MARTIN BOYCE
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Boyce was born in Hamilton, Scotland and studied environmental art at Glasgow School of Art from 1987 to 1990, before completing an MFA in 1997. He is interested in the ideals of modern design and architecture and how these have changed over time. While acknowledging the revolutionary ideas behind modernist design, Boyce examines the legacy of objects of classic design and their changed role today. His practice includes sculpture and installations and also wall paintings, fictional text and photography. In 2009 Boyce represented Scotland at the 53rd Venice Biennale with No Reflections and in 2011 he won the Turner Prize. Recent exhibitions include Devils in the Making, GoMA (2015); Martin Boyce. When Now is Night, RISD, Providence (2015) and Stellar Remnants, Johnen Galerie, Berlin (2014). Martin Boyce works across a range of media including sculpture, installation and photography as well as wall paintings and fictional text. At the core of his work is an exploration of modernist design and specifically how time has affected our understanding of design objects. Now I've got real worry (Mask and L-bar) from 1998-9 is an example of an early work in which Boyce has deconstructed two modernist objects by the iconic American designers, Charles and Ray Eames, making the leg splint into a tribal mask and the L-bar into a spear. In works such as this, Boyce compares the culture in which the objects were originally produced, in this case the optimism surrounding the post-war boom in manufacturing, to their position today as collectable art objects. Boyce's interest in modernist design was reinforced when he discovered a photograph of the concrete trees created by the sculptors Joél and Jan Martel for the 1925 Parisian Exhibition of Decorative Arts. This marks the departure point for his recent work. From the Martels' decidedly cubist-inspired interpretation of nature, Boyce devised his own grid-based vocabulary of geometric shapes that he has since used as a basis for all aspects of his art. He also created his own font of angular letters, which has allowed Boyce to develop his interest in language and narrative. Installation plays a significant role in Boyce's art. His distinct awareness of space and its effect on the viewer was honed through his education's focus on art for the public realm. Recalling familiar public spaces such as playgrounds, pedestrian walkways and abandoned or disused sites, Boyce's installations often have a ghostly or somewhat disquieting atmosphere. His 2002 installation. Our Love is Like the Flowers, the Rain, the Sea and the Hours at Tramway, Glasgow, transformed the gallery space into a darkened urban park, the only light emanating from trees constructed from tubular lamps. Such stage-sets create an imagined world where the past, present and future mix. Boyce merges the natural and the constructed, the populated and the uninhabited, the real and the imaginary, to create a melancholy interpretation of an unnamed landscape. from: https://www.nationalgalleries.org/art-and-artists/artists/martin-boyce |
JORGE PARDO - TECOH
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Jorge Pardo had never studied design, trained as an architect, or built a house when he undertook the creation of his first home on a hill high above downtown Los Angeles. In 1993, having been invited to present an exhibition at the city’s Museum of Contemporary Art (MoCA), the then 30-year-old Cuban-born artist proposed instead that he would build his own house, six miles away, and exhibit it as a work of art. A horseshoe-shaped single-story redwood structure that curled in on itself, Pardo’s 4166 Sea View Lane was closed to the street but open in the back, with windows offering views of the sea, the other rooms, and the landscaped courtyard. Every element—the lamps, furniture, tiles, garden, and kitchen cabinets—was designed by Pardo. For five weeks in 1998, five years after the initial commission, visitors were led on tours by docents in a kind of play on the real estate agent/client tango. Inside, the artist had installed his 110 hand-blown-glass lights, borrowed for the occasion from the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. When the show closed, Pardo moved in. - from www.wmagazine.com
FULL ARTICLE |
FUTURE RETRIEVAL
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Founded in 2008, Future Retrieval is the studio collaboration of Guy Michael Davis and Katie Parker. The pieces created utilize three-dimensional scanning and digital manufacturing of found forms that are molded and constructed in porcelain, mimicking the history of decorative arts and design. Our process addresses the conceptualization, discovery, and acquisition of form, to make content-loaded sculptures that reference design and are held together by craft. We incorporate an interdisciplinary approach to our work, striving to make influential historic objects relevant to today.
