Teams and Tasks

furniture setup: Katie, Monica
cleanup: Micheal (and anyone who does not have class at 11:30 am)
snacks: Sahar, Anahita, Alanna
mounting section: Nancy, Karen, Amin, Ho-Been
map collection: Anna, Mehdi, Eve, Claudia, Zahra
map curator: Nathan
documentation: Amanda, Tiffany

Exercise Seven, Anna Totska.

VESSNA PERUNOVICH

Farewell

"... The work of Canadian Artist Vessna Perunovich is about finding a balance, a way of understanding and (possibly) resolving the tension between conflicted or opposite states of mind and being. The cultural displacement, relationships and roles within family-life are all examined. The metaphoric qualities of her pieces lend themselves naturally to a multiplicity of readings. Her repeated use of materials such as pantyhose and elastic ribbon carry with them the inherent quality of being "stretched". Perunovich wants to explore, and wants the viewer to see, that the roles and confines which are put upon us as a society need to be streched, reshaped and redifined..." 

Virginia M. Eichhorn

Link 1.

Link 2.

Monica's Post - Exercise Seven

Growing Rock Candy Mountain
Grasses in Canned Sand
1992
Violet bathing suite material (23 x 12m), sand stone native to Munster, gaseous
concrete building blocks, plaster, basket material, electrical wiring, 3 very
small lights, newspaper glued to the wall, acrylic paint, metal cables,
styrofoam
Room approx. 29 x 9m

"Stockholder is a pioneer of multimedia genre-bending installations...Her
site-specific interventions and autonomous floor and wall pieces have been
describes as "paintings in space"...Her work is energetic, cacophonous and
idiosyncratic...Stockholder's installations, sculptures, and collages affirm
the primacy of pleasure, the blunt reality of things, classical order/intuitive
expressionism, conscious thought/unconscious desire."
From website:http://www.pbs.org/art21/artists/stockholder/index.html

Book: Jessica Stockholder. 1995 Chronicle Books. Barry Schwabsky. Phaidon Press.
illus. Trade Paper. 160p.

Exercise Seven: Nathan Albion

Alexander Calder

Black Widow

Sculpture Garden, MoMA: NY, NY

Alexander Calder revolutionized the art of sculpture by making movement one of its components.  Yet his invention of the "mobile" -- a word coined in 1931 by artist Marcel Duchamp to designate Calder's moving sculpture -- was only one of Calder's achievements.  In  his early wire figures and in his "stabiles," static sculptures in sheet metal, Calder created innovative works by exploring the aesthetic possibilities of untraditional materials.  As a major Contribution to the development of abstract art, Calder's stabiles and mobiles challenged the prevailing notion of sculpture as a composition of masses and volumes by proposing a new definition based on the ideas of open space and transparency.  With the giant stabiles of the latter part of his career, Calder launched a new type of public sculpture -- one which proved so successful that many of these works have become landmarks in cities around the globe.

(Taken from an introduction to a Calder exhibit by the National Gallery of Art)

"Calder", Text by H. H. Arnason, Photographs by Pedro E. Guerrero.  Van Nostrand Company 1966.

www.calder.org

Exercise 7: Tiffany Huta

Anish Kapoor / Lynda Forsha ; with an essay by Pier Luigi Tazzi.

Anish Kapoor








Anish Kapoor
Void 1991-92
Fibreglass and pigment
161 (diam.) x 120cm















“I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.” –Anish Kapoor

"Exercise Seven: Louise Bourgeois: Nancy"

Louise Bourgeois Website

Quote:
“An artist can show things that other people are terrified of expressing.

Cumul l, 1969. Marble, 20 1/16 x 50 x48 1/16 inches (51 x 127 x 122 cm). Musee National d’Art Moderne, centre Georges Pompidou, Paris

Mehdi Hosseini-Exercise 7

Abuse of Power Comes as No Surprise, ca. 1984
click here to visit her art works.

" At the beach I would make paintings on long pieces of fabric and leave them so that people would come along and wonder what this thing was that had obviously been left by someone hoping to tickle their imaginations a little bit. Downtown I’d put bread out in abstract patterns so people could watch pigeons eat in squares and triangles….But the works weren’t beautiful enough or compelling enough or understandable enough to make people stop.”

Exercise 7: Karen Lee

Brian Jungen
His work->http://www.catrionajeffries.com/b_b_jungen_works.html

Prototype for New Understanding 2005

Nike air Jordans

" I was interested in the ubiquitousness of native motifs, especially in Vancouver, and how they have been corrupted and applied and assimilated commercially, e.g in the tourist industry. It was interesting to see how by simply manipulating the Air Jordan shoes you could evoke specific manipulating the Air Jordan shoes you could evoke specific cultural traditions whilst simultaneously amplifying the process of cultural corruption and assimilation. The Nike "mask" sculptures seemed to articulate a paradoxical relationship between a consumerist artifact and an "authentic" native artefact" (Quote by Brian Jungen)

(Augaitis D.(2005) Brian Jungen.Vancouver:Friesens)

Exercise Seven: Anahita Kiani

OLAFUR ELIASSON


Your Gyroscope, 2008

Olafur Eliasson uses his imagination together with simple technologies and materials such as glass, floor lamps, fans and mirrors to explore ideas of space. Eliasson developed analogies between colour and sounds. He and number of other famous architects including Robert Irwin and James Turell believe in the connection between the sounds of specific musical instrument and colour.

