Tuesday, November 30, 2010
Monday, November 29, 2010
Saturday, November 27, 2010
Wednesday, November 24, 2010
Research
Tuesday, November 23, 2010
Research: Process & Material
MATERIAL
Installation for the 8th International Istanbul Biennial
Doris Salcedo
2003
Salcedo used 1,600 wooden chairs for this installation, most of which was installed piece by piece rather than by chair by chair. She needed to have a great understanding of the infrastructure of the material and "sculpture" of the chair and how it would fit in relation to other chairs and within the alley.
PROCESS
City Hiding Series
Liu Bolin
2007-2008
Photographs
City Hiding Series
Liu Bolin
2007-2008
Photographs
He chooses places he finds interesting and sometimes with a political message. With a lot of patience, he then photographs is from many angles, poses for long periods of time (sometimes for 10 hours or more), determines the design to be created on his body, and then he must stand unmoved until the design is painted on him. He is then "invisible."
Material
Process
Process
Qiu Zhijie, Writing the "Orchid Pavilion Preface" One Thousand Times, 1990-94. Installation with video documentation and Ink-on-paper calligraphy, approx 29x70 inches.
In this, Zhijie writes a famous piece of calligraphy a thousand times on the same piece of paper, which gives the end result of a completely black block of ink. It is the process which created the end result that gives the uniform black block meaning and content. For a more detailed view, go here.
Andy Delany
In this, Zhijie writes a famous piece of calligraphy a thousand times on the same piece of paper, which gives the end result of a completely black block of ink. It is the process which created the end result that gives the uniform black block meaning and content. For a more detailed view, go here.
Andy Delany
Library Research
Process
The Gravity of Colour, New Britain (2008) By Lisa Hoke
Installed on the Lewitt Family Staircase Landing, approx. 30 feet high
Hoke uses coloured papers cups and transparent plastic cups (and paints the insides) to create a pinwheel like composition. Slight changes in the hues of the painted cups create interesting patterns and tones. The wide range of colours create an almost rainbow-like effect. The cups are nailed to the wall, either from the bases or on their sides. In some cases the cups are stacked on top of each other to create volume.
Material
Virevoltes by Cecile Bart (2010)
Installed at Museum of Fine Arts, Nantes
Comprising of 20 complete or incomplete circles of straight strings suspended from the ceiling of the gallery, forming rather thin curtains. The length of each string is approximately 12.5 meters. Each circle/arc has a defined colour tone, and when viewed at ground level, viewers see "through" the multiple curtains of string to see unique patterns. The sporadic presence of sunglight also alters the perception of the brightness of the color and renders certain parts of the composition to be more brilliant. Viewers can walk through the installation.
The Gravity of Colour, New Britain (2008) By Lisa Hoke
Installed on the Lewitt Family Staircase Landing, approx. 30 feet high
Hoke uses coloured papers cups and transparent plastic cups (and paints the insides) to create a pinwheel like composition. Slight changes in the hues of the painted cups create interesting patterns and tones. The wide range of colours create an almost rainbow-like effect. The cups are nailed to the wall, either from the bases or on their sides. In some cases the cups are stacked on top of each other to create volume.
Material
Virevoltes by Cecile Bart (2010)
Installed at Museum of Fine Arts, Nantes
Comprising of 20 complete or incomplete circles of straight strings suspended from the ceiling of the gallery, forming rather thin curtains. The length of each string is approximately 12.5 meters. Each circle/arc has a defined colour tone, and when viewed at ground level, viewers see "through" the multiple curtains of string to see unique patterns. The sporadic presence of sunglight also alters the perception of the brightness of the color and renders certain parts of the composition to be more brilliant. Viewers can walk through the installation.
Material
Process and Material
Process:
Spring 2003
Wechsler painted and reassembled nine bikes that he had recovered into a carousel-esque setup. The formation can be remodeled, dismantled, etc. It is purposefully left in public places in order to gain attention from various different riders.
Interesting Process
Brody Condon
Twentyfivefold Manifestation
Summer 2008
performance
Condon used 80 live action role players (LARP) from Denmark to create an alternate reality within the exhibition. Thus, he created the scenario and the LARPers brought it to reality.
"Set in a distant future where civilization as we know it had almost been lost, players from different worlds met deep in the holy forest and inhabited a 40 feet high tower "in character" for 3 days at a time while worshipping invented deities embodied by the other artworks of the exhibition"
Library Research
ProcessHuma Bhabha, 2006, 65 x 41 x 30 inches. "Man of no importance"
Stacked styrofoam armature in manner reminiscent of stone monuments. Then used clay, wire, cotton, and bone to construct exterior. Compared his work to 'alchemy,' transforming discarded materials into art.
Materials
Zilvinas Kempinas, 2010, full-room installation. "Ballroom"
Kempinas used hanging sheets of reflective mylar. From the ceiling hung fans with lightbulbs attached on strings to spin slowly in circles.
Stacked styrofoam armature in manner reminiscent of stone monuments. Then used clay, wire, cotton, and bone to construct exterior. Compared his work to 'alchemy,' transforming discarded materials into art.
Materials
Zilvinas Kempinas, 2010, full-room installation. "Ballroom"
Kempinas used hanging sheets of reflective mylar. From the ceiling hung fans with lightbulbs attached on strings to spin slowly in circles.
Interesting material
Santiago Calatrava
Spring 2010
Installation
Large steel and aluminum arches are connected with 244 translucent lengths of elastic surgical tubing which vibrates with the music. The juxtaposition of the steel with the surgical tubing mirrors the strong, yet fluid movements of the ballet dancers below. Additionally, the seemingly impossible angles created by the structures reflect the various ways in which the ballet dancers contort themselves.
Process: The individual circles are created using multiple layers of thin colored resin
Artist: Michael de la Cerda
Date: 2007Size: 36" x 56"
Medium: Resin
Material: Acrylic painting incorporates traditional fibers from a specific culture to help tell their history
Artist: Sandi Seltzer Bryant
Date: 2009
Size: 36" x 36"
Artist: Michael de la Cerda
Date: 2007Size: 36" x 56"
Medium: Resin
Material: Acrylic painting incorporates traditional fibers from a specific culture to help tell their history
Artist: Sandi Seltzer Bryant
Date: 2009
Size: 36" x 36"
Material and Process
Cosmic Thing, 2002. Damián Ortega.
Ortega used wire to hang his personal decomposed VW bug, a symbol of Mexico's Westernization (where he lives), from the 30' ceiling of the Institute of Contemporary Art.
House of Bread, 2004. Urs Fischer. Bread, wood, expanding foam, light. 533 x 472 x 366 cm.
Fischer used mostly bread to create his House of Bread. Remind anyone else of Hansel and Gretel?
Sunday, November 21, 2010
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Monday, November 8, 2010
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