-from http://www.futureretrieval.com
Carol Bove - What the Tree Said
Carol Bove lives and works in New York. The focus of her artistic endeavor is an immense research project: by means of enquiring into the social history and art of the late 1960s and early 1970s, she relates the latter to the present and lends it greater depth. Here, she is as much interested in popular literature and the most popular avant-garde magazines of that period as she is in its architecture, music, art and design. For her, the former mark the influential and lasting social changes of that era, as evidenced, for example in the women's movement, the peace movement, the notion of liberated sexuality and the liberation of the individual through both psychological and physical practices of consciousness expanding.
In her exhibitions, Carol Bove forges atmospherically charged installations with artifacts and reconstructive creations that echo and convey the style and history of that period, as well as identifying its current validity.
Piles of books, the kind of popular literature of the time that periodically turns up in second-hand bookshops ("Touching", 2003) are to be found next to artfully arranged assemblies of books and photographs with furniture actually dating from the period or with a feel of that time to it. Original editions of magazines characteristic of the hippie era contrast with passages of text typed out by the artist from influential books on old-fashioned typewriters; faded-looking pen-and-ink work showing female nudes based on illustrations from magazines such as "Playboy", "The Hustler" or "Life" hang next to "frescos" meticulously crafted by the artist from threads, referencing Sol LeWitt.
Carol Bove describes herself as an anthropologist who combines autobiographical experiences with universally valid social phenomena, then transfers them into new systems of interrelation. Born in 1971, the artist appears to find the environment lived in by her mother in the 1960s and early 1970s more interesting, exciting and utopian than her own in the present and what started out as a biographical exercise has developed increasingly into research into how to use ways of looking at things and artifacts as an antidote to amnesia regarding and superficial knowledge of history.
Carol Bove's work starts with the kind of experiences we tend to have in museums when we come across objects that arouse our interest - and yet only have a rough idea of their significance, environment and reality, or at best are only familiar with the respective "myth". In her installations, Bove translates this budding interest, this desire for more extensive knowledge and a trip back through time into display situations which evidence both a typical aesthetic flair and the artistic practice of "institutional criticism" that has been prevalent since the 1980s, questioning ways of presenting art objects within the art context and addressing issues of design, decoration and historical continuity.
In her installations, alongside the book and magazine titles we can read titles such as "Utopia and Oblivion", "Experiment in Total Freedom" or "The Look of Thought; The Ways of Love". This creates an intellectual backdrop that allows the ambivalences and utopias of the era to emerge, highlighting an age that Carol Bove describes as an uncompleted project, one that has left its mark on our present-day world.
For Carol Bove, historical research entails both traveling in time, as in the science fiction of American author Colin Wilson, in whose book "The Philosopher's Stone" contact is established with the past through historical objects, and an interested, sometimes even erotic approach to the designs and ideas of this specific era by means of active intervention - in this case of an artistic nature. This becomes particularly evident in her numerous pen-and-ink nudes copied from magazines of the time. The messages conveyed by these nudes, radiating classical beauty yet likewise also on the point of vanishing, are ambivalent, both in terms of their original frames of reference and by today's standards. The code systems used in portraying these mainly female nudes spotlight both their autonomous self-determination and their sexual self-confidence, but are interspersed with other codes, referencing an object-like quality in these women taken from magazines. And yet the transparency and fleeting nature of Carol Boves' portrayal assert a revised perception not only of well-known clichés, but also of the myths that may surround our cultural developments and achievements.
Beatrix Ruf, Carol Bove for the exhibition Carol Bove in the Kunsthalle Zürich 28.2.-4.4.2004
In her exhibitions, Carol Bove forges atmospherically charged installations with artifacts and reconstructive creations that echo and convey the style and history of that period, as well as identifying its current validity.
Piles of books, the kind of popular literature of the time that periodically turns up in second-hand bookshops ("Touching", 2003) are to be found next to artfully arranged assemblies of books and photographs with furniture actually dating from the period or with a feel of that time to it. Original editions of magazines characteristic of the hippie era contrast with passages of text typed out by the artist from influential books on old-fashioned typewriters; faded-looking pen-and-ink work showing female nudes based on illustrations from magazines such as "Playboy", "The Hustler" or "Life" hang next to "frescos" meticulously crafted by the artist from threads, referencing Sol LeWitt.
