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Bullseye Studio's Open House for Design Week Portland 2018. Bullseye Studio Collaborates with artists, architects, and designers from around the world to fabricate art glass for the built environment, including landscapes, public art projects, and large scale art installations.
..this is a shot from my 5 screen, 16mm cine film projection installation, which is being shown at the Anglican Cathedral Liverpool.
You can view a project description as well as some moving clips of these on myspace.com/papersculptures
installation documentation of David Sullivan's Fugitive Emissions show at Lawndale Art Center in Houston, Texas, 2010
banners: Adéla Součková: On Earth Awakening, 2017
video: Pavel Braila: Work, 2000
photo: Petr Štembera: Grafting, 1975
ceramics: Habima Fuchs: Constellation fro a seed, a blossom, a fruit and a bowl, 2017
Installation in Testbed 1, Battersea, London.
Made from found and donated objects bound together with a continuous 1km line of rope.
June 25, 2023 - I just found out that Jenny Holzer who created this installation is from Gallipolis, Ohio. I did a dining room renovation project at Holzer Medical Center which is located in Gallapolis, Ohio. Small world!
Installation for Bilbao
1997/2017
Electronic LED sign
Site-specific dimensions
Jenny Holzer began her first series, Truisms, in 1977 as a distillation of an erudite reading list from the Whitney Independent Study Program in New York, where she was a student; by 1979 she had written several hundred of these one-liners. Beginning with A LITTLE KNOWLEDGE GOES A LONG WAY and ending with YOUR OLDEST FEARS ARE YOUR WORST ONES, the Truisms employ a variety of voices and express a wide spectrum of biases and beliefs. If any consistent viewpoint emerges in the edgy, stream-of-consciousness provocations, it is that truth is relative and that each viewer must participate in determining what is legitimate and what is not. Since the Truisms, Holzer has continued to use language as her primary medium and has employed myriad ways to convey her messages. Selections from her Inflammatory Essays series (1979–82), for example, appeared on unsigned, commercially printed posters pasted on buildings and walls around Manhattan.
When phrases by Holzer such as ABUSE OF POWER COMES AS NO SURPRISE and MONEY CREATES TASTE flashed from the Spectacolor board above Times Square in 1982, it marked her first appropriation of electronic signage. This mode of dissemination brought her disquieting messages to a new height of subversive social engagement. Her strategy—placing surprising texts where normal signage is expected—gives Holzer direct access to a large public that might not give "art" any consideration, while allowing her to undermine forms of power and control that often go unnoticed. Her installations over the last three decades have raised questions about the viability of public art, the commodification and consumption of art, and the relationship between the personal and the political. Description from the museum website: www.guggenheim-bilbao.eus/en/the-collection/works/install...
this is a photo transfer I did for my contemporary issues class which portrays communication through technology as physical barrier. The piece can be looked at through both sides of the barrier, in this case, a window, which also shows how one can "see through" misleading emails, text messages, etc.
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