SciArt Magazine Volume 2
October 2013
Table of Contents

Cover image: Stellar Suspension" by Lita Albuquerque (2008).
Photo credit: Steven A. Heller/Art Center College of Design.
​On view at Williamson Gallery. 
Letter from the Editor

Hello Readers!

I wanted to start out this edition of my bimonthly letter by thanking you all, wholeheartedly, for your readership. I like to think of SciArt Magazine as being in its infancy; while the pith of SciArt resides in the fascinating artists and projects we feature, I see amazing possibilities in how SciArt can grow into the larger role of serving as a major platform for all things science-art. It is thanks to your support, and the fantastic additions to the SciArt staff, that we were able to help SciArt grow up a little this issue, and we’re thrilled to now be reaching readers across the globe.

Since launching our first issue, it has become increasingly evident to me that while the greater art world is characteristically less group/movement and more individual/movement-based, the SciArt part of the art world is brimming with enthusiastic, dedicated, and inspirational artists to whom an artistic community is still a central concern. Whether it is because SciArt is riding the implicit communal energy of a recently founded art movement, because the particular artist concerns in SciArt make community more appealing, or because we’re all a bunch of science nerds at heart and just like talking about science with other nerds, the degrees of separation between everyone in the SciArt world are very few, and wonderfully so.

While SciArt varies across medium and subject, the drive to share the wonderous phenomena of our existence is what binds us. And it is through the fruits of this shared artistic goal, I believe, that science-based art will become central to the greater culture at large in the years to come.
​
Sincerely, 
Julia Buntaine | Founder, Editor-in-Chief

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ON TOPIC
The Art of the Brain: "Brainbow" and the Difficulty of Distinguishing Science and Art

When I start to ponder art, science, and what distinguishes them, I immediately think of a photo that I saw several years ago of a mouse brain whose individual neurons had been genetically engineered to fluoresce in one of around 100 aquatic-looking colors - violet, blue, chartreuse, ruby, yellow, and everything in between... 

INTERNATIONAL
Gunes-Helene Isitan

Gunes-Helene Isitan, a bioartist living and working in Québec, creates what she refers to as “MicroScapes.” Isitan’s artistic process entails creating interactions between growing microorganisms and photographic negatives... 

SPACES & PLACES
Genspace

Brooklyn has quickly become New York’s mecca for outside-the-box ideas and places where the artistic community can converge. Genspace, housed on 33 Flatbush Avenue* is just that: a full molecular biology lab/classroom workshop/ creative community/experimental DIY-culture spot—New York’s first open-community based lab, Genspace welcomes the barista to the biologist to come together and experiment, create, and dive headfirst into the world of biotechnology...

STRAIGHT TALK
Jonathon Wells

I spent my youth outdoors - hiking, camping, and skiing in the mountains of Vermont. I constantly looked at hills, valleys, and streams and wondered to myself why the landscape had formed the way it had, and I remember how excited I felt when I was first shown evidence of a fold through the Green Mountains. During my first years in college, it was the geology and environmental studies courses that interested me the most...

AT A GLACE
Grunwald Gallery of Art
​& The Institute for Figuring

Current exhibitions from Grunwald Gallery of Art, 
and The Institute for Figuring.

STRAIGHT TALK
Susan Kaprov

I think science-based public art humanizes the built environment and invigorates public spaces where large groups of people congregate and pass through. It not only makes public spaces and infrastructure more beautiful and intriguing, but can also make those places more distinct and memorable through the creation of artworks unique to each site.... 

SPOTLIGHT
The Deconstructive Theatre Project

My name is Adam J. Thompson and I am a director, writer, and creative producer as well as the Founding Director of The Deconstructive Theatre Project (DTP), a Brooklyn-based ensemble cultural laboratory creating new intermedia work. DTP produces performances that experiment with the relationships between theatrical vocabularies, content, and form and works to provide broad community access to its process and productions...  

STRAIGHT TALK
Linda Alterwitz

After graduate school, I continued painting and drawing for about 15 years. The paintings were large scale and non-representational, heavily influenced by the Abstract Expressionist movement. After events in my life, there came a point in time within the last decade where I felt my work needed more meaning. Although I appreciate and relate to non-representational work on so many levels, the fact of the matter was that I had changed. This recognition encouraged me to search, which in turn led me to my intrigue with the intersection of art and science... 

SPACES & PLACES
Williamson Gallery

A conversation with Stephen Nowlin, Williamson Gallery Director.

STRAIGHT TALK
Brian Knep

At university, I was interested in a lot of things - psychology, philosophy, politics - before focusing on mathematics and computer science. I think I was drawn to the abstract beauty of mathematics and the creative control of computer programming. These led me to jobs in computer graphics, including a stint in a research group developing educational and artist tools, and then work at a feature-film special-effects company. These gigs were great, but I didn’t share the passion of many of my peers. I have a deep distrust of new technology and its promises... 
Founder, Editor in Chief: Julia Buntaine
Contributing & Guest Writers: Danielle McCloskey, Ashley Taylor

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