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Math ImageryThe connection between mathematics and art goes back thousands of years. Mathematics has been used in the design of Gothic cathedrals, Rose windows, oriental rugs, mosaics and tilings. Geometric forms were fundamental to the cubists and many abstract expressionists, and award-winning sculptors have used topology as the basis for their pieces. Dutch artist M.C. Escher represented infinity, Möbius bands, tessellations, deformations, reflections, Platonic solids, spirals, symmetry, and the hyperbolic plane in his works.

Mathematicians and artists continue to create stunning works in all media and to explore the visualization of mathematics--origami, computer-generated landscapes, tesselations, fractals, anamorphic art, and more.

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kepner14-magicsq8.jpg
"Magic Square 8 Study: A Breeze over Gwalior," by Margaret Kepner (Washington, DC)20" x 20", archival inkjet print, 2013

"I enjoy exploring the possibilities for conveying ideas in new ways, primarily visually. I have a background in mathematics, which provides me with a never-ending supply of subject matter. "

This work is based on a magic square of order 8, expressed in a visual format similar to a traditional quilt pattern. The magic square, known as the Gwalior Square, is an 8x8 array of numbers from 0 to 63, such that every row and column adds up to 252, the 'magic constant.' The two main diagonals, as well as every broken diagonal, also sum to 252. The numbers in the square are represented in base 2 and base 4. Nested squares serve as the number places in the base systems, and suggest the Log Cabin quilt structure. For each of the 64 squares, half is shown in base 2 and the other half in base 4. The squares are oriented to create the 'pinwheel' quilt pattern. This pattern groups together 2x2 arrays of 4 numbers, all of which sum to 126. --- Margaret Kepner (http://mekvisysuals.yolasite.com)
May 05, 2014
hoft14-twintornados.jpg
"Evolution of the Twin Tornados, " by Hartmut F. W. Höft (professor emeritus, Eastern Michigan University, Ann Arbor, MI)7.5" x 9" (10.5" x 12" framed), archival photographic digital paper, 2013

"I like to experiment with simple planar geometric figures. Starting with one outline I move it, rotate it, and change its proportions. "

In this picture 12 images are arranged in a spiral. A primordial sea in the center starts the process. One parameter of the spine function increases, then stays constant, while the other increases and then decreases again. As the sequence progresses along the spiral the spine function increases in complexity so that the images billow out like clouds and then start separating into two funnels as the second parameter decreases again. Each image on the spiral is composed of 289 ellipses with a closed spine curve though it does not appear to be closed since the axes of the elipses decrease to zero at the bottom. The graphics were rendered in Mathematica 8 and printed on archival, photographic digital paper. --- Hartmut F. W. Höft (http://people.emich.edu/hhoft/)
May 05, 2014
gunn14-platycosm.jpg
"View of the platycosm -a2, decorated with AMS, " by Charles Gunn (Technisches Universität Berlin, Germany)18" x 18", print of computer image, 2013

"I enjoy exploring two- and three-dimensional tessellations -- euclidean, spherical and hyperbolic, especially the "insider's" view of such spaces. I have been experimenting recently with alternative perspective rendering based on a spherical canvas surrounding the viewer. "

This is an insider's view of the platycosm -a2. ("Platycosm" is John Conway's term for a compact euclidean 3-manifold.) This platycosm is generated by a translation, a glide reflection and a screw motion with order-2 rotational part, in three mutually perpendicular directions. The fundamental domain is a cube, whose edges are rendered via the textured beams. The "geometry" consists of the initials AMS, in honor of one of the hosting orgranizations of the art show. The image is rendered conformally from the viewable sphere of an insider positioned in the scene. I sometimes call this "six-point perspective" rendering since one may see vanishing points not just in the x,y, and z directions but also in the -x, -y, and -z directions. --- Charles Gunn (http://page.math.tu-berlin.de/~gunn)
May 05, 2014
goldman14-bluetorus.jpg
"Blue Torus, " by Faye E. Goldman (Ardmore, PA)10" x 10" x 2.5", strips of ribbon, 2011
Honorable Mention
2014 Mathematical Art Exhibition

