#( captured; inhye. )

[amomentspause]

— brewedhq task #1: 𝕥𝕙𝕖 𝕚𝕝𝕝𝕦𝕤𝕚𝕠𝕟'𝕤 𝕣𝕖𝕒𝕝𝕞

the coffee camera table; the snapshot gallery; the ivy inhabitants; the morning tea spot; the cosy nightly retreat; the growing jungle; the fairy lit living room; the skates that make it feel like home

[nofomoartworld]

Hyperallergic: Art Amid Governors Island’s Architectural Decay

Sculpture by Norman Mooney in Liggett Hall at the 2017 Governors Island Art Fair (all photos by the author for Hyperallergic)

In its 10th year, the Governors Island Art Fair (GIAF) continues to experiment with the disused spaces on Governors Island in the New York Harbor, adding the 1920s Liggett Hall barracks to the 2017 edition. The fair, organized by the nonprofit 4heads, features 100 artists from across media, from gourds molded into baby heads, to interactive videos.

Although part of the interior of Liggett Hall is accessible to the public, including a long sunlit corridor where Norman Mooney’s cast aluminum “Wall Flower” sculptures stand like starbursts, much of it is only visible through windows and doors. Visitors can peer through the glass to videos and installations, like Trevor King’s “The Well,” for which the artist installed a clay slip and “eight 2.5 gallon water jugs blended with increasing percentages of Gatorade” to create a contrast between the flooded earth and unnaturally colored liquid.

As in years past, some of the more successful art involves installations that engage with the decommissioned military structures, including a line of houses in Colonels Row. The peeling paint, grand staircases, and dormant kitchens offer a haunting setting for Andrew Harrison’s “A Tree for Andrew Williams,” where a bicycle transports a tree. Constructed with wood collected at the former site of Seneca Village — an African American community displaced by the development of Central Park — the sculpture is a tribute to one of the village’s 19th-century residents. Susan Camp’s delightfully creepy gourds, grown with constraining molds into disembodied doll faces, likewise harmonize with the creaky old houses. There are also stand-outs in photography and painting, such as Dáreece Walker’s series of “Black Is the Giant” canvases that portray a larger-than-life vision of himself towering above protests against police brutality, and Marie Koo’s oil paintings and animations, in which bunnies and goats dance beneath the moon, and a whale skeleton is greeted by a parade thrown by deep-sea animals that thrive on its nutrient-rich flesh.

Each year Governors Island, decommissioned in 1996, expands its public access. Last year saw the opening of the Hills, a cluster of mounds shaped from debris recycled from the demolition of deteriorated buildings. GIAF annually exposes visitors to even more of its hidden corners, reanimating the dormant spaces with art.

Concrete and plastic sculpture by Taki Fey

Installation view of work by Eliot Greenwald’s “Visitor,” with self-portraits made with powdered graphite based on security badges the artist received while working as an art handler in NYC

Susan Camp, “Dyad (the other side)” (2015), constrained gourds (grown in moulds), repurposed globe stand

Installation view of acrylic paint and gesso canvases by Dáreece Walker

Andrew Harrison, “A Tree for Andrew Williams” (2017), sculpture

Trevor King, “The Well” (2017), 8 2.5 gallon water jugs blended with increasing percentages of Gatorade, approximately 1000lbs of clay slip, sand, wood, and 12 clip lamps with flood lights

Biwei Niu, “Evolution of Rhythm” (2017), interactive, motion-capture installation with projection

Installation view of ink drawings by Eeva Honkanen, illuminated by iPhone flashlight

HYSTM (Keith Pine and Rich Zitterman), “El Presidente,” acrylic on panel

Installation view of Tadao Cern’s “Black Balloons”

Sui Park, “Sprout Island” (2017), cable ties, steel pegs

Installation view of photography by Anna Cone

Installation by Ben Quesnel

Sculpture by Pablo Garcia Lopez

Inhye Lee & Hyomin Kim (Space Physicist), “Spatial Magnetic Field Visualization” (2016), interactive installation, driven by magnetic field data

Installation view of work by Marie Koo

Sculpture by Hisayasu Takashio

Installation view of art by Ethan Cornell

Photographs by Jimmy Fountain, shot on a subway platform near Rockaway Beach, with nighttime exposures of the planes flying from nearby JFK airport

Alice Pixley Young, “Transmissions” (2016), wood, glass, mixed media

Heinrich Spillmann, “Celestial Heroes’ Totem Marker Group,” various wood species, wood sealer, latex paint

David Grainger, “The Endurance Awaits Release from the Pack Ice” (2013), MDF, wood, foam, wood veneer, string, resin, silk

The 10th Annual Governors Island Art Fair continues on Governors Island (New York Harbor) through October 1.

The post Art Amid Governors Island’s Architectural Decay appeared first on Hyperallergic.

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[mujehan-a]

I think it would be interesting to see you roleplaying a villain kind of character, since your muses, from what I know, are mostly on the good side.

anonymously suggest a muse you think I’d be good at writing for based on what you’ve seen from this blog. | accepting

--- lmao true...i’ve always wanted to try a villain muse but I always feel I might overstep my bounds but i do have villains or villain like muses on my blog i just don’t have a chance to use them.

There’s Yingyun and Julian, both killing machines lacking in the emotion department.

Seojun, TJ and Meilin are all related to the underworld ( aka mafias and triads ).

Makoto is a nogistune…a malicious type of kitsune and he’s not a nice person even if he pretends to be.

Any of my vampires can be seen a malicious beings in society…the only reason they’re not is because of the execution order on their head but they do have a verse before their capture.

Roy has a verse where he ends up becoming a villain instead of a hero. Inhye has a mafia verse…

I actually do have a lot of bad characters, I’m just afraid to break them out for fear that people will tell me I’ve gone too far.

[amomentspause]

— Closed starter for Chiyo (@cageddoves)

Inhye watched as the ballerina posed to perfection. From the very tips of her fingers to her chin, down to her pointed toes, it appeared as though not a fraction of her was out of place. Chiyo was stunning. Inhye couldn't help but let her eyes travel across her form with an awe and envy that she had long since thought she'd relinquished. Sure, shooting brides constantly gave her a feeling of pride and perhaps longing. But there was something so striking about the way an athlete carried themselves. Something that made Inhye's chest pull tight. It was a beauty she'd left on the ice long ago.

"That's it, good," she said appreciatively, the practiced encouragement coming with ease and shaking her from her reverie. A flash, illuminating the entire space from a millisecond. Shadows fell and faded in one instant. Stepping back briefly, Inhye leaned into her own pose again. This time she crouched low and extended her own foot to capture an angle that gave Chiyo the high ground, the power.

When she'd offered to take Chiyo's professional shots, she'd wondered whether she might be up to the task. Now, it was silly that she'd even considered possible failure. Chiyo made this as easy as breathing. "How long have you been studying ballet for Chiyo?" she asked, hoping to relax the other woman even more. "You look like you could do this in your sleep!"