The Flickr Iaaa Image Generatr

In the court of the Residenz Museum

A gorgeous, even if somewhat over-the-top depiction of, what to me looks a lot like a Hubble servicing mission. Note the non-tethered MMU-wearing Astronauts, representing the heady & all too cavalier vision of what future EVAs would look like. Note also that the orbiter is without the Remote Manipulator System arm…hmm.
Disappointingly/per SOP, the NASA photo whoevers botched the layout of the image; to include the ‘landscape’ orientation and the excessive cropping, lopping off half of the shuttle & half of HST’s aperture door and, in the process, the artists’ signatures.

The complete image was featured on the cover of the 2015 Winter Issue of “Pulsar”, the bi-annual newsletter of the International Association of Astronomical Artists (IAAA), at:

iaaa.org/CygnusX1/wp-content/uploads/2021/01/Pulsar-2015-...
Credit: IAAA website

Within the newsletter, per the artist responsible, Rick Sternbach:

“Science Digest, Astronomy, and Sky & Telescope all featured this painting of the HST done as a collaboration between myself and Don Dixon. Extensive use of airbrush and acrylics, a similar rendering style, and detailed CAD drawings from Lockheed Sunnyvale allowed us to produce this orbital view a few years before Hubble was launched.”

With a flipped "order of billing", reference to it being Perkin-Elmer copyrighted & dated 1984. ¯\_(ツ)_/¯:

www.cosmographica.com/spaceart/Technology/index.html#img=...
Credit: Cosmographica website

Regardless, as a card-carrying member of IAAA’s peanut gallery - if you have even the slightest interest in this type of artwork - I highly recommend taking a look at the following gallery. I can attest that IAAA members are conscientious & consummate professionals constantly striving to create meaningful works:

iaaa.org/artworks_and_news/

“Binary system seen from a hypothetical planet”

I’m assuming the oblate body to be a red giant, with its companion about to start tearing away it’s outer layers, possibly signified by the whitish & yellowish areas.

Fascinating, with possibly pertinent information with regard to the image:

astroquizzical.com/astroquizzical/when-you-have-a-binary-...
Credit: ASTROQUIZZICAL website

No signature visible. The depiction of the planet’s surface, along with that of the stars look like they should provide a clue as to who rendered this. Alas, they do not. Searching the image, to include re-orienting it, didn’t help. Further thwarting searching the image, the depiction of binary systems was/is(?) very popular in astronomy artworks, hence a plethora being returned. So, this might be in there somewhere, but visually, they’re running together…so, at least for now, idk.

For stellar views such as this, and infinitely more, astronomical numbers at least, you must allot some time & treat yourself here.
Wow.
If you know anything - even passingly - WRT to astronomical art and the amazing artists who create such, you're likely to find someone you've heard of on the membership roster. Even if not, you will be amazed at the talent, the scope and vast variety of works available to peruse.
And as you'd expect, even their logo looks cool:

International Association of Astronomical Artists
iaaa.org/

Close up of center of painting

iu mot ng `

Liene Bosquê (MFA 2011)

Coffee cycle, 2011
Burlap coffee sacks, wood, and coffee

I have been investigating a narrative and personal memory of my family’s coffee tree plantation in Brazil. The work reflects the decaying social and economic situation of my hometown Garça, where coffee production was once the main economic activity. Hammocks are very popular in Brazil because they can be suspended as beds above ground, protecting one from harmful creatures. They are also used to carry the dead to the cemetery and frequently serve as a low-cost alternative to coffins.

Photo By: Guillermo R. Gudiño

Photo By: Guillermo R. Gudiño

Hao-Yuan Loo (MFA 2011)

Eastern Landscape Bandaged by Western Poetics, 2011
Ink and color on rice paper

A traditional Chinese landscape scroll painted by my grandfather is “bandaged” by my English ekphrastic poem written on strips of red grid paper. It is like a rejuvenating art restoration as well as a Frankenstein-like plastic surgery operated in a Western gallery. The sinuous river and wavy hills are entangled with the zigzagged, half- transparent strips, as if a dreamland sealed by the charms of Orientalism, or real estate seized under the warrant of modern artistic appropriation.