Carol Bove describes herself as an anthropologist who combines autobiographical experiences with universally valid social phenomena, then transfers them into new systems of interrelation. Born in 1971, the artist appears to find the environment lived in by her mother in the 1960s and early 1970s more interesting, exciting and utopian than her own in the present and what started out as a biographical exercise has developed increasingly into research into how to use ways of looking at things and artifacts as an antidote to amnesia regarding and superficial knowledge of history.
Carol Bove's work starts with the kind of experiences we tend to have in museums when we come across objects that arouse our interest - and yet only have a rough idea of their significance, environment and reality, or at best are only familiar with the respective "myth". In her installations, Bove translates this budding interest, this desire for more extensive knowledge and a trip back through time into display situations which evidence both a typical aesthetic flair and the artistic practice of "institutional criticism" that has been prevalent since the 1980s, questioning ways of presenting art objects within the art context and addressing issues of design, decoration and historical continuity.
In her installations, alongside the book and magazine titles we can read titles such as "Utopia and Oblivion", "Experiment in Total Freedom" or "The Look of Thought; The Ways of Love". This creates an intellectual backdrop that allows the ambivalences and utopias of the era to emerge, highlighting an age that Carol Bove describes as an uncompleted project, one that has left its mark on our present-day world.
For Carol Bove, historical research entails both traveling in time, as in the science fiction of American author Colin Wilson, in whose book "The Philosopher's Stone" contact is established with the past through historical objects, and an interested, sometimes even erotic approach to the designs and ideas of this specific era by means of active intervention - in this case of an artistic nature. This becomes particularly evident in her numerous pen-and-ink nudes copied from magazines of the time. The messages conveyed by these nudes, radiating classical beauty yet likewise also on the point of vanishing, are ambivalent, both in terms of their original frames of reference and by today's standards. The code systems used in portraying these mainly female nudes spotlight both their autonomous self-determination and their sexual self-confidence, but are interspersed with other codes, referencing an object-like quality in these women taken from magazines. And yet the transparency and fleeting nature of Carol Boves' portrayal assert a revised perception not only of well-known clichés, but also of the myths that may surround our cultural developments and achievements.
Beatrix Ruf, Carol Bove for the exhibition Carol Bove in the Kunsthalle Zürich 28.2.-4.4.2004
Dan Fox - Superscript: Artists as First Responders/Walker Art Center
Seth Price - Graduate Seminar
Thomas Schutte - Houses
Drawing on post-war architecture in Germany and transforming the language of public architecture, Thomas Schütte changes his view of our age and places architectural models on table-stands, raising them to the rank of monuments to our civilization. As architectural metaphors, they constitute an allegory of his view of the world.
Through his “diary of the world” under the form of architectural models Schütte plays and bitterly comments on contemporary society and on the mechanisms that make it work both politically and culturally.
Museum as crematory oven, modernism interpreted as a form of terrorism, menacing temples and Houses for one person – simultaneously retreat and prison.
In the past years some of the models have been turned into real buildings, thanks to the interest of private persons which use them as spaces for living.
A portfolio of 27 prints documenting more than 30 years of the artist's work on public architecture accompanies the visit of the exhibition which will pass along the models of the One Man Houses, a film on the construction of the Ferienhaus in Austria and finally new projects never shown before like the monumental Sculpture Hall which will host Schütte’s private collection of his own works
Two catalogues, Houses and Frauen, with critical essays by the two curators, Andrea Bellini and Dieter Schwarz, are published by Richter & Fey and the NMNM on the occasion of the exhibitions. Houses will be available in September 2012.
words and images from:
http://www.nmnm.mc/index.php?option=com_k2&view=item&id=106:thomas-schütte-houses&Itemid=303&lang=en
Through his “diary of the world” under the form of architectural models Schütte plays and bitterly comments on contemporary society and on the mechanisms that make it work both politically and culturally.
Museum as crematory oven, modernism interpreted as a form of terrorism, menacing temples and Houses for one person – simultaneously retreat and prison.
In the past years some of the models have been turned into real buildings, thanks to the interest of private persons which use them as spaces for living.
