DOCSLIB.ORG

Patricia Johanson, Dennis Oppenheim, and Athena Tacha, Who Had Started Executing Public Commissions for Large Urban Sites.” - Wikipedia DEFINITION

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Patricia Johanson, Dennis Oppenheim, and Athena Tacha, Who Had Started Executing Public Commissions for Large Urban Sites.” - Wikipedia DEFINITION INTRODUCTION SITE SPECIFIC INSTALLATION DEFINITION “Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Patricia Johanson, Dennis Oppenheim, and Athena Tacha, who had started executing public commissions for large urban sites.” - Wikipedia DEFINITION Site-specific or Environmental art refers to an artist's intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, whether indoors or out, urban, desert, marine, or otherwise. - Guggenheim Museum PATRICIA JOHANSON Johanson is an artist known for her large-scale art projects that create aesthetic and practical habitats for humans and wildlife. DENNIS OPPENHEIM Dennis Oppenheim was a conceptual artist, performance artist, earth artist, sculptor and photographer. DENNIS OPPENHEIM “LIGHT CHAMBER” DENVER JUSTICE CENTER ATHENA TACHA, PUTNAM COLLEGE Athena Tacha is best known in the fields of environmental public sculpture and conceptual art. She has also worked extensively in photography, film and artists’ books. ROBERT SMITHSON “SPIRAL JETTY” GREAT SALT LAKE, UT Smithson's central work is Spiral Jetty - an earthwork sculpture constructed in April 1970. ROBERT SMITHSON “SPIRAL JETTY” GREAT SALT LAKE, UT CRISTO JAVACHEFF & JEANNE-CLAUDE DE GUILLEBON Christo and Jeanne-Claude were a married couple who created environmental works of art. For two weeks, the Reichstag in Berlin was shrouded with silvery fabric, shaped by the blue ropes, highlighting the features and proportions of the imposing structure. The Reichstag stands up in an open, strangely metaphysical area. The building has experienced its own continuous changes and perturbations: built in 1894, burned in 1933, almost destroyed in 1945, it was restored in the sixties, but the Reichstag always remained the symbol of Democracy. CRISTO JAVACHEFF & JEANNE-CLAUDE DE GUILLEBON - FLORIDA KEYS MICHAEL HEIZER "LEVITATED MASS” LOS ANGELES COUNTY MUSEUM OF ART Heizer is a contemporary artist specializing in large-scale sculptures and earth art (or land art). WALTER DE MARIA “LIGHTNING FIELD" De Maria was an artist, sculptor, illustrator and composer. His artistic practice is connected with Minimal art, Conceptual art, and Land art of the 1960s. The Lightning Field, an array of 400 steel rods in the New Mexico desert that he installed in 1977. NANCY HOLT “SUN TUNNELS” Nancy Holt is a pioneer in the land-art movement of the 1960s and '70s and the creator of one of the era's most poetic works — “Sun Tunnels,” four huge concrete culverts set in the Utah desert to align with the sun on summer and winter solstices. MARY MISS “CONNECT THE DOTS” BOULDER, CO Mary Miss is an artist and designer whose primary interest is the public realm. Her work has crossed boundaries between architecture, landscape architecture, engineering and urban design. MARY MISS “GREENWOOD POND” DES MOINES JAMES TURRELL “RODEN CRATER” ARIZONA James Turrell is an artist primarily concerned with light and space. JAMES TURRELL “RODEN CRATER” ARIZONA Roden Crater is a cinder cone type of volcanic cone from an extinct volcano, with a remaining interior volcanic crater. It is located northeast of the city of Flagstaff in northern Arizona. CREATIVES USE VARIOUS APPROACHES TO DESIGN SITE-SPECIFIC WORKS MEANT TO BECOME PART OF ITS LOCALE, AND TO RESTRUCTURE THE VIEWER’S CONCEPTUAL AND PERCEPTUAL EXPERIENCE OF THAT LOCALE THROUGH THE ARTIST’S INTERVENTION..
