Saturday, January 7, 2017

Mia Westerlund Roosen. b. 1942, American

Cotton and Polymer

Cotton and Resin

Michel Francois, b. 1956, Belgium

Fran├žois is creating spaces of reflection or of self-awareness, by showing normal human occurrences as well as recognisable processes and objects. Yet at the same time he reverses things, or rather, turns them inside out. Some inversions are formal such as convex and concave, empty and full, light and dark. But others speak more to social structures such as freedom and imprisonment, riches and poverty, work and leisure, survival and play. The standard measure of all his works is based on essential questions about man: what he experiences in the world, how he senses the world and how these sensations are related to his way of thinking and perceiving.
Xavier Hufken. source link here

Barbara Kruger, b. 1945, American

Hirshhorn Museum, Washington D.C.
The entire space—walls, floor, escalator sides—is wrapped in text-printed vinyl, immersing visitors in a spectacular hall of voices, where words either crafted by the artist or borrowed from the popular lexicon address conflicting perceptions of democracy, power, and belief.

Kruger creates installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer.


David Hammons, b.1943, American

Created in 1989, Chasing the Blue Train covered the entrance landing of the exhibit making it the largest installation on display though its dimensions vary upon each exhibit. The modest piece included five-six pianos with boom boxes attached, each playing a different Coltrane composition: including “The Night Has a Thousand Eyes” and “Body and Soul”. 

As the petite blue locomotive made its way along the tracks, it disappears and reappears behind piano lids into a coal-lined tunnel. Hammons often incorporated his African-American heritage into his pieces. He emphasized on Black empowerment, racial injustice, and struggle. 

Chasing was layered in historic symbolism which could be interpreted as narrations of the Industrial Revolution represented by the coal tunnel. This represented the start of the Harlem Renaissance around the time the “A” line was built on 125th street. Hammons commented on many areas regarding history and the progression of American culture.
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