michaelpadilladesma9-week9

Together, space and art creates some amazing work as we can see in the readings and lectures from this week. One artist who really fascinated me was Richard Clar, founder of Art Technologies in 1987 as liaison between the worlds of art and technology. His artwork turned towards art-in-space in 1982 with a NASA-approved art payload for the U.S. Space Shuttle. His art-in-space project, Collision, creates an orbiting constellation sculpture that focuses on the serious issue of orbital debris which is seen below (Clar 2003). I also really enjoyed Chesley Bonestell's work who is known for his cover art on science fiction magazines. He created paintings depicting astronomical scenes and space flight explorations decades before the first manned missions (Bonestell 2023). 

Soret, Jean. “Collision II.” ASPECT, 2010, www.aspectmag.com/works/collision-ii.


Artists have played a significant yet underappreciated role in our exploration of the solar system. They are the ones who truly synthesize everything and visualize what space is really like. Each painting challenges these artists to depict reality and preserve an important record of what we knew about our solar system at the time they were painted (Hartmann 2023). Before modern photography, artists were the ones creating drawings and paintings of the unknown regions like space. This trend has continued as the space artists today work with the global astronomy community to create visions of space exploration. Space art encompasses a wide variety, but a significant portion of it focuses on how humans travel, explore, work, and live in space. The realist space artist must master a variety of skills such as mechanical drawing techniques, basic engineering principles, and the ability to create effective astronomical backdrops for the scene (Malina 2006). This is important so artists can create convincing presentations of human space exploration. 

Logsdon, John. “Chesley Bonestell.” Encyclopædia Britannica, 2007, www.britannica.com/biography/Chesley-Bonestell.



One project that really showed me how space research influences art concepts is the Makrolab that was shared with us this week. It just looks like something that belongs in space with its futuristic exterior. It comes together as an extruded octagon with a flattened base, sheathed in translucent panels, lined with silvery insulation and raised off the ground by tubular legs. This project is a mobile laboratory built for research and common work of artists and scientists. The final aim of the project is the establishment of an independent art and science based research station on the Antartica continent in 2007 (Peljhan 2009).



Peljhan, Marko. “CODED UTOPIA Makrolab, or the Art of Transition.” [Coded Utopia-Holmes] - Peljhan Territories, 2007, www.ladomir.net/coded-utopia-holmes.



Works Cited

Bonestell, Chesley. “Chesley K. Bonestell.” New Mexico Museum of Space History, 8 Mar. 2023, www.nmspacemuseum.org/inductee/chesley-k-bonestell/.

Clar, Richard. “COLLISION II: An Orbital Debris Constellation Sculpture.” Collision II, 2003, www.arttechnologies.com/collision2.html. 

Hartmann, William K. “Exploring the Solar System through Space Art.” Astronomy Magazine, 18 May 2023, www.astronomy.com/science/exploring-the-solar-system-through-space-art/.

Malina, Rojer. “The Leonardo Space Art Project Working Group.” Leonardo Space Art Project Visioneers, 2006, spaceart.org/leonardo/vision.html.

Peljhan, Marko. “Coded Utopia.” Continental Drift, 18 May 2009, brianholmes.wordpress.com/2007/03/27/coded-utopia/.

Images

Logsdon, John. “Chesley Bonestell.” Encyclopædia Britannica, 2007, www.britannica.com/biography/Chesley-Bonestell.

Peljhan, Marko. “CODED UTOPIA Makrolab, or the Art of Transition.” [Coded Utopia-Holmes] - Peljhan Territories, 2007, www.ladomir.net/coded-utopia-holmes.

Soret, Jean. “Collision II.” ASPECT, 2010, www.aspectmag.com/works/collision-ii.


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