View allAll Photos Tagged installationart
A Site Specific Installation
Installed @ Fridman Gallery NYC
Materials: Neon, 3 channel Video w/ Audio, Projectors, Flatscreen TV, Media Players, Wire, Audio Amplifier, Speakers
1998, 10' x 14' x 12'
Installed at the Headlands Center for the Arts, Sausalito, Ca. Made from found afghans.
Exploring art at the Sainsbury Centre for Visual Arts, Norwich UK ... a fabulous exhibition where you can acutally enter some of the installations... a lot of fun. Reflections, textures... if you like taking through glass and reflections go take some pics. FREE!
Mercier–Hochelaga-Maisonneuve, Ruelle Sansregret, 3607, rue Ontario Est Montréal, QC H1W 1R8.
Catégorie : Installation, peinture.
Matériaux : Acier peint
Technique(s) : Impression par sublimation thermique
Description de l’œuvre :
L’œuvre Farandole a vu le jour dans le quartier Hochelaga-Maisonneuve, sous le regard attentif des passants. Elle dialogue avec le concept architectural de l’édifice et interpelle avec finesse et subtilité notre imaginaire. Cette peinture numérique tout en relief nous invite à célébrer la vie dans toutes ses strates, tous ses passages. Grâce à ses lignes horizontales aux couleurs terreuses et lumineuses, l’œuvre recrée par cet effet de « dispersion polychromatique » l’équivalent de ce que peut produire en nous un paysage qui nous fait rêver et qui nous amène ailleurs. Entre le tangible et l’intangible, Farandole emprunte à la nature la lumière et les couleurs, la force et la vulnérabilité; elle tire de l’enfance le désir d’explorer, le jeu et la créativité; elle évoque de l’âge adulte l’ambition de s’élever et l’importance de la mémoire, de l’histoire.
Biographie de l’artiste :
Peintre plasticien, Gil Pître poursuit depuis plus de 30 ans une exploration portant sur la peinture, le paysage et l’identité; quête qui insuffle une dimension humaniste à son œuvre. Ses intérêts le poussent continuellement à explorer à travers la diversité des pratiques picturales traditionnelles, de différentes cultures et horizons temporels, les notions qui alimentent sa grammaire visuelle.
Il a obtenu, en 2011, une bourse de recherche et de production et, en 2012, la bourse l’Atelier studio-résidence du Conseil des arts et des lettres du Québec de Montréal de six mois. Ses œuvres ont été présentées dans l’exposition Nature inconnue à la Maison de la Culture Notre-Dame-de-Grâce de MTL en 2013 – 2014. En 2017, le Prix CALQ – Créateur de l’année en Gaspésie et la réalisation dans la métropole d’une œuvre d’art public extérieure de grand format s’avèrent être un écho positif aux efforts déployés ces dernières années. Son objectif à moyen terme : faire rayonner son œuvre au-delà des frontières nationales et contribuer à l’aventure de la créativité entreprise par les peintres plasticiens cela, dans le continuum du médium numérique.
Il compte à son actif une vingtaine d’œuvres d’art public réparties sur le territoire québécois. De nombreuses conférences et expositions, individuelles ou collectives, marquent aussi le parcours de cet artiste engagé.
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.
sometimes i use unconventional tools as an artist. i'm at my Georgia studio using a tractor to make my new site-specific installation art/earth art piece. follow along for more behind the scenes photos.
via Instagram www.instagram.com/p/BFQPv-fmGty/
watch the video about this project: bd-studios.com/convergence/
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 art by Lhola Amira (South-Africa)
Broeltoren Noord in Kortrijk, België.
Paradise Kortrijk
Triënnale voor actuele kunst.
I have long admired this art work in one of the buildings where my husband works in Sydney. At the time when he was Director of the Kinghorn Cancer Centre, he was heavily involved with its construction and aesthetic and sat on the approval committee that reached out to the artist for this project.
The main wall of the foyer and atrium area features this impressive and striking permanent installation artwork 'White Water Falls' (2012), by the British land artist Richard Long and it spans eight floors.
This image is looking upward from ground level.
Richard writes, “I made this work by mixing a relatively small proportion of powdered china clay with a much larger proportion of water. Over the years I’ve learned to harness and control the liquidity of this clay mix. I worked fast, using my right hand, while holding the bucket with my left. The speed and energy of my hand helped make the splashes. I made each level in the ‘same’ way, although each level is unique. I make part of the work and the forces of nature – gravity and chance – make the rest. I want to use and show the cosmic variety of the micro-detail, and the beauty of chance. Some years ago I realised the splashes and run-downs, the ‘out-takes’, were as interesting as my hand marks. In this work I’m happy for this part of the work to play the leading role. I worked from the bottom to the top of the wall, always working on a clean surface, rising as the water fell, the momentary present overlapping the recent past.”
Richard has been in the vanguard of conceptual and land art in Britain since he created 'A Line Made by Walking' (1967), while still a student. He was knighted in the 2018 New Year's Honours list.
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I sure do loves me that 400mm lens. It's about as manual as a cavfeman's club, weighs as much, basically the same size, and now that I think about it, is hardy enough to be used for caveman-type close combat. I digress.
Pentax LX + Takumar 50mm f1.4 + Kodak Proimage 100
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Europe, Netherlands, Zuid Holland, Den Haag, Energiekwartier, Electriciteitsfebriek, Chistiaaan Zwanikken exhibition, Nose patrol, Visitors (uncut)
Displayed here is “Nose patrol”. Shot at the Zwanikkenfabriek, the Chistiaaan Zwanikken exhibition at the Electriciteitsfebriek.
The contraptions belch scented (flowers & herbs) smoke and make a ploppin' sound, akin to an air gun, while doing that.
Some things about the background and intentions of Cristiaan Zwanikken. His mother is a former prima ballerina of the ‘Nationaal Ballet’, his father was an aeronautical engineer. At the basement of his also technical gifted grandpa he learned to use technical tools and materials. Early in his youth he found the dance and music of balet inspiring. Later film added to his inspiration. Jacques Tati and slapstick- particularly the timing of the action.
He started his professional education in the sculpture department of the Rietveld academy. But he didn’t fit in because of his 'kinetic twist'. He eventually finished his formation at the Royal Academy, in the drawing department, the place where many aspiring Dutch artists ended up who didn’t really fit in the formal system of art classification.
The hybridization in his work I mentioned before has to do (according to Zwanikken) with the problem modern civilization faces because of the expanding role technology plays everywhere. Everything goes faster. And that can work out very positively but can also cause problems. Roles change, conflicts arise and institutions erode and get disrupted. So Zwanikken's moving skuls and powered sketelons are (of course) rife with symbolism.
As an artist Zwanikken looks upon himself more as a choreographer / director than a sculptor. The interactivity in his work is made possible by his extensive use of sensors. With this he undermines the viewer's authority - the work looks back and responds to his actions. The racing dogs (previous post) for instance only move when a viewer is in their proximity. And that can be a kinda scary experience. We saw a visitor approaching a stationary racing dog. As a reaction the dog abruptly turned his skull towards the viewer and speeded away. Like his twin did after that. The visitor was visibly shaken by this.
To achieve all this the works look at each other and actively exchange information. There are processors involved in this. Some of the works displayed in the Electriciteitsfabriek are 10 to 25 year old. This prompted Zwanikken to replace (upgrade) the processors, “My actors became more precise thru this, with more possibilities" .