The Prairie Ladder project began as a commision from the Connemara Conservancy, an organization with large land holdings in central Texas, with the stated purpose of preserving, protecting, and honoring the prairie landscape. Each year a few ...
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Wednesday, 18 November 09 - 01:30 PM (GMT -06:00) By ro / lu in art |
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prairie ladder project - anderson anderson architecture w/ cameron schoepp
from the book installations by architects
originally via eyeteeth today via we make money not art
please enjoy.
posted by matt olson
It is easy to fall for dismissal, intimidation, misunderstanding, and perverse desire, while participating in and viewing Dan Graham’s work, many do. However, the works’ intentions usually meant to bypass all that. In Dan Graham’s pieces, the color, compo
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Wednesday, 18 November 09 - 09:41 AM (GMT -06:00) By ro / lu in art |
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dan graham. this for the fourth time tomorrow.
posted by matt olson
resembling isometric exercise equipment more than sculpture. One consisted of a metal T-bar that bolted to the floor, on which two people were supposed to stand, and a pair of metal rods connected to each other by short cords. Holding the rods in their ha
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Tuesday, 17 November 09 - 07:23 AM (GMT -06:00) By ro / lu in art |
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untitled 1970 - chris burden
early work by chris burden.
resembling isometric exercise equipment more than sculpture. One consisted of a metal T-bar that bolted to the floor, on which two people were supposed to stand, and a pair of metal rods connected to each other by short cords. Holding the rods in their hands, the two people leaned away from one another and attempted to strike a common balance. "This balance point," Burden comments, "is very elusive and can only be maintained for a few seconds." It is tantamount to trying to balance a top-heavy triangle on its point.
A second piece consisted of four pairs of cables joined together at the end of another cable that attached to the ceiling. The free end of each pair had a stirrup for a person's hand or foot. The idea was to get into the stirrups and assume an arched position in order to hover somewhat precariously over the floor. The amount of effort required to sustain this position is inversely related to the degree of arching: the flatter the arch, the more difficult the task.
A third piece was simply a large sheet of aluminum with two small footholds, supported in the center by a pivot that bolted to the floor. By lying down on the sheet and carefully adjusting one's position, one could balance on the pivot for an indefinite period of time.
All of these pieces attempt to establish a delicate sensual interplay between body and apparatus. They are extremely responsive to changes in position and muscle tension and seem to have been expressly designed to amplify these changes. They are not primarily to be looked at: they are to be donned and used. By drawing the viewer (viewer is obviously no longer the right word) into the work, giving him an active, literally constitutive role, Burden seemed to be trying to overcome the detachment and visual/intellectual distance usually entailed by object sculpture and replace it with an immediate kinesthetic involvement. Trading formal autonomy and stasis for dynamic equilibrium and engagement.via artforum may 1976
please enjoy.
posted by matt olson
"the result sought was the devitalization of the portico... the ambiguity has been removed by giving the outer surface a strange theatricality that does not permit any kind of aside with the language of the renaissance." - gianni pettena
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Thursday, 12 November 09 - 09:23 PM (GMT -06:00) By ro / lu in art |
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gianni pettena : pettena - arnolfo dialogue, 1968
the republic of florence built san giovanni valderno during the late 13th century as a fortification point. san giovanni valderno's layout, a main thoroughfare and central piazza, mimicked the classical roman town. by the 1960's, florence and the surrounding region remained a bastion of classicism. it was here, in 1968 gianni pettena decided to interrupt and challenge the antiquated language of traditional italian architecture. in the portico of the palazzo comunale, pettena installed large patterned panels, which stood out in striking contrast to the old city monument. pettena among many other architects and artists at the time aimed to liberate architecture from its traditional moors via acts of isolation, rejection, and destruction of architectural language. further up the arno river from san giovanni valderno, at the ponte vecchio in florence, gruppo 9999 put on their own exhibition of derision.
gianni pettena : pettena - arnolfo dialogue, 1968
gruppo 9999: projections on the ponte vecchio, 1968
the gestures in gruppo 9999 and pettena's work seem to be a new design typology, that of rebellion. just as elementarism marked the separation from de stijl when the level lines of mondrain were rotated, radical architects defiantly tilted the orthogonal lines of modernism and classical architecture. they contrasted the stability of classical architecture with ephemeral materials like balloons, paint and projections. mobility and transience became the trademark of many radical architects.
enjoy the weekend.
posted by nicolas allinder
Wang,Ya-hui is primarily a video and video installation artist. Her work is driven by the exploration of human consciousness and examines how hidden or conscious changes of “being” are triggered through illusion and imagination. Her installations often...
