Vancouver-based artist Bill Pechet of Pechet Studio has teamed up with lighting co-designer Chris Pekar of Lightworks and Montreal-based LED lighting manufacturer Lumenpulse to create one remarkable public art installation called Emptyful. The towering structure, which mimics a mammoth sized laboratory flask, stands 35-feet tall and 31-feet wide, weighing in at approximately 48,500 lbs. Located at Winnipeg’s Millennium Library Plaza, Pechet’s sculpture serves as a real crowd pleaser, grabbing the attention of visitors and casual pedestrians alike.
In “Pas de Deux,” the piece that Raimund Hoghe presented recently at Baryshnikov Arts Center, the German choreographer tested the limits of minimalist dancemaking and, with the young Japanese dancer Takashi Ueno, slowly and meticulously built a world marked by ritual and deep human connection….
Saint Catherine of Alexandria (fourth century) was challenged to a debate with fifty pagan orators, all of whom she converted to Christianity. Here she counts off the points of her dispute to two men who wear haloes as an indication of their conversion by her arguments (and future martyrdom by Emperor Maxentius). Two diminutive donors wearing the habits of Franciscan tertiaries kneel at the left.
The Nebra sky disk is a bronze disk of around 30 cm diameter, with a blue-green patina and inlaid with gold symbols. These are interpreted generally as a sun or full moon, a lunar crescent, and stars (including a cluster interpreted as the Pleiades). Two golden arcs along the sides, marking the angle between the solstices, were added later. A final addition was another arc at the bottom surrounded with multiple strokes (of uncertain meaning, variously interpreted as a Solar Barge with numerous oars, as the Milky Way, or as a rainbow).
The disk is attributed to a site near Nebra, Saxony-Anhalt in Germany, and associatively dated to c. 1600 BC. It has been associated with the Bronze Age Unetice culture.
The disk is unlike any known artistic style from the period, and had initially been suspected of being a forgery, but is now widely accepted as authentic.
Stone Lion’s Head, Neo-Assyrian, about 680-670 BC, From Sippar, southern Iraq at the British Museum
This lion’s head of white limestone comes from the Temple of Shamash. Known as the Ebabbar (‘Shining Temple’), it was one of the most important traditional and prestigious religious centres in Mesopotamia. Rulers sent offerings to Shamash and there are records of numerous kings restoring and rebuilding the temple. This head, which was originally inlaid, bears a worn inscription naming the Assyrian king Esarhaddon (680-669 BC) and his father Sennacherib. It is not clear, therefore, whether this is a Babylonian or an Assyrian piece. Esarhaddon was responsible for restoring the capital city of Babylon following its destruction by Sennacherib in 689 BC. Lions were regularly represented in Mesopotamian art on wall reliefs and as elements of furniture. The lion represented the power of nature and is often associated with the king, as it was his duty to defeat the forces of nature that the lion represented.
D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995) R.D. Barnett, Fifty masterpieces of Ancient (London, The British Museum Press, 1969)