1868 Résultats
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born(...)
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born(...)
Titre:
Gordon Matta-Clark: works and collected writings
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born Surrealist painter Roberto Matta and Anne Clark, and godson of Marcel Duchamp, with whom he played a regular game of chess in the Village, Matta-Clark had grown up inside the art world, also working an as assistant to mavericks like Dennis Oppenheim and Robert Smithson. His work and words, while sophisticated enough to make him an "artist's artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. He addressed not only space and real estate (in other words, housing), but the ultimate in necessity and nourishment, food. His "Pig Roast" under the Brooklyn Bridge offered passersby 500 pork sandwiches, and Food, the artist-staffed restaurant that he opened with dancer Caroline Goodden in SoHo, became a headquarters for that nascent neighborhood in the early 70s. He consistently broke the boundaries between sculpture and architecture, photography and film, performance and installation, and above all the permanent and the transitory. Once in a while he also broke the law. This book, published in celebration of the gradual opening of Matta-Clark's archives at the Canadian Centre for Architecture in Montreal, collects previously unavailable writings, including notecards and notebooks, along with interviews and more than 100 illustrations.
Gordon Matta-Clark: works and collected writings
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born Surrealist painter Roberto Matta and Anne Clark, and godson of Marcel Duchamp, with whom he played a regular game of chess in the Village, Matta-Clark had grown up inside the art world, also working an as assistant to mavericks like Dennis Oppenheim and Robert Smithson. His work and words, while sophisticated enough to make him an "artist's artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. He addressed not only space and real estate (in other words, housing), but the ultimate in necessity and nourishment, food. His "Pig Roast" under the Brooklyn Bridge offered passersby 500 pork sandwiches, and Food, the artist-staffed restaurant that he opened with dancer Caroline Goodden in SoHo, became a headquarters for that nascent neighborhood in the early 70s. He consistently broke the boundaries between sculpture and architecture, photography and film, performance and installation, and above all the permanent and the transitory. Once in a while he also broke the law. This book, published in celebration of the gradual opening of Matta-Clark's archives at the Canadian Centre for Architecture in Montreal, collects previously unavailable writings, including notecards and notebooks, along with interviews and more than 100 illustrations.
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Publication:
octobre 2006
octobre 2006
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
Titre:
Strange new world : art and design from Tijuana
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
Strange new world : art and design from Tijuana
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
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Publication:
août 2006, La Jolla
août 2006, La Jolla
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"Transmission: the art of Matta and Gordon Matta-Clark" presents the first comprehensive examination of the overlapping spheres of art and architecture in the work of two pioneering father and son artists: the Surrealist painter Matta (Roberto Sebastin Antonio Matta Echaurren) (1912-2002) and the multifaceted urban Conceptualist Gordon Matta-Clark (1943-1978). Organized(...)
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"Transmission: the art of Matta and Gordon Matta-Clark" presents the first comprehensive examination of the overlapping spheres of art and architecture in the work of two pioneering father and son artists: the Surrealist painter Matta (Roberto Sebastin Antonio Matta Echaurren) (1912-2002) and the multifaceted urban Conceptualist Gordon Matta-Clark (1943-1978). Organized(...)
Titre:
Transmission : the art of Matta and Gordon Matta-Clark
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"Transmission: the art of Matta and Gordon Matta-Clark" presents the first comprehensive examination of the overlapping spheres of art and architecture in the work of two pioneering father and son artists: the Surrealist painter Matta (Roberto Sebastin Antonio Matta Echaurren) (1912-2002) and the multifaceted urban Conceptualist Gordon Matta-Clark (1943-1978). Organized by Betti-Sue Hertz, "Transmission" offers new perspectives on the impact of Matta's role in the development of late Surrealism and Matta-Clark's influence on the 1970s SoHo art scene. Both artists were originally trained as architects, and though they ostensibly rejected the profession in favor of art, each relied strongly on concepts of architectural space as they forged new practices in art. This illustrated publication compares Matta's metaphysical concepts and gestural pictorial practice with Matta-Clark's conceptually driven drawings and cut buildings; illustrates how aspects of Surrealism, especially as filtered through the work of Marcel Duchamp, were adopted by Matta-Clark and his circle; and explores the commonalities and differences in Matta's depictions of interior mindscapes and Matta-Clark's physical actions on buildings in the urban milieu. The catalogue presents essays and research by art historian Briony Fer, art critic Justo Pastor Mellado, architectural theorist Anthony Vidler, and the San Diego Museum of Art's curator of contemporary art, Betti-Sue Hertz.
