a visual treat

Art and science converge in Lynn Gamwell’s book, Conjuring the Void: The Art of Black Holes

Lucas J. Rougeux, Light Particles against a Black Hole, 2021. Charcoal and acrylic on paper. Credit: Courtesy of Lucas J. Rougeux

Black holes have long captured the imagination of both scientists and the general public. These exotic objects—once thought to be merely hypothetical—have also conceptually inspired countless artists all over the world. A generous sampling of such work is featured in Conjuring the Void: The Art of Black Holes.

Author Lynn Gamwell spent ten years as director of the New York Academy of Science’s Gallery of Art and Science. She has an extensive background writing about the intersection of math, art, and science. So she was a natural choice to speak at the annual conference of Harvard’s interdisciplinary Black Hole Initiative a few years ago. Gamwell focused her talk on the art of black holes, and thus the seeds for what would become *Conjuring the Void *were sown.

“I was just astounded at how much art there is [about black holes], and I was specifically interested in Asian art,” Gamwell told Ars. “There’s just something about the concept of a black hole that resonates with the Eastern tradition. So many of the themes—the science of black holes, void, nothingness, being inescapable—relate to the philosophy of Buddhism and Taoism and so on.”

Gamwell opens the book by chronologically summarizing key developments in the science of black holes, from Isaac Newton and John Mitchell’s 1783 concept of “dark stars,” to the predictions of Albert Einstein’s general theory of relativity and such Nobel Prize-winning discoveries as the LIGO collaboration’s 2016 detection of gravitational waves emitted by merging black holes, and the Event Horizon Telescope’s first image of a black hole in 2019. That discussion provides a springboard to showcase all the examples of black-hole-inspired art Gamwell unearthed during her research, from early 20th century illustrations to cutting-edge contemporary art.

Gamwell sees echoes of Mitchell’s dark stars, for instance, in Edgar Allan Poe’s short story, “A Descent Into the Maelstrom,” particularly the evocative 1919 illustration by Harry Clarke. “This seemed to have been an early analogy to a black hole for many people when the concept was first proposed,” said Gamwell. “It’s a mathematical construct at that point and it’s very difficult to imagine a mathematical construct. Poe actually envisioned a dark star [elsewhere in his writings].”

The featured art spans nearly every medium: charcoal sketches, pen-and-ink drawings, oil or acrylic paintings, murals, sculptures, traditional and digital photography, and immersive room-sized multimedia installations, such as a 2021-2022 piece called Gravitational Arena by Chinese artist Xu Bing. “Xu Bing does most of his work about language,” said Gamwell. For Gravitational Arena, “He takes a quote about language from Wittgenstein and translates it into his own script, the English alphabet written to resemble Chinese characters. Then he applies gravity to it and makes a singularity. [The installation] is several stories high and he covered the gallery floor with a mirror. So you walk upstairs and you see it’s like a wormhole, which he turns into an analogy for translation.”

“Anything in the vicinity of a black hole is violently torn apart owing to its extreme gravity—the strongest in the universe,” Gamwell writes about the enduring appeal of black holes as artistic inspiration. “We see this violence in the works of artists like Cai Guo-­ Qiang and Takashi Murakami, who have used black holes to symbolize the brutality unleashed by the atomic bomb. The inescapable pull of a black hole is also a ready metaphor for depression in the work of artists such as Moonassi. Thus, on the one hand, the black hole provides artists with a symbol to express the devastations and anxieties of the modern world. On the other hand, however, a black hole’s extreme gravity is the source of stupendous energy, and artists such as Yambe Tam invite viewers to embrace darkness as a path to transformation, awe, and wonder.”

One of the earliest scientific images of a black hole, 1979. Ink on paper, reversed photographically. Jean-Pierre Luminet/Astronomy and Astrophysics 1979

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.