A portfolio of 27 prints documenting more than 30 years of the artist's work on public architecture accompanies the visit of the exhibition which will pass along the models of the One Man Houses, a film on the construction of the Ferienhaus in Austria and finally new projects never shown before like the monumental Sculpture Hall which will host Schütte’s private collection of his own works
Two catalogues, Houses and Frauen, with critical essays by the two curators, Andrea Bellini and Dieter Schwarz, are published by Richter & Fey and the NMNM on the occasion of the exhibitions. Houses will be available in September 2012.
words and images from:
http://www.nmnm.mc/index.php?option=com_k2&view=item&id=106:thomas-schütte-houses&Itemid=303&lang=en
Shaurya Kumar
A native of Delhi, India where he studied printmaking and painting at the College of Art; Shaurya Kumar graduated with his MFA from the University of Tennessee, Knoxville in 2007. Since 2001, Kumar has been involved in numerous prestigious research projects, like “The Paintings of India” (a series of 26 documentary films on the painting tradition of India); "Handmade in India" (an encyclopedia on the handicraft traditions of India); and digital restorations of 6th century Buddhist mural paintings from the caves of Ajanta.
Kumar’s research is focused on creating works which appreciate and appropriate new media while highlighting the dangers of its longevity; and the disconnect between the virtual and the real. His work is an investigation of art and technology, and the rift that lies between. Ultimately, his work is a dialogue about site, how site effects and affects data and therefore a society, a culture, a people and ultimately a person.
Kumar's work has been showcased in numerous national and international exhibitions across the US and in countries including India, China, Poland, South Korea, Thailand, Belgium, Bulgaria, Italy, U.K., Norway, France, Australia and Finland among many others. His works have been installed at venues including the Dr. Bhau Daji Lad Museum (formerly Victoria & Albert Museum, Mumbai); UNM Art Museum, Albuquerque; SCA Contemporary, Albuquerque; Queens Museum, NYC; Seoul Museum of Art, Seoul; Lakeeren Gallery, Mumbai; New Art Center, NYC; Los Angeles Center for Digital Arts, Los Angeles, CA; Museum of Fine Arts, Georgia; Schneider Museum of Art, Oregon; Charleston Heights Art Center, Las Vegas among many others.
Kumar currently lives and works in Chicago, IL where he also teaches in the Department of Printmedia at the School of the Art Institute of Chicago.
-from http://shauryakumar.com/about.php
Kumar’s research is focused on creating works which appreciate and appropriate new media while highlighting the dangers of its longevity; and the disconnect between the virtual and the real. His work is an investigation of art and technology, and the rift that lies between. Ultimately, his work is a dialogue about site, how site effects and affects data and therefore a society, a culture, a people and ultimately a person.
Kumar's work has been showcased in numerous national and international exhibitions across the US and in countries including India, China, Poland, South Korea, Thailand, Belgium, Bulgaria, Italy, U.K., Norway, France, Australia and Finland among many others. His works have been installed at venues including the Dr. Bhau Daji Lad Museum (formerly Victoria & Albert Museum, Mumbai); UNM Art Museum, Albuquerque; SCA Contemporary, Albuquerque; Queens Museum, NYC; Seoul Museum of Art, Seoul; Lakeeren Gallery, Mumbai; New Art Center, NYC; Los Angeles Center for Digital Arts, Los Angeles, CA; Museum of Fine Arts, Georgia; Schneider Museum of Art, Oregon; Charleston Heights Art Center, Las Vegas among many others.
Kumar currently lives and works in Chicago, IL where he also teaches in the Department of Printmedia at the School of the Art Institute of Chicago.
-from http://shauryakumar.com/about.php
Hal Foster - Camberwell Fine Art Lecture Series
Published on Nov 11, 2014 'Organs of the Outlandish: Contemporary Art and Mimetic Excess'
Lecture delivered by Camberwell College of Arts Practitioner in Residence Hal Foster.
Foster is Professor of Art and Archaeology at Princeton University, USA and is one of the leading voices in post‐modern art criticism and critical art history,
Foster is the author of numerous acclaimed theory books, including Compulsive Beauty, Return of the Real, Design and Crime (And Other Diatribes), Prosthetic Gods, and The Art‐Architecture Complex. His contributions to contemporary cultural debates span over 30 years of publishing.