Transmission : the art of Matta and Gordon Matta-Clark
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"Transmission: the art of Matta and Gordon Matta-Clark" presents the first comprehensive examination of the overlapping spheres of art and architecture in the work of two pioneering father and son artists: the Surrealist painter Matta (Roberto Sebastin Antonio Matta Echaurren) (1912-2002) and the multifaceted urban Conceptualist Gordon Matta-Clark (1943-1978). Organized by Betti-Sue Hertz, "Transmission" offers new perspectives on the impact of Matta's role in the development of late Surrealism and Matta-Clark's influence on the 1970s SoHo art scene. Both artists were originally trained as architects, and though they ostensibly rejected the profession in favor of art, each relied strongly on concepts of architectural space as they forged new practices in art. This illustrated publication compares Matta's metaphysical concepts and gestural pictorial practice with Matta-Clark's conceptually driven drawings and cut buildings; illustrates how aspects of Surrealism, especially as filtered through the work of Marcel Duchamp, were adopted by Matta-Clark and his circle; and explores the commonalities and differences in Matta's depictions of interior mindscapes and Matta-Clark's physical actions on buildings in the urban milieu. The catalogue presents essays and research by art historian Briony Fer, art critic Justo Pastor Mellado, architectural theorist Anthony Vidler, and the San Diego Museum of Art's curator of contemporary art, Betti-Sue Hertz.
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octobre 2006, San Diego
octobre 2006, San Diego
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Drawings by Marcel Dzama
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most(...)
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most(...)
Publication:
janvier 2005, Windsor
janvier 2005, Windsor
Titre:
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most comprehensive publication on Dzama's work to date, Patten examines the seminal evolution of Dzama's idiosyncratic approach to drawing between 1996 and 2001. Referring to Mikhail Bakhtin's concept of grotesque humour and the carnivalesque, he demonstrates how each drawing is an amalgam of allusions to 20th century popular culture. With an introduction by Wayne Baerwaldt, director of the Power Plant. Originally from Winnipeg, Marcel Dzama has had numerous solo exhibitions, notably at the Los Angeles Invitational Biennial, Richard Heller Gallery of Santa Monica and Sies + Hoke of Dusseldorf. He has also exhibited widely as a member of the Royal Art Lodge, most recently at New York's Drawing Room.
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most comprehensive publication on Dzama's work to date, Patten examines the seminal evolution of Dzama's idiosyncratic approach to drawing between 1996 and 2001. Referring to Mikhail Bakhtin's concept of grotesque humour and the carnivalesque, he demonstrates how each drawing is an amalgam of allusions to 20th century popular culture. With an introduction by Wayne Baerwaldt, director of the Power Plant. Originally from Winnipeg, Marcel Dzama has had numerous solo exhibitions, notably at the Los Angeles Invitational Biennial, Richard Heller Gallery of Santa Monica and Sies + Hoke of Dusseldorf. He has also exhibited widely as a member of the Royal Art Lodge, most recently at New York's Drawing Room.
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janvier 2005, Windsor
janvier 2005, Windsor
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Titre:
Light art
Light art
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This is a volume on Light Art, the current in contemporary art that uses artificial light as its primary expressive instrument. In the first section an extensive introductory essay by Amnon Barzel underlines how practically interrupted study into the chromatic values of light have been part of the history of art from its very beginnings right through to the most(...)