Load more

Recommended publications
  • Eco-Art and Design Against the Anthropocene
    sustainability Article Making the Invisible Visible: Eco-Art and Design against the Anthropocene Carmela Cucuzzella Design and Computation Arts, Concordia University, Montreal, QC H3G 1M8, Canada; [email protected] Abstract: This paper examines a series of art and design installations in the public realm that aim to raise awareness or activate change regarding pressing ecological issues. Such works tend to place environmental responsibility on the shoulders of the individual citizen, aiming to educate but also to implicate them in the age of the Anthropocene. How and what these works aim to accomplish, are key to a better understanding the means of knowledge transfer and potential agents of change in the Anthropocene. We study three cases in this paper. These are examined through: (1) their potential to raise awareness or activate behavior change; (2) how well they are capable of making the catastrophic situations, which are invisible to most people, visible; and (3) how well they enable systemic change in the catastrophic situations. In the three cases studied, we find that they are successful in helping to raise awareness and even change individual behavior, they are successful in rendering the invisible visible, but they are incapable of engendering any systemic change of the catastrophic situations depicted. Keywords: Anthropocene; public art; eco-art installations; eco-design; raising awareness Citation: Cucuzzella, C. Making the Invisible Visible: Eco-Art and Design 1. Introduction against the Anthropocene. Sustainability 2021, 13, 3747. https:// Earth has experienced many planetary-scale shifts in its 4.5-billion-year history. The doi.org/10.3390/su13073747 first signs of life, in fact, forcefully altered the future of the planet.
    [Show full text]
  • 2011-08-5 11Pasatiempo(Santa Fe,NM).Pdf
    Michael Abatemarco I FQr The New Me)(ican STES EE NG The work of Nancy Holt --OP-- here IS no single critical essay followed by a seTies of plates m Nancy Hoil: Sfglulincs, puhlished by Unh<ersity of California PrcS5, it IS not a tYPical anist monograph. It is the kind of book you ca n open at any pO l!\l1O mar,·c! 31 the images orlhe artwork or absorb the text from any of a number of the book's contributors. There arc mull1plc ]X'rspcCI1\"e5 all Holt 's career here, olTered by editor Alcnaj. Williams. an hislOrians Lucy R. Uppard and Pamela M. Lee , artist Ines Schaber, and Mauhew Coolidge, direclOr of the Cemer fOT Land Usc Interpretation, Their observations create a well-rounded picture of Holt and her work. Further contributions include an [nlervicw with Emory University professor James Meyer and a detailed chronology of 11011'5 life by Humboldt Stale University professor Julia Alderson. Williams, a Columbia Universit)' doctoral (andid:ue, eontributes the preface, Introduction, and an esS3y, Siglll/incs a(wmpanics a traveling exhibit of the same name that started at Columbi~'s Wallach Art Gallery and wellt on to Gennan),. "Next it goes to Chicago." Hoh told PCUaficlII/X'. "thcn 01110 Boston, at Tufts University. [t goes to a few plates that arc associated wilh me one way or another, like Tufts is where I went to mllegc - they now ha~'e a rather large art gallcry. After that it comes to thc Santa Fc Art Institute next spring. and then onto Salt Lake City.
