The Tom Bradley International Terminal at LAX debuted this week three new public art commissions designed to greet departing and arriving passengers and provide a measure of calm and reflection amid the chaos of air travel.
The artists involved all have strong ties to Los Angeles -- Mark Bradford, Pae White and the Ball-Nogues studio each resides or works in the L.A. area. — latimes.com
Euphony, a dramatic installation of suspended stainless-steel ball chains by Ball-Nogues, has been created for Nashville's Music City Center. The studio, headed by Benjamin Ball and Gaston Nogues, intersects the disciplines of architecture, art and industrial design. We talk to Benjamin Ball about Euphony and the process of its construction. — frameweb.com
The Ecole Spéciale d’Architecture in Paris today announced Ball-Nogues Studio from Los Angeles as the winner of the 2012 edition of the “Pavillon Spéciale” competition. Now in its 2nd edition, the Pavillon Spéciale consolidates its role as an annual spring architectural series that gives young emerging international architects the opportunity to build with students a temporary project in the heart of Paris. — bustler.net
I've read that it's biodegradable, right? I ask Ball.
"It's degradable," he says. "I don't know about bio." — domusweb.it
But the real show is outside, where the garage includes a number of large-scale public-art installations, including pieces by Anne Marie Karlsen (along 2nd Street) and L.A. firm Ball-Nogues Studio (along 4th Street). The Ball-Nogues piece, called “Cradle,” features hundreds of stainless-steel spheres suspended from one of the garage’s exterior walls. The design is open-ended enough to suggest both sea foam and a Newton’s Cradle... — latimesblogs.latimes.com
Each fall High Desert Test Sites invites artists to create experimental projects adjacent to California's Joshua Tree National Park. This year HDTS invited Ball Nogues Studio to create a structure in a remote region of the Mojave Desert. This presents a unique opportunity to make an intervention upon an unfettered landscape at a grand scale. — unitedstatesartists.org
We typically start with a hypothesis about how a particular material could be used to make structure, space, and atmosphere. We then do a lot of research and testing of the material to determine its potential and economic feasibility. Once we believe we can successfully work with the material, we try to get a sense of how a space constructed from it might feel and what it might signify in a particular form. — dossierjournal.com
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