Dan Sturgis - Camberwell Fine Art Programme director and BA Painting Course Director:
"Foster’s appointment as Camberwell's Practitioner in Residence will complement and enhance our contextual studies delivery, which focuses on the way that “ideas” are held in the making process and how both art historical reflection and the contemporary world inhabit today’s artworks.”
Lecture delivered by Camberwell College of Arts Practitioner in Residence Hal Foster.
Foster is Professor of Art and Archaeology at Princeton University, USA and is one of the leading voices in post‐modern art criticism and critical art history,
Foster is the author of numerous acclaimed theory books, including Compulsive Beauty, Return of the Real, Design and Crime (And Other Diatribes), Prosthetic Gods, and The Art‐Architecture Complex. His contributions to contemporary cultural debates span over 30 years of publishing.
Dan Sturgis - Camberwell Fine Art Programme director and BA Painting Course Director:
"Foster’s appointment as Camberwell's Practitioner in Residence will complement and enhance our contextual studies delivery, which focuses on the way that “ideas” are held in the making process and how both art historical reflection and the contemporary world inhabit today’s artworks.”
Oscar Niemeyer: The Man Who Built Brasilia - Museum of Contemporary Art Tokyo
The Museum of Contemporary Art Tokyo is proud to stage Japan's first major retrospective of the work of Oscar Niemeyer (1907-2012), father of Brazilian modernist architecture.
The unique creativity of Niemeyer's designs for prominent buildings in his native Brazil earned him tributes both at home and abroad, including a raft of architectural awards such as the American Institute of Architects Gold Medal, Pritzker Architecture Prize, and Japan's Praemium Imperiale as well as the International Lenin Peace Prize. "Oscar Niemeyer - The Man Who Built Brasilia" will present a comprehensive overview - incorporating plans, models, photographs and video footage - of close to a century of architectural design by the legendarily charismatic Niemeyer, who was still indefatigably turning out new designs right up to his death at the age of 104.
Born in Rio de Janeiro, Oscar Niemeyer studied architecture at Rio's National School of Fine Arts before going on to work with his mentor Lúcio Costa. Following an encounter with Le Corbusier, Niemeyer worked with the modernist master in the design of the Ministry of Education and Health in Rio de Janeiro (1936) under the coordination of Lúcio Costa.
Already famous in his own right after having designed Pampulha architectural complex, Niemeyer worked with Le Corbusier again in designing the United Nations Headquarters in New York (1947). Niemeyer's greatest achievement however would have to be the building of the new capital Brasilia, Brazil's preeminent national project of the 1950s. Designing several of the major buildings (including the National Congress building and Cathedral of Brasília), Niemeyer created a city of the imagination. The triumph of Brasilia took on historical significance above and beyond its architectural brilliance, raising Brazil's international profile, and in 1987, earning its unique capital World Heritage status.
During the country's military regime of the 1960s, Niemeyer moved to Paris and based his practice there for 20 years, returning to his native land in 1985 and continuing to work prolifically, at the same time endeavoring to nurture his successors.
taken from: http://www.mot-art-museum.jp/eng/exhibition/oscar-niemeyer.html
The unique creativity of Niemeyer's designs for prominent buildings in his native Brazil earned him tributes both at home and abroad, including a raft of architectural awards such as the American Institute of Architects Gold Medal, Pritzker Architecture Prize, and Japan's Praemium Imperiale as well as the International Lenin Peace Prize. "Oscar Niemeyer - The Man Who Built Brasilia" will present a comprehensive overview - incorporating plans, models, photographs and video footage - of close to a century of architectural design by the legendarily charismatic Niemeyer, who was still indefatigably turning out new designs right up to his death at the age of 104.
Born in Rio de Janeiro, Oscar Niemeyer studied architecture at Rio's National School of Fine Arts before going on to work with his mentor Lúcio Costa. Following an encounter with Le Corbusier, Niemeyer worked with the modernist master in the design of the Ministry of Education and Health in Rio de Janeiro (1936) under the coordination of Lúcio Costa.
Already famous in his own right after having designed Pampulha architectural complex, Niemeyer worked with Le Corbusier again in designing the United Nations Headquarters in New York (1947). Niemeyer's greatest achievement however would have to be the building of the new capital Brasilia, Brazil's preeminent national project of the 1950s. Designing several of the major buildings (including the National Congress building and Cathedral of Brasília), Niemeyer created a city of the imagination. The triumph of Brasilia took on historical significance above and beyond its architectural brilliance, raising Brazil's international profile, and in 1987, earning its unique capital World Heritage status.
