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"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
Artist:
Netikan Roopngarm, Thammachat Jun Mepokee
Abstract:
God's Green Earth is a world that was created by God and it is beautiful and peaceful. The aim of this exhibition is to show what has happened to god's creation because of mankind. The God’s green Earth that used to be beautiful, is now destroyed by the humans temptations.
Materials:
Materials include commercial objects such as paper, cloths, water colour, spray pain, legal drugs (as illegal drugs), powder, assemblages of some found objects.
Exhibition format: Installation Art
Overview:
Point of installation is of irresponsibility, carelessness and laziness, leading to social failure as represent by models of both human and non-human elements in the show that would directly and indirectly relate to it. These would expressed in sarcastic way. Humour would also be part of the installation.
Learn more about JEFF&GORDON: sweeney.ucr.edu/exhibitions/jeff-and-gordon/
JEFF & GORDON are a collaborative team of artists who create videos and installations that explore social interactions. Jeff Foye and Gordon Winiemko create situations wherein an audience will reflect on their participatory role in the ever-changing cultural narrative; every one of us contributes to our collective culture, but at the same time we are all defined by culture. As such, their work frequently “takes on” the form of familiar social customs and iconography, and also enters into a dialogue with the site or the context in which the work is exhibited. The artists also forward their personae, and frequently mediate their performative actions through video, as informed by the cinematic aesthetic. The artists live and work in the Los Angeles area. Organized by UCR Sweeney Art Gallery, and curated by Jennifer Frias, associate curator, Sweeney Art Gallery.
新竹風城，這裡有我喜歡的陽光、空氣還有水。
Hsinchu Windy City, here have my favorite sunshine, air and the water.
[ 攝於新竹市 Hsinchu City, Taiwan ]
shot at Far Eastern Department Stores LTD. Retail Group
April 5, 2011 Photo by Hong, TzuTing © All rights reserved
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
Artist:
Netikan Roopngarm, Thammachat Jun Mepokee
Abstract:
God's Green Earth is a world that was created by God and it is beautiful and peaceful. The aim of this exhibition is to show what has happened to god's creation because of mankind. The God’s green Earth that used to be beautiful, is now destroyed by the humans temptations.
Materials:
Materials include commercial objects such as paper, cloths, water colour, spray pain, legal drugs (as illegal drugs), powder, assemblages of some found objects.
Exhibition format: Installation Art
Overview:
Point of installation is of irresponsibility, carelessness and laziness, leading to social failure as represent by models of both human and non-human elements in the show that would directly and indirectly relate to it. These would expressed in sarcastic way. Humour would also be part of the installation.
Note: The use of the space
- outside the window, where can you see beautiful green scenery = the past (Green Earth)
- inside the room = the present
-the elevator = the future (Hopefully, better)
Les Colombes (The Doves)
Washington National Cathedral, Washington, DC, May 18, 2021
.
Just before Christmas, German artist Michael Pendry installed the Les Colombes exhibit: a winding column of more than 2,000 origami paper doves in the grand nave of Washington National Cathedral. Symbolizing hope and the Holy Spirit, the doves encourage a feeling of optimism as we end a challenging 2020 and begin a new year. This sculpture is arranged to give new life to our Cathedral, embody our resolve to be kind to our fellow human, and to do our part in making a better tomorrow.
Les Colombes has previously appeared in Salisbury Cathedral in Salisbury, England; St. Martin-in-the-Fields in London; Mount Zion in Jerusalem; Heilig-Geist Viktualienmarkt in Munich; and Grace Cathedral in San Francisco. [cathedral.org/doves/about/]
This is an installation of Elliott Earls "Elegy for the Collapse of the Empire, Detroit Craft and Disentegration." at Cranbrook Museum during the "no Object is an Island" exhibition.
A two channel digital video and audio work created in response to the history of Lake Celilo/Celilo Falls.
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
Using 10 sheets of 18x24 paper I was trying to amplify the illusion of depth, so that a relatively short hallway started to look much longer. To achieve the effect I decided to cut openings in the paper to make it look like a window and, by varying the size and width of the openings, to further enhance the illusion of depth.
