Monday, January 23, 2017
Sunday, January 22, 2017
Installation Artists
Installation view of work by Gabriel de la Mora (floor), Koki Tanka (screen), Farrah Karapetian (wall),California-Pacific Triennial, Orange County Museum of Art, Newport Beach, Image courtesy of Orange County Museum of Art
Saturday, January 21, 2017
Friday, January 20, 2017
30 Minutes Assignment Guidelines
Complete Two 30 Minute Exercises.
#1
Inside the Art Building (Interior)
#2
Outside, Landscape (Exterior)
#1
Inside the Art Building (Interior)
- Create an installation inside art building. Exception - Photo studios (room for photographing and where equipment is kept) are off limits.
- Take no more than 30 minutes to do the actual installation.
- You may take as much time as needed to research and prepare for the installation.
- You cannot paint or mark on any wall for this installation. The installation needs to be easily removed and leave no marks behind. Should be no trace that it was there other than nail or tack holes (that you will have to patch - materials in the wood shop).
- Be prepared to remove the installation immediately or shortly after you present to the class.
- You must make sure the installation in no way poses harm to anyone, does not block doors and takes into account handicap access in the building. If unsure about safety, see me and I can help you resolve.
- See me if you are interested in using the elevator. A small, gentle, non-imposing installation may be able to happen in this space.
- See me if there is a space you wish to use but are not sure how to access.
- What to put on your blog:
- Professional Images
- Title
- Artist Statement
#2
Outside, Landscape (Exterior)
- Create an artwork outside in the landscape.
- Take no more than 30 minutes to install the piece.
- You may take as much time as needed to research and prepare. Or you may be totally spontaneous - show up to a site and make something happen with only the materials/items/nature that is there.
- You cannot damage or harm the area. The art work needs to be easily removed and leave no marks behind. Should be no trace that it was there.
- Note - your body can be used as a material.
- If you choose to leave the piece at the site, it must not pose harm to anyone and will easily be taken care of by nature. For instance, leaves, sticks, etc..
- Document with photos. At least three photos.
- Take a video to document if piece contains movement and/or sound. Include still photos along with video.
- What to put on your blog:
- Professional Images
- Title AND the location (can be specific or use city/state)
- Artist Statement
Saturday, January 7, 2017
Michel Francois, b. 1956, Belgium
François 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. hirshhorn.si.edu
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. arthistoryarchive.com
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.
text source rainemagazine.com
Friday, January 6, 2017
Liliana Porter, b. 1941, Argentina
Wrinkled Environment Installation
1969 - 2009
Copy paper, Adhesive tape, Offset Printing
source link here
In this installation, the process of randomly wrinkling paper that is already printed to look like wrinkled paper, means the artist can comment on the distance between reality and fiction, as well as alluding to the process and the time spent on the work. The scale of the offset prints takes on monumental proportions, covering whole walls with the image of paper wrinkling, while simultaneously showing the process in the exhibition room itself. The installation contrasts the blocks of paper on the walls with others that have been torn down, literally wrinkled and then thrown to the floor like trash.
Fred Wilson, b. 1954, American
Fred Wilson’s latest sculpture “Drip Drop Plop” is a large multi-part black glass sculpture in the form of drops, puddles and droplets, some of which have white eye-like spots. The piece represents a stylistic departure for Wilson whose work generally utilizes displays, tableaus and artifacts to represent cultural, social and racial manipulations. “Drip Drop Plop” exploits the intrinsic visual qualities of the blown glass while acknowledging the superficial seductiveness of these qualities. For the artist, the image is simultaneously familiar and mysterious, historic and contemporary, sad and playful. Wilson is interested in exploring how objects communicate values and attitudes. The sculpture is the result of a residency at Philchuk Glass School and was fabricated by the renowned glass craftsman Dante Marioni. Fred Wilson lives and works in New York. “Fred Wilson: Objects and Installations, 1979-2000,” the artist’s first retrospective, recently opened at the Fine Arts Gallery at the University of Maryland, Baltimore County in Baltimore.
The glass formed drips which could be interpreted as tar, tears, or ink. He added eyes to some of the drips playing on the notion of cartoon stereotypes.
Kiki Smith, B. 1954, Germany
Sojourn Installation Image- Major Henry Trippe House Chamber Room. All artwork: © Kiki Smith, Courtesy PaceWildenstein, New York. Photo Courtesy the Brooklyn Museum
Kiki Smith, Walking Puppet, 2008. Papier-mâché with muslin overall © Kiki Smith, Courtesy PaceWildenstein, New York. Image Courtesy the Brooklyn Museum
Major Henry Trippe House Hall. This Image features: Sybills, 2005, Oil paint, clear antique glass, gold leaf. Mrs. and Mrs., 2010, Papier-mâché with muslin. So and so and so and so, 2010, Papier-mâché with muslin and graphite. Embroidery, 2010, Wood, metal, linen, cotton. In your eyes, 2010
artobserved.com
Kiki Smith, b. 1954, Germany
Similar to the themes present in “Sojourn,” which explores the female lifecycle, from birth to death, “Lodestar” is rife with religious and mystical symbolism offset by contemporary realism. Composed of thirty hand-painted glass panels chronicling women in various stages of life, the exhibition is laid out in one single group. Painted in a detailed style reminiscent of etching, these works revel in their feminine details. Smith first became interested in glass through Christopher Wilmarth, a friend of her father, minimalist sculptor Tony Smith. Ms. Smith says that she took a liking to blown and solid glass early in her career (the mid-1980s), an era which she laments, “suffered [from] ‘a tremendous cultural bias since this type of work was considered craft and really dismissed.’”
Not so anymore.
This Image features: Search, 2008, Cast aluminum, white gold and gold leaf. Mirror Blossoms, 2008, Mouth blown clear antique glass, black paint, yellow and white gold-coated, Five Panels, approximately each. Silver Bird, 2006, Ink on Nepal paper with silver gouache, mica, glitter and graphite
Antony Gormley, b. 1950, London, United Kingdom
Another Place
The Angel of the North
Antony Gormley
Gateshead, 1998
Antony Gormley
Gateshead, 1998
Since it was unveiled on Valentine's Day in 1998, an estimated 90,000 people a day have seen Gormley's Angel of the North, making it Britain's most famous piece of public art. Standing on the site of an old colliery in Gateshead, the towering steel sculpture pays tribute to the industrial heritage of the North East.
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