View allAll Photos Tagged installationart
fac.umass.edu/UMCA/Online/default.asp?BOparam::WScontent:...
This project, on view at the University Museum of Contemporary Art, located on the lower level of the Fine Arts Center, will present works created in the urban environment of New York where artists have been living since 1988. Major works from this project were previously exhibited at three international biennials, in a number of museum exhibitions, and are included in several important museum collections.
"Certainly there have been couples in recent years who made art together, and groups of two or more artists who have insisted that their work be taken together as a whole, but the fusion of the two notions into one can probably be said to be unique to their work. And yet, it would not be accurate to say that their work is any way separate, either in terms of conception, execution or presentation. On the contrary, they are partners in the germination of each other's ideas, right up to the final encounter between the work and the viewer."
- Dan Cameron, Senior Curator, The New Museum, New York
"The Kopystianskys seem to have an unusually flexible and equilibrated relationship as artists who are also a couple. They work (in the same studio) mostly separately, sometimes together; they exhibit mostly together, sometimes separately. Each has a clearly marked artistic persona, yet their work moves easily between parallelism and complementarity.
The Kopystianskys" collaborative slide projection piece The Day Before Tomorrow, 1998-99, gives one very clear and touching metaphor for the way their togetherness/separateness as artists articulates the quandary at their heart of their distinct bodies of work: Its two screens show two different versions of the same everyday events on the streets of New York, one shot by Svetlana and one by Igor. With each screen reflecting a slightly different angle (and not necessarily at the same moment), it is as though each artist were but a single eye, but where then is the brain in which these two inputs can be synthesized into a single three-dimensional, perspectival image? That of God? Or maybe just the ideally imaginative and sympathetic viewer?
In any case, The Day Before Tomorrow, shows how a collaborative project can be built out of two near but distinct viewpoints: To make the work the two artists stood next to each other snapping the same views, so the differences between what appears on the two screens are entirely the product of small differences in position and the speed with which each artist pushed the shutter button. One's attention is engaged partly by the ghostlike presence of passersby fading in and out of view and partly by the even more intangible presence of the two invisible people who registered their movements."
- Barry Schwabsky, Art Critic, from an essay first published in Contemporary Artists St. James Press/Video Hound, Gale Group, MI (2001) and in Art Forum XLI 4, (December 2002) pp.148-9.
"The Kopystianskys have not made a film about dirty streets so much as a celebration of chance encounters. Many hours of footage carefully collected on windy days have been meticulously edited to capture these magical moments. It is remarkable how quickly we start to read characters into these discarded objects. The particular formal properties of each of the objects determine the very individualistic movement each character acquires through the animating breath of the wind. At times the characterization becomes so strong that audiences spontaneously burst out laughing. When an empty hamburger box moves forward in a series of jerky steps with the lid flapping up and down it becomes a vividly anthropomorphic image and zanily Muppet-like.
There are also moments of great elegance particularly when pieces of fabric or a plastic bag twist and twirl their way along the gutter or defying gravity fly up into the air then shudder and spin back to earth. There is a long and interesting history of poor and discarded materials being recycled into art, but this work brings the genre to a new level of aesthetic pleasure. We think of Joseph Beuys sweeping the streets and the forests of Germany as an environmental gesture and then framing the resulting material in a vitrine. There were the décollage artists in France in the late 1950s, whose torn billboard posters aestheticized everyday Parisian street furniture. Before them Kurt Schwitters elevated old bus tickets and fragments of paper into high art and Marcel Duchamp and Joseph Cornel kept up a long exchange of such fragments, some of which found their way into artworks and journals.
A more recent example might be the installations of Tony Cragg in the early 1980s. Many of these works were assembled from fragments of colored plastics found along the banks of the Thames in London at low tide. Cragg arranged them into geometric or pictorial configurations that elevated trash into valuable art, a sleight of hand that was only partly a conceptual critique of commodification and the art market. The other side of Cragg's assemblages was a finely balanced form between the chances of nature and cultural signs. This balance revealed his genuine delight in the visual and tactile qualities of things. The same is true of the Kopystianskys. The history of their work makes it clear that they understand the critical context of art in society but they always also raise the aesthetic value of the work to a level that brings a surprising degree of pleasure to the viewer."
-Anthony Bond, Head Curator, International Art, Art Gallery of New South Wales, Sidney
The Kopystiansky's have jointly participated in many international exhibitions including the Venice Biennale Aperto (1988), Sydney Biennial (1992), San Paolo Biennial (1994), Sculpture Project Munster (1997) Istanbul Biennale (1995), Johannesburg Biennale (199), Lyon biennale (1997), First British Biennale in Liverpool (1999), and Documenta 11 (2002).
Solo exhibitions of Igor and Svetlana Kopystiansky have taken place at the Martin-Gropius-Bau, (DAAD) Berlin (1991), Kunsthalle Dusseldorf (1994), The Art Institute of Chicago (1996), the Kunstmuseum Dusseldorf (2000), the Sprengel Museum Hannover, Germany (2002), the Art Gallery of New South Wales, Sydney, Australia (2003) and the Scottsdale Museum of Contemporary Art, Arizona (2005). Their work is represented by Lisson Gallery in London and was recently exhibited at the Christine Burgin Gallery in New York.The exhibition is guest curated by Gregory Salzman, an independent curator who previously exhibited Svetlana and Igor Kopystiansky's video, Fog (1999-2000) in an exhibition concerning landscape. The present exhibition will travel to the Kunsthalle Fridericianum in Kassel, Germany, from December 20, 2005 to February 26, 2006. A fully illustrated catalogue, featuring essays by the exhibition's guest curator, Gregory Salzman and Whitney Museum of Art director, Adam D. Weinberg, will accompany the exhibition. All events related to this exhibition are free and all are welcome to attend. This program is supported in part by the University of Massachusetts Arts Council.