Paul Noble Marble Hall exhibition at Laing Art Gallery, Newcastle 2011-2014
Paul Noble Marble Hall situates Noble’s own art, centred on his huge tapestry villa joe, within the historical context of the Laing’s architecture and collections. Using archive photographs dating to around the time of the opening of the Gallery in 1904, the artist re-created the early appearance of the Hall with plants. The plants also refer to Noble’s interest in exploring the boundary between the natural world and cultural constructs. This theme is echoed in the images on his ‘artist designed’ wallpaper, featuring antique plinths interspersed with vegetation.
Paul Noble’s tapestry has been purchased for the Gallery with the aid of substantial grants. The artist has made a gift of a ceramic sculpture, seven, which was part of a large group incorporated in the original installation. The piece is covered with a thick shiny glaze inspired by those used in traditional Japanese ceramics. It is presented on a carved wooden stand in the style of Chinese ‘scholars’ stones’ – naturally occurring rocks selected for particular qualities such as shape and surface these are traditionally placed on pedestals.
The tapestry and ceramic link directly to the Laing’s collection, and central to the installation is Henry Moore’s large bronze sculpture Seated Woman: Thin Neck. Noble has made an in-depth study of Moore, who famously liked to go beach-combing in search of flints and pebbles eroded into inspiring shapes. Noble’s ceramics are diminutive versions of the organic sculptures made by Moore in response to his beach-combing collection, reducing the monumentality of Moore’s sculptures to the scale and status of ornaments.
The ceramic piece realises in three-dimensional form the precious collection of objects housed in ‘villa joe’, which features in the artist’s tapestry of the same title. The building is named after Joseph Holtzman, editor-in-chief and art director of the cult décor magazine Nest, who is known for his meticulously hyper-decorated Manhattan apartment, in which the juxtaposition of every object is fine-tuned. Through the glass walls of Holtzman’s museum, as shown in the bottom left-hand side of the tapestry, one can see the exhibits neatly laid out. There is a jarring contrast between the modern, cultured museum and the rough, monumental forms of the natural landscape surrounding and dwarfing it.
Lesley Richardson 2013
Artist:
Netikan Roopngarm, Thammachat Jun Mepokee
Abstract:
God's Green Earth is a world that was created by God and it is beautiful and peaceful. The aim of this exhibition is to show what has happened to god's creation because of mankind. The God’s green Earth that used to be beautiful, is now destroyed by the humans temptations.
Materials:
Materials include commercial objects such as paper, cloths, water colour, spray pain, legal drugs (as illegal drugs), powder, assemblages of some found objects.
Exhibition format: Installation Art
Overview:
Point of installation is of irresponsibility, carelessness and laziness, leading to social failure as represent by models of both human and non-human elements in the show that would directly and indirectly relate to it. These would expressed in sarcastic way. Humour would also be part of the installation.
"I Wasn't Everything" - a MA Fine Arts graduation show at LASALLE College of the Arts, class of 2015.
We're very excited to announce that we've changed our "no photography in the galleries" policy. So excited, in fact, we're jumping for joy!
For the solo show in Guestroom, Alison Owen has constructed House Rules. Owen studied the facts of the house- its narrative history, the materials and patterns found in it, the specific movement of the light across the walls. By tracking this data Owen hopes to discover part of the intangible nature of the space. Intrigued by the house’s history, 3119 Chadwick is not a static place. Owen imagined it sending out tendrils like a grapevine, expanding, covering over old bits, breaking off into new rooms and new hiding places, like the labyrinthine house in Bruno Schulz’s book “The Street of Crocodiles”. Owen's composition is an attempt to create a new and logical offshoot of the house, arrested mid-growth.
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
Part of the Kosuth exhibition at Spruth Magers showed books and catalogues illustrating some of his recent installations.
Here, "The Language of Equilibrium", on the Isola di San Lazzaro degli Armeni, Venice (for the 2007 Venice Biennale).
Part of the Water Republic show at EMG guangzhou 水共和展的一部份
Dried earth and plants at one end, crushed plastic bottles with image of a nude, silenced, tied up within that glows in a blue light at the other.
2015
butcher paper, fishing wireastroturf, toy duck, velvet wrap, plastic flowers, vase, hat, jean jacket, stool
44"x39"50"
The final project of ARTSTUDI 156Q, Installation Art in Space and Time (Stanford University, Terry Berlier). One of the elevators of the Art and Art History Department's McMurtry Building was transformed into a playful environment. Surprising the viewers with surreal and organic forms alongside casual everyday objects, this artistic intervention brought life into a transitory public space.
