Tatiana Blass, b. 1979, Brazil

PENELOPE, 2011

Carpet, loom, wool, chenille yarn

Dimensions variable

Morumbi's Chapel

The work consists of a 14-meter long red carpet extending from the chapel entrance to the main altar, where its end is attached to a hand loom equipped with foot pedal, thus giving the impression that the carpet weaving is under way. 

On the other side of the loom, tangled yarns are stretched out to pass through holes in the wattle-and-daub wall and reach the outside area. 

The red yarn takes over the greenery of the museum garden, covering the lawn and climbing shrubs and trees. In this process, it creates an ambiguous movement of construction and de-construction, in a reference to the Greek myth of Penelope.

tatianablass.com

Blind Dog

tatianablass.com

Adornment

Vinyl plaques on floor

tatianablass.com

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The Center for Land Use and Interpretation

Blank Plaques

Viewing Devices

Points of Interest

More images for each category.  Also, more categories.  Link here.

Michael Heizer, Artist

In 1972, Heizer began construction on a massive installation known as City in the rural desert of Lincoln County, Nevada. Since then, Heizer has grown increasingly shy of media attention, and has become known as something of a recluse. Nevertheless, he has continued to produce smaller-scale sculptures and paintings, which have been featured in numerous solo exhibitions (most prominently at the Museum of Contemporary Art, Los Angeles and the Whitney Museum of American Art, New York). His works now appear in museums and public spaces worldwide.  Source link here.

Touch Diagram

Source:
http://edudiagrams.blogspot.com/

Lynne Hull, Artist

Desert Hydroglyphs are water capture basins for desert wildlife, holding from one to 5 gallons of rain or snowmelt. Many natural water sources have been taken over by humans, leaving wildlife to struggle to find water. Water is the most valuable element in the desert, and determines the extent of biodiversity in an area.

Safe roosting and nesting sculptures for hawks, owls and eagles, in areas where taking off and landing on older power poles may result in electrocution, or areas where human disturbance may make nesting difficult.

Source link here and here.

Walter de Maria, Artist, American, 1935 - 2013

The Lightning Field, 1977, Western New Mexico

Source here

''The Lightning Field,'' an enormous and astonishing installation of 400 lightning rods, a work of art so immense and so changeable that is occupies the desert landscape like a living thing.

The installation, completed in 1977, comprises 400 highly polished stainless steel poles with pointed tips, set 220 feet apart, in a grid. Because the land undulates slightly, the poles vary in height: the shortest is 15 feet and the longest is 26 feet 9 inches. The tips of all of them lie on a plane; a giant pane of glass could rest on all of them.

Continue reading the main story

The grid is 25 poles (5,280 feet, or one mile) long and 16 poles (3,300 feet, or one kilometer) wide, and it takes about two hours to walk the perimeter, 

''The land is not the setting for the work but a part of the work,'' Mr. De Maria writes in the cabin notebook. He and his assistants -- Robert Fosdick and Helen Winkler were the principal associates -- scoured California, Nevada, Utah, Arizona and Texas by truck over five years before settling on the site, 11 1/2 miles east of the Continental Divide, elevation 7,200 feet.

Lightning must occur within about 200 feet of the installation, Mr. De Maria says in his notebook, before it can ''feel'' the poles and come down to earth there, something he says happens about 60 times a year, most often in August and September, when storms are most common.

Text source New York Times. Excerpts taken from an article written by Cornelia Dean, Sept. 21, 2003

Image of Walter de Maria sourced from telegraph.co.uk

Last image - Walter de Maria and Robert Fosdick in field car during The Lightning Field installation, New Mexico, October 1977. Photo: Helen Winkler Fosdick, DIA Art Foundation.

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Steve Roden, Artist

The number of objects (sculptures) that make up the work is 490 - the same number of land formations on the list - all that were known to exist around 1910. Each object's height is determined by the number of vowels in its name. the vowels in each name also determine the materials that were added to the wooden structure (the wood is the consonant). a= wax, e= wire, i = tin foil, o= gesso, and u= pencil. Thus land formation #33 "Berzelius" would be four inches tall and would be made of wire, tin, and pencil along with the wood. Once these parameters were determined, the sculpture/object was made intuitively, drawing on a number of different sources of inspiration. The total work is approximately 70 feet long. source link here.

Huang Yong Ping, Artist

A Football Match of June 14 2002, 2003
Galerie Beaumontpublic, Luxembourg.

Early in 1992, in his exhibition The House of Oracles, Huang Yong Ping showed an installation piece demonstrating the inevitability of the first Iraq war. In a more recent work, A Football Match of June 14, 2002, he refers directly to the American-led war to liberate Afghanistan from the hands of the Taliban and Al Qaeda, showing how this liberation has provoked a veritable clash of civilizations. The work consists of a football field on which armed American solders are shown playing against veiled Afghan women in the shadow of a huge meteorite that looms over their heads, surrounded by hundreds of bats. As the artist has stated, this is a dreamlike image of the world we are living in today. ~ Hou Hanru


Source link here.

Tom Shannon, b. 1947, American

Compass Moon Atom Room, 1990-1991

270 magnetic spheres, each 10 cm dia. nodized aluminum, magnets, nylon
installation: Moderna Museet,Stockholm
collection: Moderna Museet, Stockholm.

The magnetic spheres are aligned by Earth's magnetic field so all of the black halves face south. At the same time, the field of each sphere inter-links with the fields of the spheres surrounding it. Any motion of one sphere is transfered throughout the entire array. The arrangement of the spheres is the same as the pattern of atoms in a crystal. People may walk inside. source link here.

