate engineering. Creating the cloud is based on a stabile temperature and humidity stratification in the space in 3 layers: below the cloud 18 – 24°C, 60% humidity, in the cloud 26 – 32°C at 100% humidity and above the cloud with 32 – 38°C at around 50%.’

 

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Vik Muniz Cloud Cloud, 2002
‘Four times during a six day period, starting February 20th, a skywriter will draw a series ofclouds over the Manhattan skyline. Using an outline of a cloud designed by Muniz, the “clouds” will be drawn by a crop-dusting plane that has been re-worked for skywriting. Millions of viewers will have a moment to pause, smile and escape from the winter doldrums as they look up into the sky.’

 

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Fabian Bürgy Black Cloud, 2013
C-Print

 

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Massinissa Selmani Blue Cloud, 2016
Works on paper, loop, no sound

 

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Peter Alexander Cloud Box, 1966
‘“Cloud Box” is like a small, immobilized chunk of mid-1960s L.A. sky, cut out with a miraculous saw and deposited onto a pedestal for close examination. The resin boxed and billowy clouds, no matter how physically small and intimate, seem very far away, like the swelling puffs across the sky in a Jacob van Ruisdael landscape of the Haarlem bleaching fields, where Dutch linen was once produced.’

 

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Rivane Neuenschwander Continent/Cloud, 2007
‘Continent/Cloud is a kinetic work occupying the entire ceiling of a room. It consists of tiny white Styrofoam balls randomly moving over a translucent ceiling, activated by circulated air.’

 

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Ayumi Ishii The Breath from Which the Clouds are Formed, 2015
‘The artwork consists of a grid of 50 soothing digital prints, each apparently depicting a wispy cloud against a clear blue sky. However, only half the photographs depict actual clouds; the other half are of Ishii’s breath on paper treated with thermochromic pigment.’

 

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Tacita Dean Foreign Policy, 2016
Chalk on blackboard

 

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Leandro Erlich Cloud, 2020
‘The cloud brings the natural world inside, collapsing and expanding the relationship between land and sky. Twelve panes of printed glass together depict a multi-layered cloud.’

 

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Cory Arcangel Super Mario Clouds, 2002
‘For this video installation, Cory Arcangel “hacked” a cartridge of Super Mario Brothers, the original version of the blockbuster Nintendo video game released in the United States in 1985. By tweaking the game’s code, the artist erased all of the sound and visual elements except the iconic scrolling clouds.’

 

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John Constable Seascape Study with Rain Cloud, 1827
‘The painting shows the sea and the vastness of the sky above it in the moment of a rainstorm. The rough, sketchy look of the sky attests to the quick manner in which the painting was executed, but still there is precision and confidence in the way the dark, threatening clouds were captured so as to inspire awe and the feeling of the sublime. The sea here takes up very little space of the canvas while almost the majority of it is dedicated to the portrait of the roaring clouds heavy with anguish and rain.’

 

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Richard Prince Cloud Gang Study, 1987
Colour coupler print

 

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Shilpa Gupta Singing Cloud, 2009
Object built with thousands of microphones with 48 multi-channel audio.

 

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Arron Kuiper Cloud Cage, 2019
paint, oil paint, sculptural painting, smoke, cage, protest, weapons, cloud

 

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Gerhard Richter Wolke, 1969 – 1971
offset lithograph

 

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John Baldessari Brain/Cloud (With Seascape and Palm Tree), 2009
‘In the artist’s words, “a brain can look like a cloud if you manipulate it in the right way.”’

 

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Richard Clarkson Cloud, 2014
‘An interactive light shaped like a cumulus cloud that simulates a thunderstorm both in light and sound based on external input from either a remote control or motion sensors.’

 

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Charles Pétillon Play Station 2, 2009
Balloons

 

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David Medalla Cloud Canyons, 1961
‘This work is a kinetic sculpture consisting of wooden boxes arranged in a circle on the gallery floor with a tall plastic tube placed at their centre. At the bottom of the tube is a quantity of soapy liquid that is turned into foam by compressors located inside the wooden portions of the sculpture. This results in the foam being projected upwards and out of the tube, forming a jet of bubbles that extends above head-height. The plastic of the tube is clear, such that once the bubbles are released they can be seen rising up inside the tube. The bubbles are produced constantly and form cloud-like clusters at the top of the tube, and once these clusters have been propelled upwards they drop back and slide slowly down the exterior of the tube to its base, where they rejoin the bath of soapy liquid from which they came.’

