Sometimes I wish I was curating an outdoor video screen–so many fine experimental films that deserve to be seen. Daniel Franke & Cedric Kiefer recorded a dancer, moving to a noise field, on three “depth cameras,” the resulting data is combined into a three-dimensional “point cloud.”

It does remind me of Chris Dorocz’s pointillist sculptures….one of which we have mounted in our living room.

Isabelle is a Quebec artist who works in public spaces. She has been doing some really interesting work installed into spaces as diverse as an abandoned incinerator, a surburban garage, ponds, and a cathedral (Toronto’s Nuit Blanche, 2011). Take a look.

This question is being asked of the ArcellorMittal Orbit, London’s answer to the Eiffel Tower, a 115-metre tall lattice of twisting steel beams.

The ArcellorMittal Orbit next to the Olympic stadium, London 2012.

Charlotte Higgins, in a recent Guardian story, asks: As a piece of public sculpture: what, precisely, does it contribute to the public realm? Will time soften the response to the Orbit into affection, just as it did with the Eiffel Tower, loathed when it was built? What does its commissioning say about the politics of art in Britain today? And why has Britain become so obsessed with gargantuan sculpture?

Anthony Gormley’s Angel of the North is 20 metres tall with a “wingspan” of 54 metres, an engineering marvel. Its construction is detailed here.

Zadok Ben-David: Looking Back (2005). Cass Sculpture Foundation.

The trouble with public art is that it is a load of ugly, pompous, pretentious and narcissistic rubbish dumped on a snoozing public by arrogant bureaucrats and sponsors …

So writes Jonathon Jones in the Guardian, although to be fair he backtracks a bit on that extreme position, as he discusses the fate of Mark Wallinger’s plans to build a giant white horse in the south of England…read on. What is it about large sculpture, anyway? Why are we enamoured of BIG STUFF? I think the Orbit will eventually be as accepted as the London Eye, but then again, we are sometimes faced with large and tacky, such as J.Seward Johnson’s Marilyn, which thankfully was a temporary installation in Chicago. Looking up her skirt was a popular aspect.