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"I Wasn't Everything" - a MA Fine Arts graduation show at LASALLE College of the Arts, class of 2015.
Real, actual proof I was actually there.
I love you, self-timer.
Konica Auto-S2, Fuji Neopan 400 with flash. West Gallery, Central Michigan University's Spring 2008 Festival of Installation Art.
Big Rig Jig
by Mike Ross
Big Rig Jig is a rumination on power as manifest in the relationship between humankind and nature. We hope to instill thoughts of wonder, fear, instability, nature, and beauty. And we are going to do this by literally cutting up pieces of the oil industry and thrusting them into the air. The sculpture is fashioned from real oil tankers and filled with lush silk plant life, a reminder of the ultimate source of the black gold once transported inside them.
Our source objects are fundamental to the world's oil distribution infrastructure, and are pertinent examples of our culture's unmatched production of carbon dioxide. By altering these symbolically rich objects, the sculpture is a celebration of humankind's raw power on earth, a visual metaphor for non-sustainability, and a contemplation of our unique ability to recognize and change our most destructive actions.
"I Wasn't Everything" - a MA Fine Arts graduation show at LASALLE College of the Arts, class of 2015.
The Prostitution of Art and Signs of Our Times. Exhibition and performances. Co-curated by Jane Wang and James Ellis Coleman. 9/23/10
This photo: Installation art by Jane Wang
with Art Is Everywhere Sign by Jennifer Weigel
and poster by Angela Ferrara
Photo: ©Bob Raymond
Aug 12th 2008 - I wear these leg warmers to stop mosquitoes biting me around the ankles! John wears bicycle clips but I find these rather effective!
"But is it Art?" — April 2009
Ann Stoddard's sculpture students create installation work at Salisbury University's Student Art Center.
A collaboration between Marisha Simons & Peter Hanley, produced during the Breadboard Residency Program 2010.
breadboardphilly.org/programs/breadboard-residency/machin...
part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
see more : www.emergencyrooms.org/documenta_kassel.html
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www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html about other art format
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Oscar Villamiel
2012
Mixed Media Installation with Excavated Dolls, Bamboo Rods, Zinc Shed, Wood Chips, Drawing
Dimensions Variable
Collection of the Artist
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.
Les Colombes (The Doves)
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Washington National Cathedral, Washington, DC, June 26, 2021
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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/]
Countershadows 2014 is a curatorial project by Melanie Pocock, presented at Institute of Contemporary Arts Singapore. Featuring works by Heman Chong, Tamares Goh, Ho Rui An, Sai Hua Kuan, Jeremy Sharma, Tan Peiling, Robert Zhao Renhui (The Institute of Critical Zoologists).
The shadows of visitors wandering the labyrinth. It reminds me of an installation I worked on years ago:
“I took to my room and let small things evolve slowly.” – Erik Satie
French composer Erik Satie (1866-1925) coined the phrase “furniture music” in 1917 to describe background music played by live performers. His pieces of furniture music were very short works with an indefinite number of repeats.
Satie developed his minimalist music in radical response to the excesses of 19th-century German Romanticism. His Gymnopédies (1888) are often regarded as a precursor to modern ambient music. Satie’s last residence was a threadbare room that never saw a visitor during the 27 years that he lived there.
In thinking about Satie, I am also reflecting on solitude, memory, imagination, the philosophy of time, mortality, and the nature of cycles.