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Thursday, 12 November 09 - 04:02 PM (GMT -06:00) By ro / lu in art |
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sunshine on tranquility video installation，4'36 2005 by wang ya-hui
via vvork
please enjoy.
posted by matt olson
"ON WEDNESDAY NOVEMBER 11TH DRIVE THIS SCULPTURE TO WISCONSIN AND LEAN IT AGAINST SOMETHING" - FROM A "DESTINATION SPECIFIC SCULPTURE" IN THE LEE WALTON SHOW CURRENTLY UP AT THE OLSON GALLERY CALLED "MOMENTARY PERFORMANCES AND THINGS THAT LAST LONGER" ...
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Thursday, 12 November 09 - 09:07 AM (GMT -06:00) By ro / lu in art |
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part of the lee walton show i recently wrote about here are some "destination specific" sculptures. large, brightly colored, primary shape-esque plywood pieces with a date and directions for their removal from the gallery written on them. so here we go...
here's from an interview i did with lee...
me - i love the "destination specific floor sculptures". can you talk a bit about them? will the instructions actually be executed?
lee walton - As for the deinstallation of the plywood sculptures, they will definitely be executed. You can help if you want. note - rolu will be deinstalling and documenting some of the sculptures.
A funny thing happened as I was planning the show. At a certain point i realized that nothing in the show looked like ART. So, I had this inclination to create a set of large minimal ellsworth Kelly, john McCracken style sculptures. I have always wished i could do this sort of thing.
All the pieces were made by Caylon, a student at Bethel. We worked together over the phone and email. The goal was to make things that looked like ART. They also had to be just awkward enough that one person couldn't carry them alone.
When I called and asked Michelle (michelle westmark - the olson gallery curator) about them, I asked "do they look like ART?" She laughed. YES!
So, yes.. they will be discarded appropriately. I originally thought about discarding everyday objects, such as chairs, toasters, a pillow - things like that. But it seemed more fun to discard ART. Plus, the actual spectacle of seeing somebody carry this thing down the street will become another Momentary Performance of sorts. I like when the art bleeds into real life just enough.
mission accomplished. too bad our new winter intern doesn't start until next week. this day would have been a great intro to life at the rolu studio...
experientialist indeed.
please enjoy the day.
posted by matt olson
"'a painting is not art simply because it is made of oil and paint or because it is on canvas,' he said. indeed, one day in 1955, when he was so broke he could not afford to buy a canvas, rauschenberg stretched his bed quilt over a frame."
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Thursday, 05 November 09 - 10:28 PM (GMT -06:00) By ro / lu in art |
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"some call him pig" 1971
in 1971, several years after rauschenberg transformed his bed into art, giannia pettena moved to minneapolis armed with sardonic wit and arte povera sensibilities. the same sensibilities michelangelo pistoletto brought to the walker in 1966. pettena must have viewed the world similarly to rauschenburg and pistoletto, who became known for wrapping bricks in fabric remnants. in "some call him pig" pettena playfully highlighted an unnoticed interpretation of the prominent downtown billboard inteded to honor the police. but his boldest work would be encasing a condemned school and an inconspicuous home in ice.
"ice house I" 1971
in the case of the school, pettena's act of alchemy would transform an object without altering its essence. "the appearance of the architecture was maintained, and yet dematerialized since a new natural element was laid over the original material of the facade... the school preserved its... typical form of that typology, but once coated in ice it was the material that transformed it: it came alive, for it had been worked by nature."