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This is a volume on Light Art, the current in contemporary art that uses artificial light as its primary expressive instrument. In the first section an extensive introductory essay by Amnon Barzel underlines how practically interrupted study into the chromatic values of light have been part of the history of art from its very beginnings right through to the most(...)
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juillet 2006, 2005
juillet 2006, 2005
Titre:
Light art
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This is a volume on Light Art, the current in contemporary art that uses artificial light as its primary expressive instrument. In the first section an extensive introductory essay by Amnon Barzel underlines how practically interrupted study into the chromatic values of light have been part of the history of art from its very beginnings right through to the most recent developments, recalling the experiences of Caravaggio and de La Tour regarding internal light and the expressionists for external light, thus underlining how the invention of artificial light has enriched the light-art relationship opening a fascinating new chapter, inaugurated by the experiments carried out from the fifties by artists such as Fontana, Flavin, Merz and others. A text by Paolo Targetti follows dealing with the fundamental role played by the relationship between art and industry in contemporary art. Consuelo de Gara conducts an extended interview of James Turrell, the US artist unanimously considered the greatest master of Light Art. The second section is devoted to the Targetti Light Art Collection, one of the most prestigious collections in the world dealing with artificial light. The images and description of each of the works which make up the collection are accompanied by a retrospective critical text on the artists who created them. Among the artists presented are some of considerable fame including Olafur Eliasson, Gilberto Zorio, Anne and Patrick Poirier, Fabrizio Plessi and Hidetoshi Nagasawa as well as young up-and-coming talents, winners of the first four editions of the International Targetti Light Art Prize.
Light art
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This is a volume on Light Art, the current in contemporary art that uses artificial light as its primary expressive instrument. In the first section an extensive introductory essay by Amnon Barzel underlines how practically interrupted study into the chromatic values of light have been part of the history of art from its very beginnings right through to the most recent developments, recalling the experiences of Caravaggio and de La Tour regarding internal light and the expressionists for external light, thus underlining how the invention of artificial light has enriched the light-art relationship opening a fascinating new chapter, inaugurated by the experiments carried out from the fifties by artists such as Fontana, Flavin, Merz and others. A text by Paolo Targetti follows dealing with the fundamental role played by the relationship between art and industry in contemporary art. Consuelo de Gara conducts an extended interview of James Turrell, the US artist unanimously considered the greatest master of Light Art. The second section is devoted to the Targetti Light Art Collection, one of the most prestigious collections in the world dealing with artificial light. The images and description of each of the works which make up the collection are accompanied by a retrospective critical text on the artists who created them. Among the artists presented are some of considerable fame including Olafur Eliasson, Gilberto Zorio, Anne and Patrick Poirier, Fabrizio Plessi and Hidetoshi Nagasawa as well as young up-and-coming talents, winners of the first four editions of the International Targetti Light Art Prize.
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Publication:
juillet 2006, 2005
juillet 2006, 2005
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Albert Paley : sculpture
Albert Paley : sculpture
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The site-specific metal assemblages Albert Paley has created over the past three decades place him not only in the forefront of contemporary sculpture but also in the vanguard among artists working in the new, genre-defying area that has been called "Archisculpture." This monograph presents the full spectrum of Albert Paley's work. Paley goes beyond creating sculptures(...)
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The site-specific metal assemblages Albert Paley has created over the past three decades place him not only in the forefront of contemporary sculpture but also in the vanguard among artists working in the new, genre-defying area that has been called "Archisculpture." This monograph presents the full spectrum of Albert Paley's work. Paley goes beyond creating sculptures(...)
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Albert Paley : sculpture
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The site-specific metal assemblages Albert Paley has created over the past three decades place him not only in the forefront of contemporary sculpture but also in the vanguard among artists working in the new, genre-defying area that has been called "Archisculpture." This monograph presents the full spectrum of Albert Paley's work. Paley goes beyond creating sculptures that stand as isolated works of art. His sculptures enhance the spaces in which they are placed and, in return, are enhanced by those spaces. He has established himself as an artist who is constantly pushing boundaries, questioning old categories and redefining himself in his own distinctive idiom, at once visionary and persuasively tangible. Art historian Donald Kuspit discusses Paley's development as an artist, his virtuosity as a monumental sculptor and his diverse achievements.
