View allAll Photos Tagged Installationart
Marty Weishaar, Speculative Models, 2011, cardboard, hot glue, colored tape, spray foam and zip ties,
February 03 - March 30, 2012
Photo by Jerry Mann/SPACES
Cleveland, OH
documentation of a multi-sited installation project.
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 installation was designed to be experienced at night outside. to be a kind of ellusive happening or mirage. however, after developing the photographs, i felt that the piece worked better in this second format.
what do people think about this, and the documentation becoming art thing?
I'm afraid I do have to question, however, what kind of name is Roxy, for a man? What could it be short for?
An attempt to map out all of the objects and materials significant to my creative process. Visitors were then invited to bring personal artifacts of their own to exchange from ones in the installation.
Check out what artist/writer Madeleine Peck had to say about the show @ artisntrocketscience.blogspot.com
Modern symbols included patterns drawing from the B*ird's Nest and the Water C*ube. 古今相混的圖案: 龍紋,水*立方, 鳥*巢
Site-specific installation (pom-poms, fishing line) at Vitrine 01 at U-Bahnhof Birkenstraße, Berlin.
Marty Weishaar, From the Black Road Series, 2011, cardboard, hot glue, colored tape, spray foam and zip ties,
February 03 - March 30, 2012
Photo by Jerry Mann/SPACES
Cleveland, OH
Catch, 14’x 11” x 11”, 2009
Crowded waters. When many people cast their lines in one place, their only catch is each other. Which may not be a bad thing. Details at right.
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.