Watch video HERE
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.
I was in a rush to pick up a family member arriving at the Buffalo Airport and in the main departures and check-in level, an installation art exhibit was on display above the check-in area. I liked the collection of shirts, although I failed to get the name of the artist. Then I saw the sign for the United check-in desk and framed it as seen. Just a bit of fun. The best camera is the one you actually have with you. - JW
Date Taken: 2016-08-10
Tech Details:
Taken using a hand-held Sony Xperia Aqua cell phone, focal length 3.6mm (whatever that translates into in traditional 35mm /full frame equivalent, but it is pretty wide), full auto (ISO152, f/2.0, 1/120 sec). PP in free Open Source RAWTherapee from JPEG source file: reduce pincushion distortion, increase contrast and Chromaticity in L-A-B mode, slightly increase saturation, sharpen, save. PP in free Open Source GIMP: slightly adjust colour balance to remove a residual green cast, sharpen, add fine black and white frame, add bar and text on left, save, scale image to 1200 vertical for posting, sharpen very slightly, save.
Caneta permanente sobre parede, 3 x 7,45 metros.
Caixa Cultural - RJ - Exposição: In Memoriam.
Curadoria de Fernanda Lopes.
Foto: Rafael Pereira.
Dialog in the Bode-Museum
within the framework of the project Mauer im Kopf
Isa Genzken, Klaus vom Bruch, Svetlana and Igor Kopystiansky, Strawalde
17 June – 2 August 1992
The exhibition Dialog in the Bode-Museum (within framework of the project Mauer im Kopf) – Isa Genzken, Klaus vom Bruch, Svetlana and Igor Kopystiansky, Strawalde took place at Kunst-Werke Berlin from June 17 – August 2, 1992.
Curator: Klaus Biesenbach
Venue: Bodemuseum Berlin
found this empty turtle shell just a few feet away from one of the graves/orbs in my "convergence" installation. turtles have always been important to me. they carry their home with them wherever they go! they are equally adept on land or in water. i strive to be like the turtle (but i'm not teenage nor mutant... maybe). turtles guide and protect me; turtle is my totem! 🐢
via Instagram www.instagram.com/p/BLJ0WqPDbI8/
Créations-sur-le-champ, Land art Mont-Saint-Hilaire 2012 - 6e édition.
Du 10 octobre 2012 jusqu'aux premières neiges.
(avec la collaboration de Lucie Bernard et de 131 élèves du secondaire 1 du Collège Saint-Hilaire)
« Un paradis pas tout à fait perdu est enfoui sous le réel de la vie quotidienne. En creusant un fossé, pour drainer le verger, sont apparus quelques-uns des traits terrestres du paradis. Le merveilleux se montre sous-jacent au réel du paysage. Les racines de couleurs sont ici à la fois prolongement des mélèzes et racines d’un arc-en-ciel, partiellement révélé, circonscrivant l’ensemble de la terre. L’arc-en-ciel est dans la mythologie un chemin, un pont entre deux mondes; ici l’omniprésence du paradis sur terre. »
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Entitled Playboy Marfa and created by artist Richard Phillips, the controversial art piece was formerly located in Marfa, TX but was moved to Dallas in the Spring of 2014 when the Texas Department of Transportation deemed it illegal.
This shot was taken at around 7pm.
These two pieces of installation art are sort of landmark for the newly built promenade in Kwun Tong. However, it seems to be copycat of another work located on a Barcelona beach, created by an installation artist, Rebecca Horn.
www.designerhk.com/forum/post/1938
www.ethanham.com/blog/labels/semiotics.html
What do you think?
Part of an installation art event during Brighton Festival. The team piled into or onto something in a seemingly impossible way for a few minutes, then moved on to a different challenge.
‘’The ancient objects of the world are mainly sphere-like, and ever revolving.’’
In different contexts these objects which are representative of nothingness carry different types of significances.
One of the integral characteristics of spheres is their rotatability, and mobility.
.
‘গোলক’
'Golok'
.
Community art project 'Hamra'
organize by Gidree Bawlee
23 to 30 jun at Balia, Thakurgong
An example of a "bloom" type piece on display at Survival Kit gallery. There were eight similar styled pieces on display. With the exception of the one paper piece, these pieces were an attempt by me to see what I could do with Styrofoam. So far, Styrofoam has proven to be a difficult medium to use. I may in the future attempt further pieces using this medium, but for now I am content working with more malleable recycled and up-cylced materials like paper and cardboard.
Materials used: Styrofoam, cotton swabs, paint, dye, and paper.
Ruth Asawa’s wire sculptures feel like they’re breathing. Floating just inches from the wall, each form twists and curves with quiet complexity, casting layered shadows that echo their shape like ghosts of movement. There’s something intimate and patient in the way she worked—loop by loop, with her own hands. At SFMOMA, the interplay of wire, air, and light creates a meditative moment that feels both grounded and weightless. You don’t just see her work—you feel it. A slow hush settles over you as you take in these living, organic forms, hanging effortlessly like thoughts midair.
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
A one room exhibit at the Peabody Essex Museum. More at pem.org/exhibitions/193-intersections_anila_quayyum_agha
Handmade museum vitrine, found objects (ballet slippers, photo locket), museum didactic,
Vitrine: 46” x 23” x 17” (overall); objects various dimensions
(2008)
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
I don't remember the name of the artist that set this up In the Mass. MOCA, but I think it's the best piece of installation art I have ever seen. Machines along the cieling drop single sheets of tissue all over the room...
[edit: Found another pic of this on flickr, it is called Corpus and it is by Ann Hamilton]
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"