View allAll Photos Tagged installationart
PART OF THIERRY GEOFFROY EXHIBITION AT THE ZKM MUSEUM "BIENNALIST "
www.global-contemporary.de/en/artists/69-thierry-geoffroy
www.art-magazin.de/kunst/46937/thierry_geoffroy_portraet
www.global-contemporary.de/en/world-time-the-world-as-tra...
Vanessa Sica + Chris Kasabach
Unbrella (2009)
nylon, metal, plastic, paint
Asked to take inspiration from the Mattress Factory’s annex gallery, we entered the 2nd floor apartment and recalled our first experience seeing Alan Wexler’s “Bed Sitting Rooms for an Artist in Residence” almost 20 years ago as design students. The multi-functional bed/sofa vibrates between absurdity and brilliance, efficiency and fun.
The Unbrella comes from this same place -- a utilitarian knee-slap for the artist in residence who may have arrived in Pittsburgh ill-prepared for the weather. The Unbrella functions indoors as a bright soft light but outdoors as a fully lit umbrella. To use, simply twist the Unbrella into the socket and pull the raindrop to light the room. The room also charges the Unbrella’s battery. Twist out to take to the streets, lighting your way on a dark, rainy day.
Vanessa and Chris have a broad range of experience merging the fields of art, design and technology. Their work in healthcare, housewares, fashion and the arts has been recognized by the awards, museums and publications that set the standard in design and business including the IDSA-International Design Excellence Awards and Medical Design Excellence Awards. Their work has been featured at the Smithsonian/Cooper-Hewitt National Design Museum, Vitra Design Museum, and as part of artist Mariko Mori’s Venice Biennale exhibition.
My Offering
plaster, bread (donated by Breadworks)
2011
Artist Statement:
I have not escaped the memories of the victims’ hands asking food and help in the aftermath of the Nagis cyclone that hit Burma’s delta in 2008. When my wife and I were doing relief work with other friends, I saw the many hands of people who were hungry for food, for safety, for kindness and for others. We continue to see countless hands like these all over the world today.
There are countless hungry people who are running and hiding because of civil war and war aggressions, who lost their job because of crises, and who are trying to survive under a dictatorship. They raise their hands with hunger and questions that are important to solve to stay alive.
I am an artist who became a baker for our family’s survival. Whenever I am working with bread, I see the hungry hands of the victims we helped in Burma, and I continue to think of other hands that are rising with needs. It is a pleasure to put nourishment in the hands of hungry ones. When I bake, peace becomes an ingredient.
One night, I had a chance to rewatch an old James Bond movie. There was a scene about a weapon factory in the film. The faces of the workers in the weapons factory are like the faces of statues–I could not see any happiness or interest. When I thought of my fellow workers, I felt joy knowing I am able able to work with their smiling faces in the bakery.
I believe that everybody, especially those who have known hunger, will be happy to view this expanse of bread. I mentally combined the hungry hands that I cannot forget and the bread that I have enjoyed baking over the years to make this artwork because I want to bring a little bit of happiness to people. Imagine bombs instead of bread in these hands. Would you still find joy in them?
Bio: Than Htay Maung was born in 1958 in Pathien, Burma. He lives in Pittsburgh with his wife Khet Mhar, an exiled writer who received political asylum in the U.S. His installation work, created out of found materials, is politically charged commentary on news and its veracity and dissemination to the public. Whether making an installation about satellite news distribution in Burma or sending SOS bottles filled with commentary down the Irrawaddy River, Than Htay Maung’s work always asks the viewer to question what he or she believes to be the truth. He has previously exhibited in a Gestures exhibition at the Mattress Factory and in New York.
Damien Hirst
Bad Environment for White Monochrome Paintings (1993)
Steel, glass, acrylic on canvas, plastic containers for food and water, sarchophaga and musca domestica
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
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
In Februray 2012, the Triennale Design Museum in Milan, Italy had an exhibition entitled "Graphic Design Worlds"
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
The Plains of Sweet Regret, 5-channel video and sound installation by Mary Lucier. North Dakota Museum of Art. Photo: Rik Sferra.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Another aspect to the installation was the idea of people and places which don't officially exist. As Jason explained, real estate prices may be really high right immediately next to the freeway (for stores, I guess... who wants to live right next to a freeway, what with the lights and noise and everything?), but at the freeway itself - on or under the freeway, it falls to zero. A gap, a lacuna in the graph. The hobos who live there likewise are not officially counted on the census... maybe they don't pay taxes, maybe they don't receive welfare or social security. I'm not really sure how all this works.
In these places, these no man's land places, under the freeways, the world is upside down. Thus, the shopping carts.
One thing I did quite like about the carts - though at first glance they seemed superfluous, or, that is to say, extra and separate, with separate themes and ideas from the rest of the installation, once it was explained, they actually really kind of work. It all goes back to suburbanization, and the way our lives are centered around transportation.
