DOCSLIB.ORG

City College of New York Architecture Library Alice Aycock

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
City College of New York Architecture Library Alice Aycock City College of New York Architecture Library Alice Aycock: Selected Bibliography “Alice Aycock: Selected Works” Spitzer School of Architecture Lecture – November 1, 2012 About: Sculptor Alice Aycock earned her MA from Hunter College. Her work is in the permanent collections of major museums including MoMA, The Whitney, the Brooklyn Museum, and the National Gallery. Existing outdoor works of public art include a sculptural roof installation―the East River Roundabout, for The East River Park Pavilion at 60th St. in NYC; The Solar Wind, in Salem, VA; The House Of Stoics, in Lake Biwa, Japan; the Tower Of Babel, in Buhsnami Sculpture Garden near Houston, Texas; and The Island of the Moons and Suns, Robert Orton's sculpture garden in La Jolla, CA. She received the Americans for the Arts Public Art Award in 2008 for Ghost Ballet for the East Bank Machineworks in Nashville. The artist has taught at Yale and other colleges and currently teaches at NYC’s School of Visual Arts. In 2013 there will be a retrospective of her drawings at the new Parrish Art Museum in Southampton, NY and at the Grey Art Gallery in NYC. In spring ` 2014 a series of her sculptures will be installed on the Park Avenue Malls in the city, entitled Park Avenue Paper Chase. Books: “ Indelible marker, palimpsest, thin air / Alice Aycock – Landscape.” in Spatial recall : memory in architecture and landscape. New York ; London : Routledge, 2009. NA2765 .S62 2009. Fox, Howard N.: Metaphor : new projects by contemporary sculptors : Vito Acconci, Siah Armajani, Alice Aycock, Lauren Ewing, Robert Morris, Dennis Oppenheim. Smithsonian Institution, 1982. Cohen Library NB212 .F68 X Laumeier Sculpture Park: Ten Sites: Works, Artists, Years. Reinhardt, Debra L. 1992. On Order Sitings: Alice Aycock/Richard Fleischner/Mary Miss/George Trakas. Hugh Marlais Davies. La Jolla Museum of Contemporary Art, 1986. On Reserve NB212 .D38 1986 Sondheim, Alan, editor, Individuals: Post-Movement Art in America, Work 1972-1974. Alice Aycock. Dutton, 1977. On Reserve NX504.I53 1977 Spatial recall : memory in architecture and landscape. Routledge, 2009. pp. 86-105. NA2765 .S62 2009 Modern Women: Women Artists at the Museum of Modern Art. Cornelia H. Butler. MOMA, 2010 On Reserve N8354 .M63 2010 “Two Fantasies of a Mythical Waterworks.” By James Freed and Alice Aycock. In Collaboration, artists and architects: the centennial project of the Architectural League. Whitney Library of Design,1981. pp152–155. NA3320 .C64 ___________________________________________________ Books listed above are available in the CCNY Architecture Library except where noted. Articles: (Selected from 1986 to 2008) “Excavating Land Art by Women in the 1970s: Discoveries and Oversights.” Boettger, Suzaan. Sculpture (Washington, D.C.), November 2008, Vol. 27 Issue 9, p38-45, 8p. Available online to CCNY users through Art Full Text in the library’s databases. “Celebrating the Public Art of Alice Aycock.” Tinti, Mary M. Woman's Art Journal.Fall/Winter. 2008, Vol. 29 Issue 2, p3-11, 9p. Available online to CCNY users through Art Full Text in the library’s databases. “Commissions.” Aycock, Alice. (Washington, D.C.), January/February 2008, Vol. 27 Issue 1, p22-23, 2p. Available online to CCNY users through Art Full Text in the library’s databases. “Alice Aycock: Public Artist.” Rapaport, Brooke Kamin. Sculpture (Washington, D.C.), December 2003, Vol. 22 Issue 10, p32-37, 6p. Available online to CCNY users through Art Full Text in the library’s databases. “THE ARCHITECTS.” Rothkopf, Scott. Artforum International. Mar2003, Vol. 41 Issue 7, p46. 3p. Cohen Library bound periodicals-1st floor. “Alice Aycock. “ Meyer, James. Artforum International. Summer96, Vol. 34 Issue 10, p106. 5/8p. Cohen Library bound periodicals-1st floor. Cohen Library bound periodicals-1st floor. “Alice Aycock.” Weber, John. ARTnews. May93, Vol. 92 Issue 5, p131. Cohen Library bound periodicals-1st floor. “{Storm King Art Center, Mountainville, N.Y; exhibit}.” Phillips, Patricia C.. Artforum International. October 1990, Vol. 29, p173-174, 2p. Cohen Library bound periodicals-1st floor. “The Ghost in the machine. Alice Aycock's constructions “ Poirier, Maurice. ARTnews,October 1986, Vol. 85, p78-85, 8p. Available online to CCNY users through Art Full Text in the library’s databases. Web Sites: Alice Aycock Web Site: www.aaycock.com/abouttheartist.html _________________________ Judy Connorton, Architecture Librarian October 2012 Image: art21.org .
