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The artist's first-ever obliteration greenhouse, Flower Obsession (2017/2021) at NYBG.
Visitors were handed a flower sticker to be place anywhere inside the greenhouse.
Caneta permanente sobre parede, 3 x 7,45 metros.
Caixa Cultural - RJ - Exposição: In Memoriam.
Curadoria de Fernanda Lopes.
Foto: Rafael Pereira.
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
This is "Big Rusty" an art installation from Danish Artist Thomas Danbo, who is best known for his many giant Trolls he has created from various materials. His Trolls can be found in parks, forests, mountain tops, and just about anywhere that people will find themselves appreciating art in giant forms.
Nikon D850 with Nikkor 14-24mm F2.8 AFS lens @ 14mm, F13, 1/60th second, ISO 64. Oben tripod with Benro 3-way geared head.
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
森林之歌
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Rosemont-La Petite-Patrie, Parc Jean-Duceppe.
Catégorie : Installation.
Matériaux : Acier inoxydable.
Technique(s) : Assemblé, forgé, soudé.
Description de l’œuvre :
Le parc Jean-Duceppe se transforme en un immense théâtre où cette œuvre tel un rideau de scène, fait écho à la végétation. Elle rend hommage à l’engagement artistique et aux valeurs qui ont guidé Jean Duceppe tout au long de sa vie. Un pan découvre des lattes de métal qui tissent les contours d’un arbre; sur l’autre versant se dessinent des feuilles de laurier en arabesque, couronnant la carrière de l’homme de théâtre. La figure de l’arbre est essentielle au sens de l’œuvre. Elle prend de l’expansion en son centre et s’ouvre, symbolisant ainsi le destin du comédien. L’élévation de l’œuvre se mesure à l’élévation des deux plateaux érigés au nord et au sud du parc. Il ne s’agit pas d’une œuvre à l’effigie de Jean Duceppe, mais bien d’une œuvre en hommage à son action artistique et aux valeurs qui l’ont guidé tout au long de sa vie professionnelle.
« Il y a un peu du Québec dans ce « Je me souviens ». Avec ces rires d’enfants dans le parc. Parmi ces promeneurs. Et dans cette marque tangible, réelle, désormais incontournable, qu’ont tracée les pas accumulés de ce grand comédien qu’a été Jean Duceppe. »
– Louise Viger
Biographie :
Artiste multidisciplinaire, Louise Viger vit et travaille à Montréal. Elle est détentrice d’un baccalauréat en arts visuels de l’Université Laval ainsi que d’une maîtrise en beaux-arts de l’Université Concordia. Depuis 1978, Viger a réalisé plusieurs expositions individuelles au Québec, au Canada et à l’étranger, entre autres au Musée d’art contemporain de Montréal en 2000 et au Musée national des beaux-arts du Québec, en 2010 et 2011. Ses œuvres ont fait partie de nombreuses expositions collectives, parmi lesquelles Seeing in Tongues – Le bout de la langue, en 1995. Elle est l’auteure de plusieurs sculptures publiques.
artpublicmontreal.ca/oeuvre/des-lauriers-pour-memoire-jea...
Patrick Dougherty, sometimes called "The Jackson Pollock of twigs" has a beautiful installation piece called "Double Take" at the Palo Alto Art Center. Palo Alto, California
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
Installation Views
Lasting Images
October 14, 2013–January 10, 2014
5th Ave at 89th St
New York City
Lasting Images brings together a selection of works from the Guggenheim’s collection of global contemporary art, featuring pieces by Simryn Gill, Sheela Gowda, Joana Hadjithomas and Khalil Joreige, Mona Hatoum, and Doris Salcedo. These works suggest that truly lasting images—those that are most affecting—rarely convey direct messages. Instead, the pieces in this exhibition use ephemeral materials to define spaces for the viewer that invite open-ended contemplation.
Photo: David Heald
To learn more, visit www.guggenheim.org/lastingimages.
The Massachusetts Museum of Contemporary Art (MASS MoCA) occupies a converted factory building complex occupying 13-acres in North Adams, Massachusetts. It is one of the largest centers for contemporary visual art in the United States. The complex was originally built by the Arnold Print Works, which operated on the site from 1860 to 1942. MASS MoCA opened in 1999 with 19 galleries and 100,000 sq ft (9,300 m2) of exhibition space. It is large enough to put on exhibitions in individual buildings for extended periods - a Sol Lewitt building has five stories full of work conceived by him (and executed by others) on display until 2033; another building contains three large-scale installations by Anself Keifer on display until 2028.
The Boiler Room is one of the buidlings and when I was there it contained an installation of audio art. And old boiler room stuff that was highly photogenic.
"My Soul Blooms Forever", an installation art on 'Kusama : Cosmic Nature' exhibit currently on NYBG thru Oct. 31, 2021.
Galleria Mall sign art by Thrush Holmes The original sign: www.flickr.com/photos/jer1961/34107469995/in/photolist-2i...
Research across the globe has proved that plastic debris threatens the biodiversity of seawater and freshwater habitats, along with the ecology of the rivers, beaches and the ocean. With a view to disseminate an awareness of this dire situation to the public, the Central Marine Fisheries Research Institute (ICAR-CMFRI), Kochi and Cochin Shipyard Limited together conceived the idea of a ‘Fish Cemetery’ installation art, at Fort Kochi beach.
The world is fast approaching a scenario in which non-biodegradable plastic waste destroys the ecosystem of the aquatic organisms and result in harmful effects to marine life, due to consumption of degraded micro-plastics. The objective of the ‘Fish Cemetery’ installation art is to remind us of the precarious condition.
Desenho instalativo, feito diretamente sobre a parede da galeria, durante 10 dias consecutivos de trabalho.
Caneta permanente sobre parede 2,70x5,50 metros.
A imagem da onda em arrebentação fala das forças incomensuráveis que se abatem sobre nós, exigindo uma tomada de posição para sobrevivermos ao choque do impacto.
Ainda como uma metáfora visual, a onda desencadeia catexias ligadas à todo transbordamento de emoções e situações, que nos movem e nos estilhaçam ao mesmo tempo.
Exposição: Como sobreviver a um naufrágio. 2020.