"I was drawn to modular origami by its structure and mathematical properties. More recently I found the Snapology technique by H. Strobl, which allows great creativity with very few rules using only strips of material… It has provided insights into mathematical ideas. "

This toroid shape is made from over 2400 strips of ribbon. It was the first non-convex shape I've made. I love the fact that there needs to be as many heptagons making the negative curvature in the center as there are pentagons around the outside. --- Faye Goldman (http://www.FayeGoldman.com)
May 05, 2014
fathauer14-3torus.jpg
"Three-Fold Development, " by Robert Fathauer (Tessellations, Phoenix, AZ)13" x 13" x 13", ceramics, 2013
Best textile, sculpture, or other medium
2014 Mathematical Art Exhibition

"I'm endlessly fascinated by certain aspects of our world, including symmetry, chaos, and infinity. Mathematics allows me to explore these topics in distinctive artworks that I feel are an intriguing blend of complexity and beauty. "

This sculpture is based on the first five generations of a fractal curve. The starting point is a circle, and the first iteration produces a three-lobed form. With each iteration, the number of lobes is tripled. The spacing between features is essentially constant throughout a layer, while the three-fold symmetric boundary of the curve becomes increasingly complex. A hexagonal version of this curve is found in Benoit Mandelbrot's book "The Fractal Geometry of Nature". This hyperbolic surface is reminiscent of naturally-occurring corals. It was inspired in part by a 3D-printed model created by Henry Segerman. (For more information on this work see http://mathartfun.com/shopsite_sc/store/html/Art/FractalCurveSculp.html . --- Robert Fathauer (http://robertfathauer.com)
May 05, 2014
chamberland-french14-lorenz.jpg
"Lorenz Attractor in Flow, " by Marc Chamberland and Chris French (Grinnell College, Grinnell, IA)12cm x 12cm x 12cm, 3D printer, 2013

"Most people view mathematics as a collection of tools and procedures and get mired in the mechanics. Mathematical art communicates the essential beauty found in mathematics. "

The Lorenz attractor is the limiting set of a three-dimensional system of differential equations modeling atmospheric convection. Discovered by Ed Lorenz in 1962, this set has become an attractive symbol for chaotic dynamics. The art work was created by modifying Mathematica code developed by Knill and Slavkovsky. An important new component was to have the curve which generates the shape continuously change color. This allows the observer to see the flow of motion as the attractor is generated. --- Marc Chamberland and Chris French
May 05, 2014
chadbourne14-inclusion2.jpg
"Enigmatic Plan of Inclusion II, " by Conan Chadbourne (San Antonio, TX)24" x 24", archival inkjet print, 2013
Best photograph, painting, or print

"My work is motivated by a fascination with the occurrence of mathematical and scientific imagery in traditional art forms, and the frequently mystical or cosmological significance that can be attributed to such imagery. "

These images are investigations of the subgroup structure of the icosahedral group (A5). At the center of each image is a graphical representation of A5, as formed by orientation-preserving pairs of reflections in circles and lines in the plane. This is surrounded by similar graphical representations of the seven conjugacy classes of (proper, non-trivial) subgroups of A5, with the trivial group depicted as the space outside of the large circular frame. The interstices between the group images indicate the relationships of inclusion between the different groups, with colors being used to distinguish maximal subgroup relationships, and small graphical markers used to indicate the particular numbers of conjugates involved in each relationship. --- Conan chadbourne (http://www.conanchadbourne.com)
May 05, 2014
chadbourne14-inclusion1.jpg
"Enigmatic Plan of Inclusion I, " by Conan Chadbourne (San Antonio, TX)24" x 24", archival inkjet print, 2013
Best photograph, painting, or print
2014 Mathematical Art Exhibition

"My work is motivated by a fascination with the occurrence of mathematical and scientific imagery in traditional art forms, and the frequently mystical or cosmological significance that can be attributed to such imagery. "

These images are investigations of the subgroup structure of the icosahedral group (A5). At the center of each image is a graphical representation of A5, as formed by orientation-preserving pairs of reflections in circles and lines in the plane. This is surrounded by similar graphical representations of the seven conjugacy classes of (proper, non-trivial) subgroups of A5, with the trivial group depicted as the space outside of the large circular frame. The interstices between the group images indicate the relationships of inclusion between the different groups, with colors being used to distinguish maximal subgroup relationships, and small graphical markers used to indicate the particular numbers of conjugates involved in each relationship. --- Conan Chadbourne (http://www.conanchadbourne.com)
May 05, 2014
burns14-visualproof.jpg
"Visual Proof," by Anne Burns (professor emerita, Long Island University, Brookville, NY)13" x 13", digital print, 2013

"Visualization is an important aid in the study of mathematics."