In the cities, you don't need huge shopping carts. You can't even fit huge shopping carts down the aisles in your tiny Midtown Manhattan grocery, and even if you could, do you have an SUV you're going to load up with all those groceries? Where is your SUV parked? Where are you going to store so many groceries in your tiny Midtown Manhattan studio apartment?
No. Cities are organized around the scale of people - not around the scale of trucks and SUVs. We have sidewalks, not freeways, and little shopping baskets to buy just enough to last a few days, or a week, just enough to be able to carry back home, by foot, or by subway.
This is where suburbanization comes in. The expansion of the size of the spaces we live in leads to a more impersonal lifestyle. We cut ourselves off from human interaction, spending so much time in our cars, where we interact less, are less connected, than the pedestrians walking on the sidewalks, even if they're not actively interacting. We put up barriers around ourselves, and devote sooo much space to parking and to driving, less and less space to human space - to living space.
And it goes on....
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
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Installation artist Victor Gama in the background performing for the Errigal arts festival at Magheraorty beach, Co. Donegal. In the foreground one of the many light installations that were stationed all around the Dunes behind the beach.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
In Februray 2012, the Triennale Design Museum in Milan, Italy had an exhibition entitled "Graphic Design Worlds"
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
large pawn-like shapes in a small art gallery. made from goat fat. what else are you going to do with such an abundance of goats on such a small island? i shall never forget the aroma coming out of that gallery.
Glass 1 - bottled water from Hong Kong
Glass 2 - tap water from Hong Kong (Heyuan)
Glass 3 - Ngau Tam Mei Village after High Speed railway works started nearby
Glass 4 - Lamma Island Tung Wan( East Bay) after plastic pellets washed ashore
Glass 5 - Big Wave West Village within Plover Cove's catchment area
Glass 6 - Pearl River (Guangdong, China)
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
An installation made as part of my current FIAD project.
At the end of a dimly lit corridor, a door-sized aperture of light appears inside a small room, as if cast in from the outside. Centred in the light is an anonymous silhouette, sometimes facing the viewer, other times standing calmly in profile.
Materials: Ink on acetate, overhead projector.
My favorite work of art at the Centre Pompidou in Paris. I stood in that room for ages, just staring at it... and taking pictures. :)
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
#laBaule #laBauleLesPins #ArtContemporain #LesBoîtes #contemporaryart #exhibition #installationart #artinstallation #art #laBauleEscoublac #CharlesMatton
Georgina Starr's exhibition I,CAVE at mima (Middlesbrough Institute of Modern Art) opened 9 April 2015. The exhibition runs until 28 May 2015.
To see the audio slideshow of the 'I,CAVE' Opening Ceremony : vimeo.com/126114374
Photograph : © Colin Davison
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
My Offering
plaster, bread (donated by Breadworks)
2011
Artist Statement:
I have not escaped the memories of the victims’ hands asking food and help in the aftermath of the Nagis cyclone that hit Burma’s delta in 2008. When my wife and I were doing relief work with other friends, I saw the many hands of people who were hungry for food, for safety, for kindness and for others. We continue to see countless hands like these all over the world today.
There are countless hungry people who are running and hiding because of civil war and war aggressions, who lost their job because of crises, and who are trying to survive under a dictatorship. They raise their hands with hunger and questions that are important to solve to stay alive.
I am an artist who became a baker for our family’s survival. Whenever I am working with bread, I see the hungry hands of the victims we helped in Burma, and I continue to think of other hands that are rising with needs. It is a pleasure to put nourishment in the hands of hungry ones. When I bake, peace becomes an ingredient.
One night, I had a chance to rewatch an old James Bond movie. There was a scene about a weapon factory in the film. The faces of the workers in the weapons factory are like the faces of statues–I could not see any happiness or interest. When I thought of my fellow workers, I felt joy knowing I am able able to work with their smiling faces in the bakery.
I believe that everybody, especially those who have known hunger, will be happy to view this expanse of bread. I mentally combined the hungry hands that I cannot forget and the bread that I have enjoyed baking over the years to make this artwork because I want to bring a little bit of happiness to people. Imagine bombs instead of bread in these hands. Would you still find joy in them?
Bio: Than Htay Maung was born in 1958 in Pathien, Burma. He lives in Pittsburgh with his wife Khet Mhar, an exiled writer who received political asylum in the U.S. His installation work, created out of found materials, is politically charged commentary on news and its veracity and dissemination to the public. Whether making an installation about satellite news distribution in Burma or sending SOS bottles filled with commentary down the Irrawaddy River, Than Htay Maung’s work always asks the viewer to question what he or she believes to be the truth. He has previously exhibited in a Gestures exhibition at the Mattress Factory and in New York.