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The Collector was inspired by my design background and by the process of taking two different mediums and helping them to co-exist. Yarn and the computer don't have much in common except for maybe ordering it (yarn) online. This disconnect was the starting point for the installation. One of the most commonly used tools in any creative computer software is the "color picker." I chose this tool as inspiration because of the concept of limitless possibilities.
I have never felt so strongly about one medium until I started working with yarn. I feel that yarn is a medium too often overlooked because of its association with grandmother's and their passion for knitting. As an artist, I have found that there are many ways to use the medium of yarn. For this installation I want to demonstrate that by using yarn in an atypical way, it loses its usual appearance and becomes a beautifully elaborate, yet simple, presence.
In Wood, Andy Goldsworthy evokes ideas of growth, perpetual change and transformation through works made of leaves, branches, ice, snow, boulders, sand.
Six sections â Earth, Seed, Root, Branch, Leaf and Tree â each include extracts from the artistâs working diaries.
Woven through the book are intriguing glimpses of a ballet, VĂ©gĂ©tal, in which dancers build, dismantle and rebuild versions of Goldsworthyâs sculptures on stage.
See more of Wood Andy Goldsworthy
Modern art museum, Munich
Installation art
This temporary installation art, called "the third space", was built by 52 interior design students. It consists of almost 1.300.000 cable ties. The students worked on it for about 16.870 hours. Visitors can sit down in cocoon-like bird's nests, stand under a shower of light, and experience this 200 square meters small world, that tries to translate sociological terms like self-portrayal, community and retreat into tangible spatial situations.
Visited: June 2008
In the first main hall of the Toledo Metro Station is a 2012 mosaic mural by William Kentridge called the "Naples Procession" or, to give its full title, "Ferrovia Centrale per la Citta di Napoli 1906 (Naples Procession)".
In the procession a series of figures from the history of Naples parade across a map of the city behind San Gennaro.
Inside the Hirshhorn Museumâs curved corridors, a breathtaking swirl of color and texture transforms an ordinary white wall into a dynamic, sculptural tapestry. Layers upon layers of paint and mixed media slice through the space like the strata of an ancient canyon, revealing a vibrant spectrum: crimson reds, sunlit yellows, oceanic blues, and earthy browns all colliding in a rhythmic cacophony.
This installationâpart painting, part sculptureâembodies the tension between art as surface and art as environment. The artist (Mark Bradford, known for his large-scale, collage-like work) uses found materials, paper, and rope embedded into thick acrylic layers to create these textured topographies that recall maps, urban streetscapes, or the scars of time itself. The resulting effect invites viewers to walk alongside, lean in, and get lost in the cracks and crevices, discovering hidden details that emerge with every step.
The visual complexity of the installation mirrors Washington, D.C.âs own layered history. The museumâs circular architecture frames this contemporary piece, giving it a sense of perpetual motionâlike a time capsule caught in flux. The experience is both intimate and monumental, pulling you in with its tactile presence while simultaneously enveloping you in the grand narrative of modern art.
A few museum visitors drift along the edge of the installation, their silhouettes dwarfed by the scale of the work. Their presence emphasizes the human dimension within this sea of materiality. The interplay of shadows and light from the overhead spotlights accentuates the tactile richness, transforming the wall into a living, breathing surface.
For visitors, this installation is more than a viewing experienceâitâs a sensory journey that fuses color, history, and place, embodying the pulse of the Hirshhorn Museum and contemporary art in the nationâs capital.
Alexis Ortiz installing his installation for the exhibition Soft Power that runs until September 1st 2024 at the Tacoma Art Museum.
www.tacomaartmuseum.org/exhibit/soft-power/?fbclid=IwAR0R...
Random postings of photos I have taken over the last few years. Explore the photo set to find other work by the artist or of the same theme or event.
All photos © Ian Cox. If you would like to use this image please ask first. Best viewed as a set here
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SiÚge social de la Commission de la construction du Québec à Montréal, Montréal
« Dans cette oeuvre Francine LarivĂ©e s'est inspirĂ©e des habiletĂ©s et crĂ©ativitĂ©s que les artisans de la construction et les artistes en arts visuels ont en commun. De plus, l'Ćuvre vise Ă reprĂ©senter l'importance de la synergie entre les diffĂ©rents partenaires pour assurer le succĂšs de l'ensemble du secteur de la construction. « La prĂ©sence d'Ćuvres d'art dans les lieux publics et les institutions constitue certainement l'une des plus belles contributions du gouvernement du QuĂ©bec Ă l'embellissement de nos villes, de nos rĂ©gions et de notre environnement », s'est rĂ©jouie HĂ©lĂšne David, ministre de la culture du QuĂ©bec lors de l'inauguration de l'oeuvre.
La structure imposante faite d'acier Corten, d'un poids approximatif de 23 tonnes, s'intĂšgre parfaitement au patrimoine bĂąti du secteur et se veut un espace partagĂ©. « Aujourd'hui nous n'inaugurons pas seulement une Ćuvre d'art, mais aussi un lieu de rassemblement visant Ă nous rappeler la force et la dĂ©termination des bĂątisseurs qui ont construit le QuĂ©bec. Nous sommes fiers de partager cette Ćuvre avec l'ensemble des employĂ©s, des partenaires de l'industrie de la construction mais aussi avec tous les MontrĂ©alais », a affirmĂ© Diane Lemieux, prĂ©sidente-directrice gĂ©nĂ©rale de la Commission de la construction du QuĂ©bec »