"ice hosue II" 1972
pettena was interested in exploring the relationship between natural and man-made phenomena, much in the vein of artists like walter de maria. however, unlike de maria's earthroom where nature is contained by man, pettena's ice house projects were clearly the work of an italian who came to minnesota and quickly realized the imposing character of the cold. needless to say, he left in '72.
enjoy the weekend.
posted by nicolas allinder
Art is a form of knowledge. There’s this odd dichotomy, that a work of art should be both complete in itself, but should also have implications or associations beyond itself. Some artists rely solely on ambiguity. Mostly figurative artists. This kind...
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Tuesday, 03 November 09 - 11:58 AM (GMT -06:00) By ro / lu in art |
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Electromagnetic Energy Field (1968) - robert barry
"Displayed in a vitrine, a battery-powered transmitter encased in a nondescript metal box sends out waves of energy, filling the gallery space with an invisible, immeasurable, but nonetheless real force. Perched between spiritualism and physics, the device is intended to create a literally charged atmosphere. "
please enjoy.
posted by matt olson
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Monday, 02 November 09 - 08:37 AM (GMT -06:00) By ro / lu in art |
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page 110 by rosemary mayer
from 0 to 9 issue number six july 1969
published by vito acconci and bernadette mayer
posted by matt olson
"A performance at the Campo Urbano event. Munari invites participants to the top of a tower to throw pieces of paper of different forms folded in different ways to fall to the earth following trajectories that are never the same, thus visualizing the air
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Friday, 30 October 09 - 07:41 AM (GMT -06:00) By ro / lu in art |
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showing the air (1969) - bruno munari
"A performance at the Campo Urbano event. Munari invites participants to the top of a tower to throw pieces of paper of different forms folded in different ways to fall to the earth following trajectories that are never the same, thus visualizing the air in Piazza Duomo"
posted by matt olson
There is a place in Portugal that used to be called o fin do mundo (the end of the world). It was thought that this is where the land ended and the sea began (onde a terra acaba e o mar começa). A one minute hand held video of the ocean was shot at...
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Friday, 30 October 09 - 07:35 AM (GMT -06:00) By ro / lu in art |
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"There is a place in Portugal that used to be called o fin do mundo (the end of the world). It was thought that this is where the land ended and the sea began (onde a terra acaba e o mar começa). A one minute hand held video of the ocean was shot at this location and can be downloaded here:
http://davidhorvitz.com/free/portugal.mov.
Download the video, burn it to a DVD, put it inside a DVD player inside a store that sells televisions, press play, put it on repeat, and leave it. "
via 2009
please enjoy.
posted by matt olson
My Father's Diary - On his deathbed a man gives his daughter a book, a precious book, filled with texts, signs, diagrams, drawings. "This is my diary..." he starts to tell her, but too weak to give additional information he closes his eyes... forever.
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Thursday, 29 October 09 - 08:04 AM (GMT -06:00) By ro / lu in art |
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guy de cointet
posted by matt olson
Heizer was exposed to numerous influences during his youth that would later shape his art: not only his father's anthropological field work, which took him to rural California, Nevada, Peru, and Bolivia, but also the work of his maternal grandfather, Olaf
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Tuesday, 27 October 09 - 06:10 AM (GMT -06:00) By ro / lu in art |
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windows 1968
windows matchdrop dispersal 1968
dissipate 1968
1968 - michael heizer
please enjoy.
Have you have heard of the Experientialist movement? Maybe you read the term on a press release, on a website or heard it spoken somewhere. But what is an Experientialist and what do they do? There is no manifesto and there has been nothing written to...