Load more

Recommended publications
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • Alice Aycock: Sculpture and Projects
    Alice Aycock: Sculpture and Projects. Cambridge and London: M.I.T. Press, 2005; pp. 1-8. Text © Robert Hobbs The Beginnings of a Complex The problem seems to be how to connect without connecting, how to group things together in such a way that the overall shape would resemble "the other shape, ifshape it might be called, that shape had none," referred to by Milton in Paradise Lost, how to group things haphazardly in much the way that competition among various interest groups produces a kind ofhaphazardness in the way the world looks and operates. The problem seems to be how to set up the conditions which would generate the beginnings ofa complex. Alice Aycock Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs, 1977 In Book 11 of Milton's Paradise Lost, Death assumes the guise of two wildly dissimilar figures near Hell's entrance, each with an extravagantly inconsistent appearance. The first, a trickster, appears as a fair woman from above the waist and a series of demons below, while the second-a "he;' according to Milton-is far more elusive. It assumes "the other shape" that Aycock refers to above. 1 When searching for a poetic image capable of communicating the world's elusiveness and indiscriminate randomness, Aycock remembered this description of Death's incommensurability, which she then incorporated into her artist's book Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs. Although viewing death in terms oflife is certainly not an innovation, as anyone familiar with Etruscan and Greco-Roman culture can testify, seeing life's complexity in terms of this shape-shifting allegorical figure signaling its end is a remarkable poetic enlists images from the past and from other inversion.
    [Show full text]
  • Interview Transcript
    STORM KING ART CENTER ORAL HISTORY PROGRAM DAVID COLLENS January 23, 2018 July 18, 2018 July 31, 2018 August 13, 2018 August 22, 2018 Interviewed by Sarah Dziedzic Storm King Oral History 007 © 2018 Storm King Art Center Use of Oral Histories in the Storm King Art Center Archives The Storm King Art Center Archives welcomes non-commercial use of the Oral History Program Special Collection in accordance with the Storm King Archives Use and Reproduction Policy [provide link.] The following transcript is the result of a recorded oral history interview. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the person interviewed and the interviewer. The reader is asked to bear in mind that this is a transcript of the spoken word, rather than written prose. The Archives requires that researchers give proper credit when citing oral histories, including Oral history interview with ___________ (date of interview), pages _____, Oral History Program, Storm King Art Center Archives. Only the transcript may be used for citations. The recordings associated with this interview may be made available upon request. Timestamps corresponding with original audio files are included in the transcript at one-minute intervals. For commercial use of any sort, including reproduction, quotation, publication, and broadcast in any medium, distribution, derivative works, public performance, and public display, prior written permission must be obtained from the Storm King Art Center Archives. Permission will comply with any agreements made with the person interviewed and the interviewer and may be withheld in Storm King’s sole determination. Please contact the Storm King Art Center Archives with any questions or requests at [email protected] Thank you! Support for Storm King Art Center’s Oral History Program and Archival Program is made possible by generous lead support from the Henry Luce Foundation.
    [Show full text]
  • ALICE AYCOCK Biography
    ALICE AYCOCK Biography Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hannover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was organized by the Wurttembergischer Kunstverein in Stuttgart in 1983 and traveled to Kolnischer Kunstverein Koln; Sculpturenmuseum Glaskasten, Marl; Haags Gemeentemuseum, Den Haag; Kunstmuseum Luzern. In 1990, the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City. The retrospective traveled to the Art, Design & Architecture Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. A fully illustrated catalogue, Some Stories are Worth Repeating, with an essay by Jonathan Fineberg accompanied the retrospective.