Eliasson believes in our ability to hear colours and to see sounds. On this point,he says," We're metaphors. We always come in the colour and shape of our imagination."

www.olfureliasson.net

Exercise Seven - Amanda Compagnone

SOL LEWITT

SPLOTCH #15, 2005 (Acrylic on fiberglass 12' x 8'4" x 6'8")

"Conceptual artists are mystics rather than rationalists.They leap to conclusions that logic cannot reach."

-Sol LeWitt

"Sol LeWitt, whose deceptively simple geometric sculptures, drawings and ecstatically colored jazzy wall paintings established him as a lodestar of modern American art... LeWitt helped establish Conceptualism and Minimalism as dominant movements of the postwar era."

- Michael Kimmelman, New York Times

Sole LeWitt - Structures 1962 - 2003
Sole LeWitt - Wall Drawings 1176: Seven Basic Colours & All Their Combination in a Square Within a Square

Richard Serra

Richard Serra Elevations, Repition (2006)

"To cut is to draw a line, is to separate, to make a distinction. In the sawing pieces the cut as line informs the material, the structure and the process."

"There is an attempt to diminish the distinction between architecture and sculpture as architects overlap the non functional determintaion of sculpture into their constructs. The converse is not the problem of my sculpture." About "Sight Point", 1971-75

Interview by Friedrich Teja Bach, 14 March 1975

www.gagosian.com/artists/richard-serra/

Exercise Seven: Michael Pham

Carsten Höller

"Upside Down Mushroom Room"

1994-1995

2000 exhibited at Fondazione Prada Milan

Click link for more artwork of Carsten Höller http://www.airdeparis.com/holler.htm#

"The mushrooms are confined to an upside down room, illuminated from below - there's a reference to the Umkehrbrille (Upside Down Spectacles) (1993), but here the room appears to be upside down without having to resort to glasses. At the beginning of the twentieth century, George Stratton wore spectacles of this type for eight days running. After passing through intermediate stages in which he saw, for example, a candle upside down when it was unlit and in the "correct" position when it was burning, on the eighth day he saw everything as he did before wearing the glasses. He had adapted once again to the continuous process of adjustment that is part of sight, because the image on the retina is upside down before the brain deals with it. When you see the world upside down, you're seeing the "real" world"

Quote sited from: http://dedismo.tripod.com/computermusic/id2.html

Exercise7: Amin Shahinbakhsh

------Donald Judd-------

galvanized iron, 1965

blue enamel on aluminum, 1970/1983

“A shape, a volume, a colour a surface is something itself, it shouldn’t be concealed as part of a fairly different whole.”

Donald Judd

more information RIGHT HERE

Exercise Seven: HB

Carlos Garaicoa

Ahora juguemos a desaparecer I (Now Let’s Play to Disappear I), 2001, metal table, candles.

Installation view, Sonsbeek 9, Arnhem, The Netherlands. 

Courtesy of the Giuliana and Tomaso Setari Collection, France-Italy.

More about Carlos Garaicoa: visit  here.

“The conception of history as a fictitious element and its reconstruction, taking into account its implications in relation to the urban space, is the basis for most of my work”. 

Culturebase.net, February 7, 2006

Exercise Seven: Katie Felton

Giuseppe Penone

Cedro di Versailles, 600x170cm, 2002-2003.

"Penone's works demonstrate a persistent commitment to the Arte Povera obsession with the body and nature. His actions of the '60s and early '70s uniquely combined humanist empiricism with a sense of craft, a European artisanal approach crossed with avant-garde actions. Penone insists that he now works in bronze because the oxidation process (over time) mimics the ability of water to change the surface of stones in a river. His interventions are personal and intimate, with a druid-like commitment to the earth and its fallen trees. For this reason, Penone continues to inspire reactions of nostalgia for a time that was best described by the avid collector of Arte Povera, Ingvild Goetz: "art was brazen, revolutionary and poetic." 

-Sculpture Magazine, "The Poetry of Art and Nature." December, 2004. 

Giuseppe Penone Online

Exercise Seven: Alanna

David Altmejd

Book: David Altmejd by Louise Déry

For more examples of his work & a brief biography, see the ModernArt.net site.

The University 1, 2004. Mirror & Wood. 66" x 71" 106"

"With his installations of severed werewolf heads, taxidermied animals and decaying giants, sculptor David Altmejd certainly seems obsessed with the macabre. 'A lot of people think that I'm really fascinated by death and morbidity, but I'm much more interested in life. I just think that things look more alive when they're growing on top of what's dead,' he says, bending his fingers to mimic blades of growing grass."

By Catherine Hong, wmagazine.com
November 2007