"A Love Letter to the Elevator" invites its passengers to pause and take delight in another world, before they reach their destination.
Crossroad 2009, 3 screen video/sound 3 channel installation
“Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne, France. 6th of February – 18th of April, 2010
2009
Duration: 10 min.
Color/Sound. Three channel.
Exhibited:
“Igor and Svetlana Kopystiansky,” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
"…These formal issues are further explored in Crossroad, a four-screen projection that concludes the sequence of installations in the galleries. Filmed on the streets in Lower Manhattan, the unedited footage includes ambient sound from the location of the shots. Each of the four screens is composed of two images that slowly dissolve from one shot to other. Representing two different locations, the projection creates a dislocation of time and place that becomes increasingly pronounced. Over time, an evocative quality emerges in Crossroad, giving each place its own rhythm, and although each site is different, they all share the temporal ebb and flow of people and traffic common to cities. In the gallery, the sense of the urban scene as it is composed for the moving image subtly shifts point of view from that of the camera to the viewer. It is the viewer who discovers and explores the superimposed moving images as they gradually unfold. Despite the lack of a narrative, Svetlana and Igor’s work is not alienating because of their understanding of the way memory functions and the way we recall what has transpired before our eyes. The strategy of allowing chance associations to occur as the superimposed images play off of each other is one the artists have employed to explore cinematic codes in a related body of work as well, one which is drawn from their treatment of found film footage and classical films…”
An excerpt from the text by John G. Hanhardt: "The Play of Time: The Art of Svetlana and Igor Kopystiansky"
For the solo show in Guestroom, Alison Owen has constructed House Rules. Owen studied the facts of the house- its narrative history, the materials and patterns found in it, the specific movement of the light across the walls. By tracking this data Owen hopes to discover part of the intangible nature of the space. Intrigued by the house’s history, 3119 Chadwick is not a static place. Owen imagined it sending out tendrils like a grapevine, expanding, covering over old bits, breaking off into new rooms and new hiding places, like the labyrinthine house in Bruno Schulz’s book “The Street of Crocodiles”. Owen's composition is an attempt to create a new and logical offshoot of the house, arrested mid-growth.
detail of red installation dec 2005
i am really interested in how context alters a piece of art and vice versa. i use the same group of objects within my installations, bringing in others found on site. the expectations and connotations brought to the piece are very different depending on the situation eg: a gallery, shop or outdoors. with this ongoing set of work i am interested in how this affects the reading of the piece.
this and other images on my page are specifically put on this site to be viewed in a different context. i am exploring as i said above, the way context alters the interpretation of a piece or image. by putting these pieces on the net, they exist in a completely different context and become images instead of installations. i am interested in this shift.
In November 2013, nearly a year to the day of the beginning of construction, "a year and one day" stands proud and tall on the grounds of Longue Vue House and Gardens in New Orleans, Louisiana. Created to slowly be overgrown with plant-life (both indigenous and invasive) and deteriorate with time, this site-specific time-based artwork continues to evolve. Step inside this tomb and contemplate the cycle of life and death. Light filters through a water prism in the ceiling to create a place of passivity.
"Language Generator" (by Lewis Gesner) has been a solo piece, a duet, and ensemble piece, as well as a public workshop project. It had a duration of anywhere from 6 hours to one week. This is what is done. I enter a gallery space with newsprint paper, markers, scotch tape, and a box of objects. For the duration of the piece, I examine the objects, one at a time, and make a noise to go with it, then, a line or symbol on the paper. I then post the result on the walls. Performance/Installation at Meme gallery, Camb., MA. Photo: ©Bob Raymond, 1/14/11.
2015
butcher paper, fishing wireastroturf, toy duck, velvet wrap, plastic flowers, vase, hat, jean jacket, stool
44"x39"50"
The final project of ARTSTUDI 156Q, Installation Art in Space and Time (Stanford University, Terry Berlier). One of the elevators of the Art and Art History Department's McMurtry Building was transformed into a playful environment. Surprising the viewers with surreal and organic forms alongside casual everyday objects, this artistic intervention brought life into a transitory public space.
"A Love Letter to the Elevator" invites its passengers to pause and take delight in another world, before they reach their destination.