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Friday, 23 October 09 - 11:34 AM (GMT -06:00) By ro / lu in art |
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momentary performance # 4 - lee walton
lee walton's momentary performances will take place around the twin cities from sept-nov. each performance is a simple action that in everyday life would be normally overlooked. by giving this action or performance a time, date, and location, walton's intention is to highlight the subtleties and beauties of everyday people and actions. -from the shows program
a couple months back after spending the afternoon at the walker art center in "the quick and the dead" exhibit, my friend david and i stood stunned in the underground parking garage talking about how overwhelming the show was. one of the museum guards told us about an an unlisted work in the show by the artist trisha donnelly, a car in the parking garage with california plates that read 666. we found it and we loved it. at about the same time, we noticed several large pipes running close to the ceiling that reached a spot where they were disconnected, so that any fluid running through them would've just spilled out. it almost looked like it could've been art. all it needed was some conceptual context to frame the disconnected pipes with. we talked about how, in the right frame of mind, almost anything can be art. we talked about how much we both love that idea.
lee walton's work often explores this concept. he's been on my radar for a couple years now via marisa olson and rhizome, the new media project at the new museum. he's currently got a solo show up here in minneapolis at the olson gallery called "momentary performances and things that last longer". if you're able, you have to go.
all the work in the show playfully explores how relatively minor changes to things, like relocating things, altering mundane things, and re-enacting things can become thought provoking and occasionally profoundly beautiful things.
from the video relocating (new york) - lee walton
after seeing the show i had a bunch of questions rolling around in my head and lee was kind enough to fill me in a bit:
me - i'm wondering about the word "experientialism". i've seen the term in relation to your work (and a few other artists i like). could you explain what this means to you? is it actually a movement? did you coin this term?
lee walton - this is a tough question really. I did coin the term. Back in 2001. It was more a negation of other terms, rather than anything else. I have been labeled performance artists, conceptual artists, or (the newest one) "Social Practice artist". All are good. and Its all connected. But I felt that if I latched on to one of these and accepted it fully, I would then be filling a role of some kind. I am more interested in an open-ended situation - such as being an Experientialist - whatever that is. Also, as a young artist, trying to coin a movement was the LAST thing you were ever supposed to do. So it seemed appropriate to do it right away.
There is a thrill when I see the term used to describe my work or others. Especially when its in an art paper or public press. Its like "sneaking" something into the vernacular and just seeing if it floats.
Experientialism... hmm... Experiential Practice? I still like it!
destination specific floor sculptures - lee walton
another element of the show that i really liked are the six large, colorful primary shape based "destination specific floor sculptures". each piece has instructions for its de-installation, the date and it's destination...
On Wednesday, November 11, drive this sculpture to Wisconsin and lean it against something.
On Tuesday, November 17th, take this sculpture and leave it at a bus stop on Snelling Ave. Walk away, never look back.
On Thursday, December 3rd, cut this sculpture into seven different pieces. Give each piece to a stranger.
me - i love the "destination specific floor sculptures". can you talk a bit about them? will the instructions actually be executed?
lee walton - As for the deinstallation of the plywood sculptures, they will definitely be executed. You can help if you want. note - rolu will be deinstalling and documenting some of the sculptures.
A funny thing happened as I was planning the show. At a certain point i realized that nothing in the show looked like ART. So, I had this inclination to create a set of large minimal Kelly, McCracken style sculptures. I have always wished i could do this sort of thing.
All the pieces were made by Caylon, a student at Bethel. We worked together over the phone and email. The goal was to make things that looked like ART. They also had to be just awkward enough that one person couldn't carry them alone.
When I called and asked Michelle (michelle westmark - the olson gallery curator) about them, I asked "do they look like ART?" She laughed. YES!
So, yes.. they will be discarded appropriately. I originally thought about discarding everyday objects, such as chairs, toasters, a pillow - things like that. But it seemed more fun to discard ART. Plus, the actual spectacle of seeing somebody carry this thing down the street will become another Momentary Performance of sorts. I like when the art bleeds into real life just enough.
charcoal chess tournament drawings - lee walton
the "charcoal chess tournament drawings" are chess games that actually occurred in the olson gallery. the minnesota chess club drew and erased games in charcoal on paper. you watch the games happening in a video and you realize... this is something that happens in every chess game but you normally don't see it. the results are actually beautiful.
charcoal chess tournament drawings - lee walton
i highly suggest looking into lee walton if you aren't familiar... and if you live here in the twin cities, make sure you get to the show.
here's more on Experientialism via art in general
lee walton's book "the experiential project" via amazon
2005 interview with lee walton via big red and shiny.
posted by matt olson
erich reusch - I have been devising decentralised sculptures since my first of that kind in 1956. Reducing the individual forms to a minimum (cubes, discs or columns) set up areas of tension. By compression or scattering, these attained considerable ...