Albert Paley : sculpture
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The site-specific metal assemblages Albert Paley has created over the past three decades place him not only in the forefront of contemporary sculpture but also in the vanguard among artists working in the new, genre-defying area that has been called "Archisculpture." This monograph presents the full spectrum of Albert Paley's work. Paley goes beyond creating sculptures that stand as isolated works of art. His sculptures enhance the spaces in which they are placed and, in return, are enhanced by those spaces. He has established himself as an artist who is constantly pushing boundaries, questioning old categories and redefining himself in his own distinctive idiom, at once visionary and persuasively tangible. Art historian Donald Kuspit discusses Paley's development as an artist, his virtuosity as a monumental sculptor and his diverse achievements.
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Publication:
octobre 2006, Milano
octobre 2006, Milano
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Claes Oldenburg and Coosje van Bruggen define their artistic collaboration as “a synthesis of opposites”. Characterised by a constant interaction between two strong and distinct identities, their collaboration, approaching the complexity of the contemporary world dynamically, has redefined the concept of sculpture. This is a comprehensive monograph devoted to this(...)
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Claes Oldenburg and Coosje van Bruggen define their artistic collaboration as “a synthesis of opposites”. Characterised by a constant interaction between two strong and distinct identities, their collaboration, approaching the complexity of the contemporary world dynamically, has redefined the concept of sculpture. This is a comprehensive monograph devoted to this(...)
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Claes Oldenburg Coosje van Bruggen : sculpture by the way
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Claes Oldenburg and Coosje van Bruggen define their artistic collaboration as “a synthesis of opposites”. Characterised by a constant interaction between two strong and distinct identities, their collaboration, approaching the complexity of the contemporary world dynamically, has redefined the concept of sculpture. This is a comprehensive monograph devoted to this celebrated couple of contemporary artists who have, through their collaboration, ventured into new territories, leading their artistic language towards interaction with other disciplines and thus creating a new artistic language; it documents their creative development. Modifying the language of monumental sculpture created for public spaces, since the end of the seventies these two artists have developed their work bringing it to dimensions that are at times colossal. The monograph, published for a retrospective held at Rivoli Castle, investigates the close ties that exist between their works and architecture. It traces the evolution of their art from the mid-eighties to today placing particular emphasis on works created since the early nineties where dynamic tension resulting from performative gesture has given rise to investigations into issues connected with human frailty faced with the inexorable potency of time. The volume contains an interview with the artists which is being published for the first time, an anthology of writings, a bio-bibliography and a huge new work specially created for the occasion: Dropped Flower.
Claes Oldenburg Coosje van Bruggen : sculpture by the way
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Claes Oldenburg and Coosje van Bruggen define their artistic collaboration as “a synthesis of opposites”. Characterised by a constant interaction between two strong and distinct identities, their collaboration, approaching the complexity of the contemporary world dynamically, has redefined the concept of sculpture. This is a comprehensive monograph devoted to this celebrated couple of contemporary artists who have, through their collaboration, ventured into new territories, leading their artistic language towards interaction with other disciplines and thus creating a new artistic language; it documents their creative development. Modifying the language of monumental sculpture created for public spaces, since the end of the seventies these two artists have developed their work bringing it to dimensions that are at times colossal. The monograph, published for a retrospective held at Rivoli Castle, investigates the close ties that exist between their works and architecture. It traces the evolution of their art from the mid-eighties to today placing particular emphasis on works created since the early nineties where dynamic tension resulting from performative gesture has given rise to investigations into issues connected with human frailty faced with the inexorable potency of time. The volume contains an interview with the artists which is being published for the first time, an anthology of writings, a bio-bibliography and a huge new work specially created for the occasion: Dropped Flower.