    [Show full text]
  • Nancy Holt, Sun Tunnels .Pdf
    Nancy Holt Sun Tunnels, 1973–76 Internationally recognized as a pioneering work of Land art, Nancy Holt’s “The idea for Sun Tunnels became clear to me while I was in the desert watching notes Sun Tunnels (1973–76) is situated within a 40-acre plot in the Great Basin the sun rising and setting, keeping the time of the earth. Sun Tunnels can exist 1. Nancy Holt, “Sun Tunnels,” Artforum 15, no. 8 (April 1977), p. 37. 2. Ibid., p. 35. Desert in northwestern Utah. Composed of four concrete cylinders that are only in that particular place—the work evolved out of its site,” said Holt in a 3. Ibid. 18 feet in length and 9 feet in diameter, Sun Tunnels is arranged on the desert personal essay on the work, which was published in Artforum in 1977.1 She floor in an “x” pattern. During the summer and winter solstices, the four tunnels began working on Sun Tunnels in 1973 while in Amarillo, Texas. As her ideas Nancy Holt was born in 1938 in Worcester, Massachusetts, and was raised align with the angles of the rising and setting sun. Each tunnel has a different for the work developed, Holt began to search for a site in Arizona, New Mexico, in New Jersey. In 1960 she graduated from Tufts University in Medford, configuration of holes, corresponding to stars in the constellations Capricorn, and Utah. She was specifically looking for a flat desert surrounded by low Massachusetts. Shortly after, she moved to New York City and worked as an Columba, Draco, and Perseus.
    [Show full text]
  • The Arts and Environmental Sustainability: an International Overview
    D’Art Report 34b The arts and environmental sustainability: an international overview November 2014 IFACCA/Julie’sIFACCA/Julie’s Bicycle:Bicycle: TheThe artsarts andand environmentalenvironmental sustainability:sustainability: anan internationalinternational overviewoverview D’Art D’ArtReport Repor 34b t 34b1 ISSN: 1832-3332 D’Art aims to consolidate and maximise the expertise of the world’s arts councils and ministries of culture. For more information visit www.ifacca.org Disclaimer: This research and report was prepared by Sadhbh Moore and Alison Tickell (Julie’s Bicycle) with editorial input from Sarah Gardner and Annamari Laaksonen (IFACCA) Errors, omissions and opinions cannot be attributed to the respondents listed in this report, associates of Julie’s Bicycle or to the Board or members of IFACCA. Julie’s Bicycle and IFACCA are interested in hearing from anyone who cites this report. This report is licensed under a Creative Commons Attribution 2.5 License: www.creativecommons.org/ licenses/by-nc-nd/2.5/ You are free to copy, distribute, or display this report on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to this report. Translated versions of this report are also available in French (translated by Marie Le Sourd, On the Move) and Spanish (translated by Jorge Salavert) Suggested reference: Moore, S and Tickell, A 2014 ‘The arts and environmental sustainability: an international overview’, D’Art Topics in Arts Policy, No. 34b, Julie’s Bicycle and the International Federation of Arts Councils and Culture Agencies, Sydney, http://www.ifacca.org/topic/ecological-sustainability/ We thank the Canada Council for the Arts and Arts Council Ireland for their financial support for this research project.
    [Show full text]
  • GEOPOETICS in the ANTHROPOCENE by Eric Magrane
    Creative Geographies and Environments: Geopoetics in the Anthropocene Item Type text; Electronic Dissertation Authors Magrane, Eric Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 00:18:37 Link to Item http://hdl.handle.net/10150/624580 CREATIVE GEOGRAPHIES AND ENVIRONMENTS: GEOPOETICS IN THE ANTHROPOCENE by Eric Magrane ____________________________ Copyright © Eric Magrane 2017 A Dissertation Submitted to the Faculty of the SCHOOL OF GEOGRAPHY AND DEVELOPMENT In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Eric Magrane, titled Creative Geographies and Environments: Geopoetics in the Anthropocene, and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ___________________________________________________Date: 4/11/2017 Sallie Marston ___________________________________________________Date: 4/11/2017 Diana Liverman ___________________________________________________Date: 4/11/2017 John Paul Jones III ___________________________________________________Date: 4/11/2017 Alison Hawthorne Deming ___________________________________________________Date: 4/11/2017 Harriet Hawkins Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • Gagosian Gallery