    [Show full text]
  • Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008
    Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008 GEORGE H. FALLON FEDERAL BUILDING, BALTIMORE, MARYLAND Alice Aycock: Swing Over, 2004 ESSAY BY ELEANOR HEARTNEY Traditionally , sculpture is composed of fixed, solid materials that are rooted to the ground. But Alice Aycock designed Swing Over , an undulating addition to the George F. Fallon Federal Building, “to deny gravity and escape the earth.” Composed of two triangulated trusses and two curved forms, it loops across the façade, weaving in, out, and around the pre-existing openings in the overhang of the building’s portico, culminating in a group of crossed , horn-like shapes at the composition’s center. Swing Over incorporates such source materials as an aerial diagram of the flight patterns of hummingbirds and the phenomenon known as the wormhole, which is a conceptual mapping of spacetime. The former can be seen in the way the forms sweep up and then seem to come to a pause before sliding down again, just as hummingbirds, alone of all birds, are able to pause in midair before continuing their progress. The wormholes, meanwhile, are suggested by the central configuration consisting of double horns, each with a mouth at either end. According to theoretical physics, a wormhole offers a shortcut through spacetime, Swing Over, 2004. Aluminum, 40 ft x 400 linear ft x 30 ft. Installed above much like a real worm that burrows through an apple rather entrance portico. George H. Fallon Federal Building, Baltimore, MD. then inching along its exterior. Swing Over escapes the constraints of time in another way as well.
    [Show full text]
  • Michael Rees 318 77Th Street #1, North Bergen, New Jersey, 07047 Tel 6462719898 [email protected]
    michael rees 318 77th street #1, north bergen, new jersey, 07047 tel 6462719898 [email protected] Curriculum Vitae Solo Exhibitions 2018 Pneumatopia, curated by Dan Cameron as part of Open Spaces Kansas City, at the Nerman Museum of Contemporary Art, August 2, 2018-October 21, 2018. Brochure Michael Rees: Synthetic Cells: Site and Para(Site), curated by Tom Moran, Grounds For Sculpture. June 1, 2018 through July 1, 2019. Catalogue. 2017 Trans(forma), a collaborative exhibition with Helena Lukasova atGASK – the Gallery of the Central Bohemian Region. Catalogue. June 27, 2017 to October 1, 2017. Catalogue 2016 Clown Town, Bravin Lee Gallery, New York, NY October 21 – November 23. 2014 Installation of Converge Ghraib Bag at Grounds For Sculpture Hamilton, NJ. 2013 Interactions and Paradoxical Structures: Robert Gero and Michael Rees. collaborative Sculpture and Media. Trois Gallery, Savannah College of Art and Design, Atlanta, Georgia. June6-September 6 2012 Tactical Play Exchange, A collaborative sculpture exhibition with Robert Gero and Michael Rees, Pablo’s Birthday, New York. April 6-May5. Tactical Play Exchange part 2, A collaborative sculpture exhibition with Robert Gero and Michael Rees,Pablo’s Birthday, New York. May 12-June 2. 2010 Michael Rees, Social Object curated by Koan Jeff Baysa and Nina Colosi, Chelsea Art Museum, December 17 - January 23, 2010. 2009 Michael Rees: Model Behavior, Deborah Colton Gallery, Houston, Texas. September 18 November 14, 2009. Putto 4 over 4, Zentrum fur Medien Kunst, (ZKM), Karlsruhe, Germany, curated by Peter Weibel. July 1, 2009 ongoing. 2008 Converge: Ghraib Bag, at Art Omi, Ghent, New York. 2005 Putto 2x2x4 Sculpture and Animation.