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Publication:
octobre 2006, Milan
octobre 2006, Milan
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Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making(...)
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Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making(...)
Titre:
Inhabiting : The works of Isabelle Hayeur / Habiter : les oeuvres d'Isabelle Hayeur
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Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs.
Inhabiting : The works of Isabelle Hayeur / Habiter : les oeuvres d'Isabelle Hayeur
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Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs.
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Publication:
juillet 2006, Oakville
juillet 2006, Oakville
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In "Poems and drawings", first published in 1958, Josef Albers attempted to penetrate the meaning of art and life by the simplest, most disciplined means. This project was extremely important to Albers, who used its format to create complementary forms in both word and line that appear deceptively simple until they begin to disclose the author’s insights into nature, art,(...)
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In "Poems and drawings", first published in 1958, Josef Albers attempted to penetrate the meaning of art and life by the simplest, most disciplined means. This project was extremely important to Albers, who used its format to create complementary forms in both word and line that appear deceptively simple until they begin to disclose the author’s insights into nature, art,(...)
Titre:
Josef Albers : poems and drawings
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In "Poems and drawings", first published in 1958, Josef Albers attempted to penetrate the meaning of art and life by the simplest, most disciplined means. This project was extremely important to Albers, who used its format to create complementary forms in both word and line that appear deceptively simple until they begin to disclose the author’s insights into nature, art, and life. Conceived as a kind of artist’s book, the publication features 22 of Albers’s refined line drawings alongside the same number of his original poems—each appearing in both English and German. Printed initially in a limited edition and long out of print, this new edition of "Poems and drawings" replicates Albers’s original book design and includes four previously unpublished poems that reveal playful and tender details behind Albers’s personal relationships, along with a new introduction by Nicholas Fox Weber.
Josef Albers : poems and drawings
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In "Poems and drawings", first published in 1958, Josef Albers attempted to penetrate the meaning of art and life by the simplest, most disciplined means. This project was extremely important to Albers, who used its format to create complementary forms in both word and line that appear deceptively simple until they begin to disclose the author’s insights into nature, art, and life. Conceived as a kind of artist’s book, the publication features 22 of Albers’s refined line drawings alongside the same number of his original poems—each appearing in both English and German. Printed initially in a limited edition and long out of print, this new edition of "Poems and drawings" replicates Albers’s original book design and includes four previously unpublished poems that reveal playful and tender details behind Albers’s personal relationships, along with a new introduction by Nicholas Fox Weber.
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Publication:
août 2006, New Haven
août 2006, New Haven
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As the book reveals, Maya Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This volume also introduces three new installation works created for the "Systematic Landscapes"(...)
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As the book reveals, Maya Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This volume also introduces three new installation works created for the "Systematic Landscapes"(...)
Publication:
septembre 2006, Seattle
septembre 2006, Seattle
Titre:
Maya Lin : systematic landscapes
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Résumé:
As the book reveals, Maya Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This volume also introduces three new installation works created for the "Systematic Landscapes" exhibition, along with a series of related drawings and reliefs demonstrating the expanding scope of Lin’s creative process. The largest of these installations, 2 x 4 Landscape, is composed from more than 45,000 sections of lumber placed on end that from a distance take on a pixel-like image of a hill, and close up create a form that evokes both mound and wave, earth and water.
Maya Lin : systematic landscapes
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Prix:
$49.95
(disponible sur commande)
Résumé:
As the book reveals, Maya Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This volume also introduces three new installation works created for the "Systematic Landscapes" exhibition, along with a series of related drawings and reliefs demonstrating the expanding scope of Lin’s creative process. The largest of these installations, 2 x 4 Landscape, is composed from more than 45,000 sections of lumber placed on end that from a distance take on a pixel-like image of a hill, and close up create a form that evokes both mound and wave, earth and water.
Classification:
livres
livres
Publication:
septembre 2006, Seattle
septembre 2006, Seattle