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Thursday, 22 October 09 - 09:59 AM (GMT -06:00) By ro / lu in art |
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paving stones (1978) - erich reusch
posted by matt olson
On October 16, a fire destroyed 90 percent of the estate of Brazilian neoconcretist Helio Oiticica (1937–1980), housed at the artist’s brother César Oiticica's residence in Brazil. The fire consumed an estimated $200 million worth of artwork in the ....
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Tuesday, 20 October 09 - 08:57 AM (GMT -06:00) By ro / lu in art |
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"b 14 box bolide 11" (1964) - helio oiticica
i've been interested in and studying helio oiticica and his work for the last few months.
last friday a fire destroyed about 2,000 pieces, or 90% of his work. here's more...
RIO de JANEIRO— On October 16, a fire destroyed 90 percent of the estate of Brazilian neoconcretist Helio Oiticica (1937–1980), housed at the artist’s brother César Oiticica's residence in Brazil. The fire consumed an estimated $200 million worth of artwork in the form of 2,000 individual pieces. The artist's works were originally moved to Cesar’s house as a result of disagreements over money and the adequacy of the storage facilities at the Centro Municipal de Arte Hélio Oiticica.
The cause of the fire has not yet been determined. Cesar’s house was equipped with humidity and temperature controls for the works, as well as working fire alarms and other safety systems. The fire took around three hours to be brought under control. The Brazilian tourism minister has called for an investigation into the causes of the fire and to see whether any works can be recovered.
The works lost in the fire were uninsured, reportedly due to financial issues, and included the artist’s archive of materials, which included drawings, notes, documentaries, and books. Key pieces such as Bólides, Parangolés, and works from the Oiticica’s 2007 exhibitions at the Tate and the Museum of Fine Arts in Houston were destroyed. The fire also claimed pictures and film negatives by Brazilian photographer José Oiticica, Helio and César’s father.
it doesn't seem like this kind of thing could happen. unreal.
stunning.
posted by matt olson
Walther schuf in den Jahren von 1963 bis 1969 einen „1. Werksatz“: Ein Ensemble von textilen Objekten, die den Betrachter zur konkreten Auseinandersetzung einladen. Ein „2. Werksatz“ besteht aus begehbaren Metallobjekten. Diese und andere Werke sind für..
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Monday, 19 October 09 - 10:11 AM (GMT -06:00) By ro / lu in art |
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straight line semi circle same length 1975 - franz erhard walther
please enjoy.
posted by matt olson
When this piece was conceived I’m sure Bruce Nauman was probably thinking there’d be a tree right outside the gallery. The expanded Walker sprawls out over a city block with the only mature tree at the far southeast corner of the property. This posed ...
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Thursday, 15 October 09 - 08:31 AM (GMT -06:00) By ro / lu in art |
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microphone/tree piece 1971 - bruce nauman
the story of an art installers history with a couple of my favorite bruce nauman pieces.
please enjoy.
posted by matt olson
In 1968, Walter De Maria made a land drawing called Mile Long Drawing in the Mojave Desert, his first earthwork. De Maria's work was typically less permanent or less intrusive on the landscape than Michael Heizer's or Robert Smithson's - somewhat ecologic
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Monday, 12 October 09 - 08:38 AM (GMT -06:00) By ro / lu in art |
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walter de maria - mile long drawing 1968.
please enjoy.
posted by matt olson
Participation Française à la Biennale de Venise, 1970 /Participation Française à la Biennale de Venise, 1970 / Participation Française à la Biennale de Venise, 1970 / Participation Française à la Biennale de Venise, 1970 / Participation Française à la Bie
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Thursday, 08 October 09 - 10:59 AM (GMT -06:00) By ro / lu in art |
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Participation Française à la Biennale de Venise, 1970 by claude parent.
via wanna deprez / ony one's flickr.
please enjoy.
posted by matt olson
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