Our Webchair travels this month are rich in content and visual pleasure. Settle back and enjoy as we surf the web for some of its treasures.

Projekt 30 held their first publicly juried exhibition in December, 2003. Their current show features striking work by Joo Han in oil and acrylics and some rather unusual porcelain wall pieces by Charles Birnbaum. Among their permanent members, you might check out the work of Amanda Adare, particularly her oils and portraits. Jon Patrick Olson's Solus series of acrylics on paper is also noteworthy, as is Oshilaja Hemsley's Miami Folio of soft pastels on paper.

From sophomore year at Harvard to one hundred million users is quite a trajectory, but this is the bare outline of the Facebook story. Clive Thompson of the New York Times has an excellent article about the phenomenon and its implications for privacy and intimacy. Viewers might also want to read "Candy Bars and Mars" published here in July, 2006. Perhaps we are dealing with a generational conflict: Facebook's transparency is the antithesis of the lack of transparency in government, which prompted a stern warning from the New York Times editorial board: quill.

Gary Hume was originally one of the Young British Artists when they appeared over ten years ago. His current work at the White Cube Gallery in London features stone and marble pieces with abstract figures made out of lead. Images of babies and mothers predominate. Hume himself calls stone "a liquid that's moving very, very slowly". The BBC calls his work "sad, complex, revelatory and joyous."

Kendell Geers likes to call himself a terrorist in the field of art. Although these pages are written in French, you can get a good feel for his creative process here. There is also an excellent article about him and his intense interest in violence and racial bigotry, arising from his origins in South Africa.

Brian Johnston is a retired chemistry professor who now spends his time using a polarizing microscope to create photomicrographs of chemical crystals. He is also fascinated by graphic representations of mathematics - in this second site he gives detailed descriptions of how he forms these images and what software he uses in the process.

Tara Donovan is one of the recipients of this year's MacArthur Foundation Fellowship Awards. Donovan uses everyday materials like toothpicks and plastic cups to create wall and floor forms that resemble living cells or some sort of mitochondrial explosion. She says of her work: "it is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow."

Giorgio Morandi is portrayed in a special exhibition at the Metropolitan Museum of Art as a master of contemporary still life and a deep silent voice of contemplation. He can perhaps be described as a microview of Mark Rothko's broad vision. Viewers can get an excellent overview of Morandi's life and work at the New Yorker's site in a crisp article by Peter Schjeldahl.

Paris, France, is the proud home of the "Biennale des Antiquaires", being held at the remodeled Grand Palais. (You can close out the video if it annoys you by checking the X box at top left.) Not only antique furniture is featured, but spectacular paintings by artists like de Kooning and Rothko. Interesting pieces include glazed stoneware pedestals in a newly-invented material, three ritual food vessels from the 9th or 10th century B.C., a turquoise-inlaid bronze mortar from the 6th century B.C., and a gold-inlaid silver ewer looking like "it was dug up the day before yesterday".

An architectural firm that calls itself Atelier Bowwow has been designing some rather unusual projects, particularly those for small spaces. Based in Japan, the firm was founded in 1992 in Tokyo by two young designers, both of whom were visiting faculty members at Harvard University in 2003 and one in 2007.

Finally, in a crooked bow to the world of spectacular frauds, from Palin to Hirst, the Guardian's Robert Hughes guides us through the recent auction of Damien Hirst's works at Sotheby's in London.

c.Corinne Whitaker 2008