Each of the disks in the 3X3 matrix of disks is a picture of the first five backward iterations of f(z)=z^n+c/z^m where c is a small positive real number. The rows represent n=2,3,4 and the columns represent m=2,3,4. The black disks in the center consist of the set of points z such that |f(z)|>1.1. The second largest sets of disks are blue; they are the inverse images of the black disks under f; ochre disks are the inverse images of blue disks; red disks are the inverse images of ochre disks, etc. First notice the n+m symmetry in each disk. Next, can you identify n and m by this pattern? Hint: choose one blue disk in each entry and count the number of pre-images closer to the center and the number of pre-images further away from the center. -- Anne Burns (http://anneburns.net)
May 05, 2014
bodner14-11n9stars.jpg
"Eleven and Nine Stars," by B Lynn Bodner (Monmouth University, West Long Branch, NJ)20" x 16", paper and ink computer-generated image, 2013

"Geometric Islamic patterns, especially those consisting predominantly of star polygons, fascinate me. "

This pattern was created using Euclidean construction techniques and the electronic equivalent of the compass and straightedge. It was based on a rectangular repeat unit sketch known as Catalog Number 42 (CN42) of the Topkapi Scroll, which contains 114 Islamic architectural and ornamental designs dating from the 15th or 16th century. CN42 has half 11-stars along its vertical edges and half 9-stars along its horizontal edges. To achieve a complete pattern, this repeat unit must be replicated by reflection across its edges. The image displayed here contains four colored copies of the CN42 repeat unit. Since CN42 is the only sketch in the Topkapi Scroll containing 11-pointed star polygons, it was one of the more challenging ones to recreate. --- B. Lynn Bodner (http://bluehawk.monmouth.edu/~bodner/papers/index.htm)
May 05, 2014
belcastro14-spring.jpg
"Spring Forest (5,3)," by sarah-marie belcastro (Hadley, MA)Embedded, unembedded, and cowl; 12" x 11" x 9", Knitted wool (Dream in Color Classy, in colors Happy Forest and Spring Tickle), 2009 and 2013

"I am a mathematician who knits as well as a knitter who does mathematics."

A (p,q) torus knot traverses the meridian cycle of a torus p times and the longitudinal cycle q times. Here are three instantiations of a (5,3) torus knot:
(a, middle) The knot embedded on a torus. A (p,q) torus knot may be drawn on a standard flat torus as a line of slope q/p. The challenge is to design a thickened line with constant slope on a curved surface. (b, top) The knot projection knitted with a neighborhood of the embedding torus. The knitting proceeds meridianwise, as opposed to the embedded knot, which is knitted longitudinally. Here, one must form the knitting needle into a (5,3) torus knot prior to working rounds. (c, bottom) The knot projection knitted into a cowl. The result looks like a skinny knotted torus. --- sara-marie belcastro (http://www.toroidalsnark.net)
May 05, 2014
farris-cmMpls.jpg
"A cm Pattern from a Minneapolis Skyline, (vertical format)," by Frank A. Farris, Santa Clara University, CAInk jet on paper.

Fantastical samurai appeared when I used a photograph of the Minneapolis skyline on an autumn day in conjunction with wave functions adapted for cm patterns. --- Frank A. Farris
Sep 18, 2013
Z_J-water.jpg
"Land and the Sea," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratio---after every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13---it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures --- Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013
mod1-orig.jpg
"Manifold II (Bird's Eye View) in memory of Bill Thurston," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratio---after every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13---it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures --- Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013
manifold5b.jpg
"Manifold 5," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratio---after every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13---it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures --- Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013
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