    The Financial Times October 26, 2012 GAGOSIAN GALLERY All the world’s a gallery: The first major museum survey of ‘ land art’ gives evidence of its undiminished power – even when viewed indoors By Jane Ure-Smith ‘Spiral Jetty' (1970), Robert Smithson’s installation on the Great Salt Lake in Utah, pictured in 2008. Isolation is the essence of land art,” wrote Walter De Maria in 1980, three years after completing his most famous work “The Lightning Field”. Comprising 400 polished steel poles placed at precise 220ft intervals on a grid measuring one mile by one kilometre (and six metres), the work is an exemplar of an era when US artists went beyond the white cube of the gallery to create monumental sculpture in the great outdoors. Earlier this month I went to New Mexico to see it and, following De Maria’s prescription that the work “be viewed alone or in the company of a very small number of people over at least a 24- hour period”, I spent the night in the log cabin adjacent to the field. I wasn’t expecting lightning: summer is when the storms scud across this arid high plain. It was enough to wander the scrubby landscape, inspecting ant hills, and to breathe in the immensity of the place. At dawn and dusk the poles light up and seem to stake out the territory’s vastness. Thirty-five years after it was unveiled, “The Lightning Field” still draws visitors from across the globe, if anything in greater numbers than before. And this year, land art is back on the agenda in other places too.
    [Show full text]
  • Environmental & Ephemeral Art
    ART LESSONS at HOME week 1- *optional* enrichment Environmental & Ephemeral Art ~with Mrs. Hemmis This week we will be learning about environmental and ephemeral art. We will become familiar with 3 environmental artists. We will learn to identify and define the characteristics of environmental art. We will learn what it means for art to be ephemeral. We will create a work of environmental art using materials that we find in our environments. *Optional: We can create a memory of our work of art using sketching or photography. We will create an artist statement to describe the process of creating a work of art. What is environmental art? Environmental art is art that is created using materials from our environments (the surroundings in which we live). Traditionally, environmental art is created using materials like: sticks rocks ice mud leaves nuts/seeds earth flowers What does it mean for art to be ephemeral? It means that it is not designed or meant to last forever. It is meant to change or fade away. You may have already created ephemeral art. Have you ever made a sandcastle, snowperson, lego sculpture, block tower? Those are all examples of ephemeral art, because they don’t last forever. 3 Significant Environmental Artists to know: Robert Smithson Andrew Goldsworthy Maya Lin Andrew Goldsworthy Andy Goldsworthy was born the 26th of July 1956, in Cheshire, England. He lives and works in Scotland in a village called Penpont. ... Andy Goldsworthy produces artwork using natural materials (such as flowers, mud, ice, leaves, twigs, pebbles, boulders, snow, thorns, bark, grass and pine cones) Maya Lin Maya Ying Lin (born October 10, 1959) is a Chinese-American architect and artist.
    [Show full text]
  • Collection Highlights Brochure
    Arlington County Public Art Program Highlights Arlington County Public Art Program 1 Artists Nancy Holt 4 Ned Kahn 6 Cliff Garten 7 Jack Sanders, Robert Gay, Butch Anthony, Since 1979, when art was first negotiated as part of a private and Lucy Begg 8 development project, Arlington has been an innovator in the field of public art. Kendall Buster 10 Twenty years after the dedication in 1984 of Nancy Holt’s Bonifatius Stirnberg 12 internationally acclaimed Dark Star Park, and following the adoption of a Public Art Policy, the County Board approved Louis Comfort Tiffany 13 Arlington’s first public art master plan. This plan demonstrates Richard Chartier that public art can be a force for placemaking in the built environment, creating strong, meaningful connections between and Laura Traverso 14 people and places that are important to community and Jann Rosen Queralt 15 civic life. Arlington’s visionary plan for public art in the civic realm Butch Anthony 16 continues to guide projects initiated by both private developers Erwin Redl 17 and the County. Today, Arlington’s public art collection is comprised of nearly fifty works located throughout the County in urban corridors, public buildings, community centers, libraries, and neighborhood parks. It reflects the County’s values, diverse traditions, and civic pride. This brochure highlights selected past, current, and future artworks and provides an introduction to Arlington’s public art collection. A map on the inside of the back Public Art Program cover shows the locations of the art works. Arlington Cultural Affairs 2 Arlington County Public Art Program Holt created an enclosed, curvilinear space that is a contemplative counterpart to Dark Star Park, completed in 1984 and restored in 2002, was a the elevated traffic island and precedent setting project.
