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Picture:

"Surplus" Perfume by Jammie Nicholas 

"The Art of Scent, 1889-2011" the center of olfactory art, museum of arts and design

AIR – Urban Olfactory Installation by Hilda Kozari

Solveigh Goett & Judith Alder 

Touch & Tell

"Touching Art: Louvre’s Sculptures in Movement"

"touching art touching you"

Palate exhibition

Kostianovsky’s giant slabs of meatDarlene Lacey’s Candy Wrapper

'Drinking Water' by Rasa Todosijevic 

"Totally Tactile" by Jan Niedojadlo 

Glass in All SensesRobert Dugrenier‘s handblown flowersMoira Siña’s Touch Plane

Vija Celmins night sky

Roni Horn

Solid cast glass with as-cast surfaces

‘The Blind’, Sophie Calle

For The Blind Sophie Calle photographed people who are blind and asked them what their image of beauty was. In the resulting work she presents a framed black and white or color portrait of each subject (men and women of a variety of ages), a framed statement describing their idea of beauty, and one or more color photographs illustrating their description. The Blind explores the imagination and experiences of those who have never seen as interpreted by one who does see--artist Calle.  The above said:



"The most beautiful thing I ever saw is the sea, the sea going out so far you lose sight of it."
“Green is beautiful. Because every time I like something, I’m told it’s green. Grass is green, trees, leaves, nature too… I like to dress in green.”

"Fish fascinates me, I can't say why. They don't make any noise. they are nothing. I don't really care about them. It's their evolution in the water that pleases me, the idea that they are not attached to anything. I sometimes find myself standing for minutes at one time in front of an aquarium. Standing like an imbecile. It's beautiful, that's all."
"Beauty - I've buried beauty. I don't need beauty. I don't need images in my brain. Since I cannot appreciate beauty, I have always run away from it."

Corey McCorkle

 

Gareth Mcconnell

night flower

nava lubelski

Artist Statement:
My work is based on processes of stitching and staining. Stretched canvases are spattered with drips and splotches. These organic shapes become a pattern to be sewn over and around, the thread transforming modern art's "drip" into something new and unfamiliar. The juxtaposition of the random, fluid shapes, highly suggestive of speed and viscous movement, with the detailed and labor-intensive structure of the stitching, both liberates threadwork from its traditional dependence on functionality, decoration and order, and simultaneously feminizes these aggressive forms, which are normally associated with the most unapologetically macho of 20th century artists.
I consider these shapes to be, not abstractions, but rather actual representation of stains and spills as they appear in painting, in the home and in the urban landscape. The work is a process of mending. Stains are unredeemable, problematic or shameful and it has traditionally been a woman's job to attempt to eradicate them or otherwise discard the "ruined" item. My process of redeeming these stains through enhancing, decorating, elevating or rehabilitating is about understanding why we dismiss or embrace certain ideas, forms or media.