    [Show full text]
  • Michael Rees
    Michael Rees Selected Solo Exhibitions 2010 Michael Rees, Social Object, Chelsea Art Museum, Chelsea, New York, United States, curated by Koan Jeff Baysa and Nina Colosi 2009 Michael Rees: Model Behavior, Deborah Colton Gallery, Houston, Texas, United States Putto 4 over 4, Zentrum fur Medien Kunst, Karlsruhe, Germany, curated by Peter Weibel, ongoing 2008 Converge: Ghraib Bag, at Art Omi, Ghent, New York, United States 2007 Converge, Sculpture and Animation, Art Omi, Ghent, New York, United States 2006 Putto 4 over 4 v2, Private collection, Greenwich, Connecticut, United States Converge, Sculpture and Animation, Art Omi, Ghent, New York, United States 2005 Putto 2x2x2x4, Sculpture and Animation, Permanent Installation 12th Street between Broadway and Central, Kansas City, Missouri, United States Acquired by the Kemper Museum of Contemporary Art, Kansas City, Missouri, United States Symbolic Logic, the Sculpture of Michael Rees, Panorama Art, Koln, West Germany Putto 4 over 4 (1/3, MARTa Museum, curated by Jan Hoet. Herford, Germany Putto 4 over 4 (2/3), Decordova Museum, curated by George Fifield, Lincoln, Massachusetts, United States 2004 Large and Moving, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, United States 2003 Sculpture: Large, Small, and Moving, Bitforms Gallery, New York, New York, United States 2002 Project Room Gorney Bravin + Lee, New York, New York, United States ten, Universal Concepts Unlimited, New York, New York, United States 2000 Artificial Sculpture v.5, The Henry Block Art Space, Kansas City,
    [Show full text]
  • The Contemporary Art of Travel
    ©2008 Mary M. Tinti ALL RIGHTS RESERVED THE CONTEMPORARY ART OF TRAVEL: SITING PUBLIC SCULPTURE WITHIN THE CULTURE OF FLIGHT by MARY M. TINTI A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Joan Marter and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight By MARY M. TINTI Dissertation Director: Dr. Joan Marter The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight, situates the notable yet little known airport installations of Vito Acconci, Diller + Scofidio, Alice Aycock, and Keith Sonnier in their appropriate artistic, theoretical and social contexts. Provocative and cutting edge, these recent commissions are exemplary for the ways in which they explore the collisions and cross influences of fine art, architecture, technology, flight and travel with particular sensitivity to the qualities that make the airport a singular contemporary space. More than mere decoration or distraction, these site-responsive artworks are visual representations of exactly how this unique place (or non-place) and this unique culture might coincide in sculptural form. Teeming with turbulent paradoxes, airports are uncanny, impersonal, in-between spaces; spaces in which travelers are forced to relinquish control of their autonomy, privacy, safety, sense of time, connections to the ground and links to the world outside. Unafraid of such air travel truths, the artists profiled in this dissertation use them as a ii source of inspiration.
    [Show full text]
  • Press Release
    ALICE AYCOCK DENNIS OPPENHEIM PRESS RELEASE on view from 10 December 2020 For press inquiries please contact Appointments encouraged, mask required for entry Lukas Hall at (212) 541-4900 or [email protected] NEW YORK. The Directors of Marlborough Gallery are pleased to present a special exhibition featuring several large- scale works by Alice Aycock alongside an installation by Dennis Oppenheim. The exhibition will be viewable on the ground floor of our newly renovated space located at 545 West 25th Street. This two-person exhibition follows Aycock’s highly successful summer exhibition in Stockholm at the Royal Djurgården hosted by the Princess Estelle Cultural Foundation. With memories of the Mudd Club, the Odeon, Debby Harry and ‘Heart of Glass,’ we take a moment to reunite two kindred spirits in a play of synergistic works that have long and deep histories of particular resonance with the downtown scene in New York. ALICE AYCOCK’s works are intriguing because of their resistance to easy explanations. An early influence was Rem Koolhaas’s Delirious New York: A Retroactive Manifesto for Manhattan. She studied with Robert Morris and the art historian Leo Steinberg at Hunter College where she received her MA. Aycock’s first large-scale architectural work Maze (1972) was created upon finishing her studies at Hunter College in 1971. Her subsequent early show at 112 Greene Street and her association with Gordon Matta-Clark put her solidly in touch with many of the prominent downtown artists of the seventies, such as Mary Miss and Jackie Winsor. Aycock entered into an intense relationship with Dennis Oppenheim and remained lifelong friends, and along with Vito Acconci, were frequently associated by their mutual interests and even greater differences, as shown in the 1979 three-person exhibition at the ICA in Philadelphia entitled ‘Machineworks.’ For a brief time, they even shared a common visual repertoire.