    [Show full text]
  • Nancy Holt Exhibition Brochure.Pdf
    Nancy Holt In 1971 Nancy Holt placed several telescopic works around her loft studio in highlight light’s impact on our spatial consciousness. The rarely seen, room-sized sun, moon, and human eye. In pushing the conventions of sculpture and New York City’s West Village. Locators, as she called them—vertical, steel pipe installations Holes of Light (1973) and Mirrors of Light I (1974) are pivotal to proposing a participatory experience in these early works, the circle is sculptures of varying heights with welded crosspieces through which one may understanding her ideas concerning perceptual experience. Profound in scale and actuated, and Holt’s ideas on the concretization of perception—focus, light, look—focused perspective on a detail of Holt’s daily environment. She secured involving rigorous calculations, both works are architectonic structures in which and space—are revealed. Immediately upon realizing Holes of Light and the Locators to the floor and windowsills, positioning them to direct one’s interior projected light is channeled within a complex spatial experience. Holes of Light Mirrors of Light I, Holt began to explore these concepts in the landscape perspective on exterior focal points, such as a pair of windows across the court- does so by projecting light through circular holes to investigate principles of and created Sun Tunnels (1973–76), her iconic work in the geographic yard or an exhaust pipe on the roof below. While seemingly simple in execution, directionality and shadow, while Mirrors of Light I utilizes circular mirrors and expanse of Utah’s Great Basin Desert. With Sun Tunnels, Holt looked above this act of using industrial plumbing pipes to shape one’s visual perspective rays of light to examine the laws of reflection.
    [Show full text]
  • Title/Description of Lesson Andy Goldsworthy - Environmental Art
    VViiissuuaalll && PPeerrffoorrmmiiinngg AArrttss PPrrooggrraamm,,, SSJJUUSSDD AArrttss CCoonnnneeccttiiioonnss Title/Description of Lesson Andy Goldsworthy - Environmental Art Grade Level: 7th – 12th Lesson Links Objectives/Outcomes Materials and Resources Vocabulary Procedures Criteria for Assessing Student Learning California Standards in Visual & Performing Arts Other Resources Objectives/Outcomes (Return to Links) • To introduce students to Environmental Art. • To introduce students to the Environmental Artist Andy Goldsworthy. • Students will create their own Environmental Art Sculpture using found natural objects and the Elements of Art. • Students will evaluate their own sculpture by writing a brief paper about their artwork. The students will have an art critique. Materials and Resources (Return to Links) • Natural materials such as grass, twigs, leaves, flowers, etc. • Student Handouts • Photographs and books of Andy Goldsworthy’s art and other examples of Environmental Art • Camera for documenting student artworks Visual & Performing Arts Program, SJUSD Author: Kristi Char Page 1 of 9 Art Connections Last Updated: 10/23/2011 Vocabulary (Return to Links) *Definitions taken from the Green Museum web site @ www.greenmuseum.org Environmental Art: Art that helps improve our relationship with the natural world. It is an umbrella term which encompasses eco-art, land art, ecoventions, earth art, earthworks, and art in nature. Ecological Art (Eco-art): A contemporary art movement which addresses environmental issues and often involves collaboration, restoration, and usually has a more activist agenda. Art in Nature: Art in nature projects are usually beautiful forms created in nature, using materials such as twigs, leaves, stones, flower petals, icicles, etc. They are usually small- scale projects which often involve an overt spiritual dimension and are seen by artists as healing rituals for the earth.