 

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Antoni Tapies Cloud and chair, 1990
wire

 

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Jacob Van Ruisdael Clouds, 1678
Oil On Canvas

 

 

*

p.s. Hey. ** David Ehrenstein, For sure. ** Dee Kilroy, Hi. Living in Paris, I’ve had to mostly give up the hope to buy books in the real, although there is one great mostly English language bookstore that gets me partway there. I’m, perhaps strangely, amazingly unfamiliar with comix. I never read them as a kid or got in the habit of looking to them for pleasure, and I have to kind of make a deliberate decision to seek them out. Everything you say about them makes me feel even more foolish for my ignorance. But, hey, it’s never too late, etc. Huh, interesting that scripting for comix has more in common with scripting for stage. I’m going to dwell on that thought. The CIA? Wow, okay, good luck with that. I mean, I guess if you’re going to go for law enforcement, might as well aim high. ** Tosh Berman, Oh, yes, I think I remember you mentioning that. Makes me want to organise an event where you and Michael Salerno compare phobic notes. Maybe next time you’re in Paris. ** Misanthrope, Outer space or the idea of being in outer space is my one true, huge, horrifying phobia. I can’t even watch scenes in movies set in outer space without feeling weak and trembly. Here’s hoping for a cancelation. ** Cody Goodnight, Hi. I’m okay. Unusual to hear you say you’re bored. But, yeah, shit happens. I’m sure you must have seen Pam Grier in ‘Jackie Brown’. She’s phenomenal in it. I was obsessed with the song ‘Cat Food’ on King Crimson’s ‘In the Wake of Poseidon’ back in the day. Speaking in the same kind of realm as The Ronettes, I very highly recommend you investigate The Shangri-Las. At their best, they are incredible genius. I hope your today lacks even a smidgen of boredom. ** John Newton, Hi. My pleasure, of course. I recommend Elvis Mitchell’s documentary ‘Is That Black Enough for You?!?’ if you haven’t seen it. I don’t have any movie streaming services either. I had Criterion Channel briefly, but you need VPN to watch it here, and the connection was too sluggish. In France it’s literally like Covid never existed in the first place. Not a trace of restrictions left. I met Eve Babitz for one second at an event once, but we literally just said hello. I never had any contact whatsoever with Didion, sadly. Having interviewed both Keanu and Leo, and having had a number of conversations with Leo, who was my neighbor in the pre-‘Titanic’ days, I would say neither one of them is remotely gay or even bisexual. Dream on, gay guys, basically. ** Dominik, Hi!!! Oh, a disappearing act, damn blog. I can tell you from experience that optimism and anxiety do go hand in hand. Great, how did you max out your free afternoon? I have a day off from editing today, so me too. Ha ha, thank your love. Love playing Cupid between the words oof and oomph, G. ** _Black_Acrylic, ‘For some reason’, ha ha. Yes, I was all over that. I’ve even ridden that very coaster. Successfully. ** Steve Erickson, Good luck with the refund. I hope they’re a benevolent company. As far as I can tell, our producer is not looking for post-production funding even though he was supposed to have been doing that for many months. We are determined to get the post done one way or another. We’re being very meticulous in our edit, and we can do rudimentary sound/color work, and we can afford a little bit of help, so maybe we’ll have something showable before the real post work begins. Or that’s the hope. Our first deadline for a post-related grant is on July 3rd, so we’re working towards that right now. ** Jeff J, Hi, Jeff. Yes wonderful to visit, and at least it only froze at the last minute. Happy you like the Water for Your Eyes! I have high hopes for ‘Asteroid City’. I’ve never not really liked a film by him to one degree or another. Have I done a Hou Hsiao-Hsien day? Hm, I can’t remember. I’ll go check and try to make one if I haven’t. Great idea! Thanks! ** Nasir, Hi. Yeah it’s weird: I know full well that this a public place, but it feels like I’m just talking to people one on one when we interact. Anyway, totally understood about the nerves aspect. What are you writing? Can you describe? Great that it got a really good reaction. My weekend: I zoomed with a US friend, and I did a biweekly Zoom book club thing I do with American writer friends, and I edited Zac’s and my film all day yesterday, and I made a couple of blog posts, and it was hot and miserable out, and I too had an espresso, although it was a double espresso in my case. Happy Monday. ** Robert, The film is worth seeing. Or I really liked it, at least. My week: I’m literally just editing Zac Farley’s and my new film all day every day, so that’s pretty much what my week was. So it was a very myopic but quite good week. How’s yours starting? ** Right. I gathered some clouds for you today if you need them. See you tomorrow.