During the country's military regime of the 1960s, Niemeyer moved to Paris and based his practice there for 20 years, returning to his native land in 1985 and continuing to work prolifically, at the same time endeavoring to nurture his successors.
taken from: http://www.mot-art-museum.jp/eng/exhibition/oscar-niemeyer.html
Maria Pergay: Fendi Collaboration & Place des Vosges
Born to Russian Jewish parents in Moldova in 1930, Maria Pergay fled to Paris with her mother during World War II. Following her studies in costume, set design, and sculpture at the Institut des Hautes Études Cinématographiques, she built her career as a shop window designer through the 1950s, eventually receiving commissions from major brands like Dior and Hermès. In 1960, she opened an atelier in the Marais district of Paris, selling her own creations, primarily silverwork, directly to the public.
As Pergay began to explore furniture making in the late 1960s, she also became drawn to stainless steel, the material that is now most associated with her work. By the 1970s, she was attracting international clients, including Salvador Dalí, Pierre Cardin, and Saudi Prince Abdullah, and in the ’80s and ’90s, received several important commissions in Russia. Today she continues to design interiors and produce limited-edition works, almost always incorporating her beloved stainless steel.
taken from: http://www.larcobaleno.com/design-guide/designers/maria-pergay.html
Last weekend, while New York City was overrun by design enthusiasts in town for the International Contemporary Furniture Fair, Maria Pergay, a 79-year-old Parisian furniture designer relatively unknown in this country, was ensconced in a nautical modernist room at the Maritime Hotel. She was in New York not for the furniture fair — an event, it turns out, that she has never heard of — but to show her latest work at the Demisch Danant gallery in Chelsea (including a sofa of broken bricks she is shown sitting on). Those expecting a woman of her age to produce soft, feminine, upholstered pieces appropriate for a Paris pied-à-terre may be surprised by what has been Ms. Pergay’s material of choice for decades: stainless steel.
taken from: http://www.nytimes.com/2010/05/20/garden/20qna.html?_r=0
As Pergay began to explore furniture making in the late 1960s, she also became drawn to stainless steel, the material that is now most associated with her work. By the 1970s, she was attracting international clients, including Salvador Dalí, Pierre Cardin, and Saudi Prince Abdullah, and in the ’80s and ’90s, received several important commissions in Russia. Today she continues to design interiors and produce limited-edition works, almost always incorporating her beloved stainless steel.
taken from: http://www.larcobaleno.com/design-guide/designers/maria-pergay.html
Last weekend, while New York City was overrun by design enthusiasts in town for the International Contemporary Furniture Fair, Maria Pergay, a 79-year-old Parisian furniture designer relatively unknown in this country, was ensconced in a nautical modernist room at the Maritime Hotel. She was in New York not for the furniture fair — an event, it turns out, that she has never heard of — but to show her latest work at the Demisch Danant gallery in Chelsea (including a sofa of broken bricks she is shown sitting on). Those expecting a woman of her age to produce soft, feminine, upholstered pieces appropriate for a Paris pied-à-terre may be surprised by what has been Ms. Pergay’s material of choice for decades: stainless steel.
taken from: http://www.nytimes.com/2010/05/20/garden/20qna.html?_r=0
OH BOYM! - Constantin & Laurene Leon Boym: The Sublime and Timeless Objects
In 1986, Constantin Boym founded Boym Partners Inc. in New York City. His studio’s designs, many of which are produced in partnership with his wife, Laurene, include tableware for Alessi and Authentics, watches for Swatch, lighting for Flos, showrooms and retail displays for Vitra and exhibition installations for many American museums. Objects designed by Boym Partners are included in the permanent collection of the Museum of Modern Art in New York. In 2009, the Boyms won the National Design Award for product design. Recently, Constantin Boym was named director of graduate studies at Virginia Commonwealth University in Qatar.