    [Show full text]
  • Marian Goodman Gallery Robert Smithson
    MARIAN GOODMAN GALLERY ROBERT SMITHSON Born: Passaic, New Jersey, 1938 Died: Amarillo, Texas, 1973 SELECTED SOLO EXHIBITIONS 2018 Robert Smithson: Time Crystals, University of Queensland, BrisBane; Monash University Art Museum, MelBourne 2015 Robert Smithson: Pop, James Cohan, New York, New York 2014 Robert Smithson: New Jersey Earthworks, Montclair Museum of Art, Montclair, New Jersey 2013 Robert Smithson in Texas, Dallas Museum of Art, Dallas, Texas 2012 Robert Smithson: The Invention of Landscape, Museum für Gegenwartskunst Siegen, Unteres Schloss, Germany; Reykjavik Art Museum, Reykjavik, Iceland 2011 Robert Smithson in Emmen, Broken Circle/Spiral Hill Revisited, CBK Emmen (Center for Visual Arts), Emmen, the Netherlands 2010 IKONS, Religious Drawings and Sculptures from 1960, Art Basel 41, Basel, Switzerland 2008 Robert Smithson POP Works, 1961-1964, Art Kabinett, Art Basel Miami Beach, Miami, Florida 2004 Robert Smithson, Museum of Contemporary Art, Los Angeles, California; Dallas Museum of Art, Dallas, Texas; Whitney Museum of American Art, New York, New York 2003 Robert Smithson in Vancouver: A Fragment of a Greater Fragmentation, Vancouver Art Gallery, Canada Rundown, curated by Cornelia Lauf and Elyse Goldberg, American Academy in Rome, Italy 2001 Mapping Dislocations, James Cohan Gallery, New York 2000 Robert Smithson, curated by Eva Schmidt, Kai Voeckler, Sabine Folie, Kunsthalle Wein am Karlsplatz, Vienna, Austria new york paris london www.mariangoodman.com MARIAN GOODMAN GALLERY Robert Smithson: The Spiral Jetty, organized
    [Show full text]
  • Holt/Smithson Foundation Oral History Archive Deedee Halleck Interviewed by Lisa Le Feuvre February 1, 2019
    Holt/Smithson Foundation Oral History Archive DeeDee Halleck interviewed by Lisa Le Feuvre February 1, 2019 Lisa Le Feuvre is Executive Director of Holt/Smithson Foundation. DeeDee Halleck is a media activist, founder of Paper Tiger Television, and co-founder of Deep Dish Satellite Network. This interview was recorded on February 1, 2019 at DeeDee Halleck’s home in New York City. DeeDee Halleck describes how she first met Nancy Holt in 1973, and their subsequent friendship and collaboration on Nancy Holt’s films. This transcript is a lightly edited version of the conversation, correcting names and dates where needed, as well as removing redundant words. Keywords Amarillo Ramp Halleck Pine Barrens Art Park John Weber Gallery Serra Desert Leukemia Sky Mound Dwan Massachusetts Smithson Film Matta-Clark Solar Web Finkel Mono Lake Sound Fiore New Jersey Sun Tunnels Floating Island New Mexico Video Greenwich Street Niagara Copyright: Holt/Smithson Foundation Lisa Le Feuvre This is Lisa Le Feuvre conducting an interview on February the 1st, 2019 for Holt/Smithson Foundation's oral history project, with DeeDee Halleck. And thank you, DeeDee, for agreeing to talk to us. How did you first meet Nancy Holt and Robert Smithson? DeeDee Halleck I never met Robert Smithson but I met Nancy on the evening after a group of friends of Smithson's had been to a funeral, and then they went to Virginia Dwan's. And then they all went to this club, which was a transvestite club on, I think it was 4th Street, but it was quite strange. I had never been to such a club.
    [Show full text]