But Berseth's breakthrough came from an earlier hive, where the bees built him a remarkable spiral. "I was really happy with that one when I got it open. That was when I realized, Wow, you can sort of break the behavior"-that is, manipulate the bees' instincts about proportion and form. "You can plan out a certain amount of what's going to happen, and then that design will sort of ripple through, and then they'll begin to draw out combs and riff off that design."

I am the only individual in the world with an account with Crayola. I get these colors individually packed 3000 to a case. I cut down the sticks to the length I need by hand with either double guillotine cigar cutters or large breed dog nail clippers. I then bond the paper, not the wax, to a form I have carved or cast, completely enveloping the form. Lately I have been casting the completed crayon sculptures in a silicone jacket mold with a two-part epoxy resin and then painting the resin sculpture to look like the original, for a small edition. The sculptures beg to be touched, so when they are cast it makes the handling of them that much easier.

Andy Uprock is a street artist who's been creating pieces using plastic cups stuck in chain link fence. He often uses 2,000+ cups in his installations which later he recycles. The idea of using cups came to him from his childhood. His friends always used to stuff drink bottles into the fence while they were playing soccer. It was a chat with a fellow artist and friend about doing art on fences that sparked the memory. Andy's been circling the globe recently creating work in Barcelona, London, Tokyo, and Hong Kong. Alphabeta in Greenpoint Brooklyn hosted a cuprocking exhibition last week.

This three-day event celebrates duct tape, its enthusiasts and its wacky and fun uses. The festival also honors the history and heritage of the city that is proclaimed the "Duct Tape Capital" of the world-Avon, Ohio-the home of Duck brand duct tape.

From sculptures and fashion to games and a parade, everything at the festival revolves around duct tape and the wonderful City of Avon.

Sponsored by The Art Institutes and Americans for the Arts, the Poster Design Competition was created to recognize, encourage and reward artistic talent at the high school level. High school seniors with an interest in graphic design were eligible to enter the competition to express their visual interpretation of why "Life is Better With Art in It."

In addition to being awarded the grand prize of a $25,000 tuition scholarship to study at The Art Institute of Colorado, Tess will attend a Congressional Reception on Capitol Hill in Washington, D.C. with representatives from The Art Institutes, Americans for the Arts and invited members of Congress, honoring the work of the local winners in the competition.

Tess is excited to have the opportunity to study at The Art Institute of Colorado, and follow in the footsteps of her father, Matt, who graduated from The Art Institute of Colorado in 1990. "I was so excited that my piece was chosen. I spent a lot of time working on my entry and was happy to know that my hard work was rewarded."

"It is always a thrill for us to see what incredible artistic talent is out there among high school students. Not only can they create amazing artwork, but they have a point of view and a perspective that is mature and thoughtful," said John Mazzoni, President of The Art Institutes.

Color Chart celebrates a paradox: the lush beauty that results when contemporary artists assign color decisions to chance, readymade source, or arbitrary system. Midway through the twentieth century, long-held convictions regarding the spiritual truth or scientific validity of particular colors gave way to an excitement about color as a mass-produced and standardized commercial product. The Romantic quest for personal expression instead became Andy Warhol's "I want to be a machine;" the artistry of mixing pigments was eclipsed by Frank Stella's "Straight out of the can; it can't get better than that." Color Chart is the first major exhibition devoted to this pivotal transformation, featuring work by some forty artists ranging from Ellsworth Kelly and Gerhard Richter to Sherrie Levine and Damien Hirst.

Crafts have long played second fiddle to painting and sculpture, at least as far as museums were concerned. "Crafts" have always had domestic connotations. Now, a landmark exhibition here at the Museum of Arts and Design explodes that homey image, and lays to rest the notion of crafts as inferior to the fine arts.

"Radical Lace and Subversive Knitting" brings together 27 artists from eight countries to stretch the definitions of fiber and scale. The work on display ranges from micro-knit sweaters to room-size installations of rope, elastic, wire, and rubber, and tackles issues as varied as war, global politics, and gender roles.

Contemporary art, with its everything-but-the-kitchen-sink approach, has played a huge role in blurring the line between "crafts," which traditionally meant folk art that did not require formal training, and "fine arts," which implied a more academic background.

"More often, you find a crossover, with artists who knit and knitters who have fine-arts backgrounds," says artist Sabrina Gschwandtner.