http://designobserver.com/profile.php?id=234&name=ConstantinBoym
"The end of a century has always been a special moment in human history. While we no longer expect the world to come to an end, we all still share a particular mood of introspection, a desire to look back and to draw comparisons, and a sense of closure and faint hope. Above all, the end of the century is about memory. We think that souvenirs are important cultural objects which can store and communicate memories, emotions and desires. Buildings of Disaster are miniature replicas of famous structures where some tragic or terrible events happened to take place. Some of these buildings may have been prized architectural landmarks, others, non-descript, anonymous structures. But disaster changes everything. The images of burning or exploded buildings make a different, populist history of architecture, one based on emotional involvement rather than on scholarly appreciation. In our media-saturated time, the world disasters stand as people's measure of history, and the sites of tragic events often become involuntary tourist destinations."
http://www.moss.coresense.com/product-exec/product_id/44052/category_id/257
http://designobserver.com/profile.php?id=234&name=ConstantinBoym
"The end of a century has always been a special moment in human history. While we no longer expect the world to come to an end, we all still share a particular mood of introspection, a desire to look back and to draw comparisons, and a sense of closure and faint hope. Above all, the end of the century is about memory. We think that souvenirs are important cultural objects which can store and communicate memories, emotions and desires. Buildings of Disaster are miniature replicas of famous structures where some tragic or terrible events happened to take place. Some of these buildings may have been prized architectural landmarks, others, non-descript, anonymous structures. But disaster changes everything. The images of burning or exploded buildings make a different, populist history of architecture, one based on emotional involvement rather than on scholarly appreciation. In our media-saturated time, the world disasters stand as people's measure of history, and the sites of tragic events often become involuntary tourist destinations."
http://www.moss.coresense.com/product-exec/product_id/44052/category_id/257
TAKIS - THE 4TH DIMENSION - MENIL COLLECTION
“Diotima said to Socrates: ‘You know that creation forms a general class. When anything comes into being which did not exist before, the cause of this is always creation.’ What Diotima said to Socrates I try all my life to accomplish.” – Takis, 2014
Born Panagiotis Vassilakis in Athens in 1925, Takis is world-renowned for his explorations of the gap between art and science. Since the mid-1950s, he has continually pushed into new aesthetic territories, creating three-dimensional works of art that incorporate invisible energies as a fourth element. Takis, who describes himself as an “instinctive scientist,” employs powerful forces to generate the compositions, movements, and musical sounds of his static and kinetic works. Electromagnetism has been his abiding fascination and the subject of continual study, including as a visiting researcher at the Massachusetts Institute of Technology in the late 1960s. With 25 works, the largest single group outside of Europe, the Menil Collection has had a long relationship with the artist. Takis: The Forth Dimension will be the first-ever museum survey of the artist’s career in the United States. It is being organized by Toby Kamps, Menil Curator of Modern and Contemporary Art.
Takis’s earliest works are small sculptures inspired by the simplified, geometric forms of ancient Cycladic sculptures; egglike bronze forms referencing interior volumes and centrifugal forces; and the ongoing Signals series, antenna like sculptures inspired by radio and radar that move in the wind. Later works from the 1960s, dubbed tele-peintures and tele-sculptures by French critic Alain Jouffroy (from the Greek word tele, meaning “at a distance”) are paintings and sculptures incorporating magnetism in their designs. For example, the Menil Collection’s Magnetic Painting No. 7, 1962, uses strong magnets behind a yellow monochrome canvas to make metal objects restrained by wires hover above its surface. AndBallet Magnetique I, 1961, uses an electromagnet to make a metal sphere suspended from a wire orbit above it. Two more recent works donated to the museum by the artist in memory of the de Menil family,Magnetic Wall - M.W. 038, 1999, and Musical - M. 013, 2000, use magnets to shape a drawing made of coiled steel wire and to create simple “naked music,” respectively.
read more:
https://www.menil.org/exhibitions.html#takis_anchor
Born Panagiotis Vassilakis in Athens in 1925, Takis is world-renowned for his explorations of the gap between art and science. Since the mid-1950s, he has continually pushed into new aesthetic territories, creating three-dimensional works of art that incorporate invisible energies as a fourth element. Takis, who describes himself as an “instinctive scientist,” employs powerful forces to generate the compositions, movements, and musical sounds of his static and kinetic works. Electromagnetism has been his abiding fascination and the subject of continual study, including as a visiting researcher at the Massachusetts Institute of Technology in the late 1960s. With 25 works, the largest single group outside of Europe, the Menil Collection has had a long relationship with the artist. Takis: The Forth Dimension will be the first-ever museum survey of the artist’s career in the United States. It is being organized by Toby Kamps, Menil Curator of Modern and Contemporary Art.