Photo By: Guillermo R. Gudiño

Guillermo R. Gudiño (MFA 2011)

Acapulco anywhere, 2010
Archival pigment ink on syntra

Often one’s mind departs from the moment and follows desire inside a memory to another place, another time, another experience in an attempt to escape.

Photo By: Guillermo R. Gudiño

Saiko Kase (MFA 2011)

Skin, 2010
Felt, artist’s hair, latex, grow light, and meat hook


Photo By: Guillermo R. Gudiño

Akemi Hong (MFA 2011)
Grade School Primer, 2011
Screenprints, edition of 25

This project is a fragment of a larger narrative about my family’s migration from China to Vietnam and throughout the western United States. The narrative is an examination into the isolation, dislocation, and space we stake out to establish our identities, value systems, and desires. The question: What drives us to move?

Photo By: Guillermo R. Gudiño

With accessibility of travel at a height and the interconnectedness of once monocultures increasing exponentially, the complexities of the ‘foreigner’s’ story are becoming obscured. Actively engaged in cultural exchange, the international artist provides a compelling discourse on the sensation of being alone while simultaneously connected in the mediatized contemporary urban landscape. aWay is a multimedia exhibition aiming to capture commentaries from diverse young voices on the subject of being away, with particular focus on themes of dwelling, duration and distance.

Organized by: the International Arts Administration Association
Vipash Purichanont, Curator
Bana Kattan, Co-Curator
Sara Avila Abud
Andreina Castillo
Katie Fahey
Irene Pagliaccia
Ana Clara Silva
and the SAIC Office of Exhibition Practices.

Sponsored by: School of the Art Institute of Chicago's Arts Administration and Policy department, International Affairs, Multicultural Affairs, and Campus Life.

Photo By: Guillermo R. Gudiño

Nick Briz (MFA 2011)

A New Ecology for the Citizen of a Digital Age, 2011

Real-time video installation

“Being born and raised on this elongated territory is no longer the main criteria to carry its nationality. We are a people scattered across five continents ... by the erratic hand of economic necessity and lack of freedom.”
—Yoani Sanchez

As a Cuban-American born in exile, my only connection to an unfiltered perception of Cuban life is through the blogosphere, where dozens of Cubans risk imprisonment to broadcast their daily experiences. This installation reflects my daily ritual of combing through these blogs, which are uploaded into the gallery as a real-time feed, forming an ecology in digital space that the netizen is forced to navigate.

Photo By: Guillermo R. Gudiño

Zihan Loo (MFA 2011)

Coda, 2010

Paper, 5 minute Audio Recording

These 10 numbers assemble to form a telephone number that can be
dialed to access an audio recording. This recording is a recollection
of an incident that occurred on January 23, 2010. Over the duration of
this exhibition, I will be entering the exhibition space to weather
these posters with sandpaper. The visibility of these 10 numbers will
deteriorate gradually until they disappear entirely.


Photo By: Guillermo R. Gudiño

Kate Hampel (MFA 2011)

Everyone who means anything, 2010
Archival inkjet print

Our psychological development is heavily influenced by our most familiar and intimate relationships. Whether parents, siblings, or partners, these are the individuals who best know our weaknesses and who have the power to exploit them, creating space for the accumulation of violence within the everyday. In this piece, our relationship to our possessions takes on new meaning when posed in front of the camera as an exaggerated response to the emotional trauma of everyday life.

Photo By: Guillermo R. Gudiño

Zihan Loo (MFA 2011)

USD $306, 2010
Dollar bills, glass, cork, and mirror

This vial is what remains of a durational performance installation titled Annuit Cœptis: For He Who Approves of Our Undertakings that took place from December 11, 2010 until January 22, 2011 in SAIC’s Sullivan Galleries.

As part of Annuit Cœptis, I extracted the ‘Eye of Providence’ from 306 dollar bills, which I earned working as a go-go dancer from January 16 until January 23, 2010. These bills were disseminated across the globe over the course of the installation via the postal service to my friends, family, and acquaintances.

Photo By: Guillermo R. Gudiño

Detail of the installation

Photo By: Guillermo R. Gudiño