Fuller’s imaginative works will be represented primarily with prints from the Inventions: Twelve Around One portfolio (1981), as well as several key works on loan from the R. Buckminster Fuller Archive at Stanford University. The exhibition also includes other Bay Area endeavors inspired by Fuller’s thinking, such as low-cost laptops from Yves Behar and Nicholas Negroponte’s “One Laptop per Child” initiative; the North Face’s Oval Intention, the first dome-shaped tent to best the sheet-thrown-over-a-rod design (demonstrating Fuller’s notion “tensegrity,” or tensional integrity, if you will); David de Rothschild’s Plastiki sailboat, the recycled catamaran of 12,500 plastic water bottles that sailed from San Francisco to Australia; and Stewart Brand‘s comprehensive “Whole Earth Catalog.”
Carbon: Cosmic Worlds of Charles Lindsay is grand in both scale and vision.
About the project:
Carbon is a creation of fictitious worlds, drawing on my interest in the aesthetics of space exploration, microscopic discovery and abstract symbols. I am intrigued by the idea that so much of our expanding scientific knowledge is based on images from beyond our body’s normal scope of vision. I am also interested in the challenge and implications of comprehending our relative scale within the universe.
These ‘photographs’ are made from negatives which utilize a carbon emulsion on a transparent base - the result of my experiments and manipulation. Numerous generations in the fluid’s history create minute evaporation trails, rendering an archeology of time.
Both the stills and videos are generated from extremely high resolution digital scans of the drawn negatives. I am also applying this data to 3D topographic motion programs and producing electronic sound pieces in response to the imagery.
Lindsay has given as much thought to how his work should be displayed as to the work itself. To get a better idea of the scope of his project, you can see his installation concept in this video:
A new exhibition explores the fascinating evolution from the sublime, high-contrast style of Ansel Adams’ photography to the cool, detached documentary look favored in the 1970s and 1980s. See more here.