Takis’s earliest works are small sculptures inspired by the simplified, geometric forms of ancient Cycladic sculptures; egglike bronze forms referencing interior volumes and centrifugal forces; and the ongoing Signals series, antenna like sculptures inspired by radio and radar that move in the wind. Later works from the 1960s, dubbed tele-peintures and tele-sculptures by French critic Alain Jouffroy (from the Greek word tele, meaning “at a distance”) are paintings and sculptures incorporating magnetism in their designs. For example, the Menil Collection’s Magnetic Painting No. 7, 1962, uses strong magnets behind a yellow monochrome canvas to make metal objects restrained by wires hover above its surface. AndBallet Magnetique I, 1961, uses an electromagnet to make a metal sphere suspended from a wire orbit above it. Two more recent works donated to the museum by the artist in memory of the de Menil family,Magnetic Wall - M.W. 038, 1999, and Musical - M. 013, 2000, use magnets to shape a drawing made of coiled steel wire and to create simple “naked music,” respectively.
read more:
https://www.menil.org/exhibitions.html#takis_anchor
Conversations Around the Table: An American Experience - Paul Kotula Guest Curator
Pots function in the present. Their integral relationship to the intimate, yet universal, social practice of the shared meal makes them a vital part of daily life. Pots are also documents of the past. They are records of their creation and of the culture that inspired their potential.
Spanning from the early-twentieth century to the present, the tableware in this two-part exhibition—whether produced in an artist’s studio or in a factory—form “conversations” around the currency of key issues in modern American culture. War, economic hardship, and social injustice often brought clarity to the vision of the artists represented here, even if their deliberate desire was to use their objects to celebrate hope, joy, and beauty under difficult circumstances. The vessels also address philosophical changes in education and celebrate technological advancements that have altered the look and feel of ceramics.
Paul Kotula, Assistant Professor, MSU Department of Art, Art History, and Design
Guest Curator
Part I of the exhibition runs through June 7, 2015. Part II opens June 12, 2015 and runs through October 4, 2015.
Conversations Around the Table: An American Experience is organized by the Eli and Edythe Broad Art Museum at Michigan State University and curated by Paul Kotula, Assistant Professor, MSU Department of Art, Art History, and Design. Support for this exhibition is provided by MSU Department of Art, Art History, and Design and the Broad MSU’s general exhibitions fund.
Paul Kotula wishes to thank the College of Arts and Letters for research funding related to this project and to John A. Sinker, Jr. whose gift of nearly 200 ceramic objects to MSU continues to inspire creative thinking.
-http://broadmuseum.msu.edu/exhibitions/conversations-around-table-american-experience
Spanning from the early-twentieth century to the present, the tableware in this two-part exhibition—whether produced in an artist’s studio or in a factory—form “conversations” around the currency of key issues in modern American culture. War, economic hardship, and social injustice often brought clarity to the vision of the artists represented here, even if their deliberate desire was to use their objects to celebrate hope, joy, and beauty under difficult circumstances. The vessels also address philosophical changes in education and celebrate technological advancements that have altered the look and feel of ceramics.
Paul Kotula, Assistant Professor, MSU Department of Art, Art History, and Design
Guest Curator
Part I of the exhibition runs through June 7, 2015. Part II opens June 12, 2015 and runs through October 4, 2015.
Conversations Around the Table: An American Experience is organized by the Eli and Edythe Broad Art Museum at Michigan State University and curated by Paul Kotula, Assistant Professor, MSU Department of Art, Art History, and Design. Support for this exhibition is provided by MSU Department of Art, Art History, and Design and the Broad MSU’s general exhibitions fund.
Paul Kotula wishes to thank the College of Arts and Letters for research funding related to this project and to John A. Sinker, Jr. whose gift of nearly 200 ceramic objects to MSU continues to inspire creative thinking.
-http://broadmuseum.msu.edu/exhibitions/conversations-around-table-american-experience