Shannon holds patents for the following:

• first tactile telephone – US Pat. 3780225 – Filed Jan 3, 1972
• a color television projector (w/ Walter De Maria, Maris Ambats) – US Pat. 3800085 – Filed Oct 20, 1972
• a synchronous world clock US Pat. 4579460 – Filed May 17, 1984 featuring a Fuller-Sadao map face, which is in the collection of the Smithsonian Institution
• a double-reversible garments (w/ Caty Shannon)
• a Video Airship (Air Genie)[03].US Pat. 7173649 – Filed May 29, 2002^[16]
• patents pending for Graphene Floating Spheres and Magnetic Linking System

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Anish, Kapoor, Artist

Entitled Sky Mirror, this stunning sculpture is situated outside the theatre, providing the centrepiece for the re-development of the forecourt area. In 1995 Nottingham Playhouse initiated an artistic and architectural collaboration which has culminated with the installation of Sky Mirror. This is a unique development in England, with a major public art commission for a leading international artist by a leading English theatre.
Sky Mirror has created a new external environment to the Playhouse and will co-exist with the work that takes place within the theatre, each with their own identity but all part of the creative experience that Nottingham Playhouse delivers.  source link here.

Andy Warhol, Artist

Silver Clouds, 1966
helium-filled metalized plastic film 91,4 x 129,5 cm.
April 2-27, 1966: Andy Warhol's second show at the Leo Castelli gallery included the Cow wallpaper and the floating silver pillows. Source link here and more on Warhol here.

Attila Csorgo, Artist

Untitled, 2000
1 tetrahedron + 1 cube + octohedron = 1 dodecahedron
Sitting on a table, a tetrahedron, a cube and an octahedron, all made of sticks attached to strings. At the push of a button pulleys, weights and counterweights are seen pulling the strings. The geometric figures begin to come apart, reform as a dodecahedron and eventually revert to their original state.
All is not as it would seem. Two glasses appear to contain slanting water. Two screws rotate to form the image of a glass. Two perforated discs rotate to create a triangle or circle.
A camera rotates simultaneously on two axes to create a seamless, hemispherical photograph of everything we can see around and above us. -source link here.

Rebecca Horn, b. 1944, Germany

Bee's Planetary Map, 1998
Installation: 15 straw baskets, wire, motors, broken mirror disk, shattered mirror glass, metal rods, wooden stick, rock, sound, lights. 
h: 168 x w: 384 x d: 228 in / h: 426.7 x w: 975.4 x d: 579.1 cm Courtesy: Marian Goodman Gallery

Sixteen inverted straw baskets, looking for all the world like beehives, were suspended from the ceiling at various heights. Inside each basket was a lightbulb, casting pools of light on the floor. On the floor beneath each basket was a circular glass mirror which now and then swiveled, catching the light and reflecting it in constantly moving circles and oblongs on the walls and ceiling. Throughout the room you could hear a recording of the insistent buzzing of a swarm of bees.

Topping it all off, every few minutes a small rock attached to a cable fell from the ceiling to hit a cracked mirror on the floor, around which were strewn pieces of broken glass. This repetitive, destructive act was disturbing but also raw and cathartic. 

On one wall could be found a poem by Horn, providing an excellent textual counterpoint: "The bees have lost their equilibrium / They swarm in dense clouds high above / Their luminous basket hives are deserted / One of their centres is being destroyed forever anew...."

At their best (and this installation was a good example), Horn's works are dramatic and theatrical but also poetically engaging, in a way that gets to you on numerous levels simultaneously. 

Here, the notion of bees loosed from their hives to permanently wander unseen evoked ideas of dislocation, rootlessness and nomadism--perhaps a subtle reference to current crises in places like Kosovo. At the same time the installation had a dreamlike, mythic quality suggestive of primal fears and longings: the desire for safety and order, or the desire for unencumbered release.
source: findarticles.com

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Charles Ledray, Artist

Milk and Honey

Source is The Whitney.  Link here.

Franz Erhard Walther, Artist

Leg Piece

Franz Erhard Walther (German, born 1939)

1964. Fabric, 53 1/8 x 14 9/16" (135 x 37 cm). Scott Burton Fund. © 2012 Franz Erhard Walther / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany

Source is Museum of Modern Art

Lucy and Bart, Artists

Source link here.

Installation and Site Specific Projects, Spring 2015

Roots and Rituals: A performance where people are fed food and stories.

Site Specific Inspired by Literature: Explore the meaning and concept of a specific location. 

What Was Left Behind: Use space and objects to tell a visual story about a particular persona.

Downtown Peephole Project: 3^rd annual event with local businesses.

Found Objects, Student Work

Maya

Found Objects, Student Work

In my travels on my super awesome moped i picked up nails, a C-clamp, a chain saw blade and a few other rusty things. my response to the found objects was to create a monument that was shiny, clean and new, very much the opposite of the objects that i found. i hot glued washers together with nuts at the top so that the screws could stand as towers. connecting the washers together is a response to the way that the chainsaw blade is assembled. the threaded screws attached to the nuts is in response to the way that the nails restrain objects.

Alex Ferrera

Found Objects, Student Work

I tried to duplicate this piece of coral through a sponge. I painted it white for the color and like the way the sponge opposes the smooth texture of the coral.

I wanted to contradict the texture of a piece of coral by making a response out of sculpy. It has the smooth surface with the illusion of the texture that the actual coral has.

I painted my response to represent a jagged piece of wood by painting on a soft piece of paper once made out of wood.

Ariana Meo

Found Objects, Student Work

Brittany Richardson