    [Show full text]
  • The Anti-Aesthetic ESSAYS on POSTMODERN CULTURE
    The Anti-Aesthetic ESSAYS ON POSTMODERN CULTURE Edited by Hal Foster BAY PRESS Port Townsend, Washington Copyright © 1983 by Bay Press All rights reserved Printed in the United States of America First edition published in 1983 Fifth Printing 1987 Bay Press 914 Alaskan Way Seattle, WA 98104 Library of Congress Cataloging in Publication Data Main entry under title: The Anti-aesthetic. I. Modernism (Aesthetics) -Addresses, essays, lectures. 2. Civilization, Modern-1950-Addresses, essays, lectures. I. Foster, Hal. BH301.M54A57 1983 909.82 83-70650 ISBN 0-941920-02-X ISBN 0-941920-0 I-I (pbk.) Contributors JEAN BAUDRILLARD, Professor of Sociology at the University of Paris, is the author of The Mirror of Production (Telos, 1975) and For a Critique of the Political Economy of the Sign (Telos, 1981). DOUGLAS CRIMP is a critic and Executive Editor of October. HAL FOSTER (Editor) is a critic and Senior Editor at Art in America. KENNETH FRAMPTON, Professor at the Graduate School of Architecture and Planning, Columbia University, is the author of Modern Architecture (Oxford University Press, 1980) . .. JURGEN HABERMAS, present~y associated with the Max Planck Institute in Starnberg, Germany, is the author of Knowledge and Human Interests (Beacon Press, 1971), Theory and Practice (Beacon Press, 1973), Legitima­ tion Crisis (Beacon Press, 1975) and Communication and the Evolution of Society (Beacon Press, 1979). FREDRIC JAMESON, Professor of Literature and History of Conscious­ ness, University of California at Santa Cruz, is the author of Marxism and Form (Princeton University Press, 1971), The Prison-House of Language (Princeton University Press, 1972), Fables of Aggression (University of California Press, 1979) and The Political Unconscious (Cornell University Press, 1981).
    [Show full text]
  • 2008 SECAC Conference Abstracts
    SECAC Abstracts from the Annual Meeting in New Orleans, Louisiana September 24-27, 2008 Conference Chair: A. Lawrence Jenkens Art History Program Chair: A. Lawrence Jenkens Studio Program Chair: Gary Keown Abadie-Fail, Trudy. See Begley, David. Adams, J. Bradley. Berry College. On Gardens “The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginning of antiquity.” -- Michel Foucault My work since graduate school is explicitly connected to an operating paradigm of “gardens.” Gardens are classic examples of heterotopic spaces, i.e. “a place with multiple uses” (Michel Foucault), such as libraries, cemeteries, and museums. Through gardens, I have been examining various ordering systems (e.g. gardens as controlled nature) via a range of representations and working methods. Just as gardens are varied, the term provides me with a license to explore a range of ideas (e.g. displacement, sequential time, chance operations) with heterogeneous methods. In addition to theorizing this work through the language of abstraction, it also references art made in a range of cultures and historical styles such as a Southern quilt tradition and tree of life motifs found in carpets (i.e. portable gardens). Recent work is an extension of this research but is marked by revisiting ideas such as camouflage, mapping, and traces that were central to my concerns well before graduate school. Alexander, James Rodger. University of Alabama at Birmingham. Architecture and Sculpture: A Cross Pollination of Attitudes and Intentions The last three decades of the twentieth century saw the disciplines of architecture and sculpture merge in a manner previously unseen.
    [Show full text]
  • Maria Hussakowska-Szyszko, Labyrinth – Fragments. Robert Morris and His Installation for Ms² Łódź 2010, RIHA Journal 0032
    RIHA Journal 0032 | 15 November 2011 Labyrinth – fragments Robert Morris and his installation for ms² Łódź 2010 Maria Hussako ska!"#yszko $eer re%ie and editing organized by& Międzynarodowe Cen rum !ul ury" !ra#$w % In erna ional Cul ural Cen re" !rakow Re%ie ers& Monika Rydi&er" Andrze' (zczer*#i 'bstra(t The installation by Robert Morris called Labyrinth, accompanying his monographic exhibition at the Museum of Art in Łódź, was one of his numerous works based on this theme !esides the labyrinth itself, which belongs to forms most pregnant with meanings, at least two issues seem intriguing The first is the dialogue of Minimalism with art of all eras, of which Morris is a brilliant exponent The other issue is connected to the concept of site"specific art, de#eloped by him in the $%&'s and assuming a comprehensi#e analysis of a place, its history, its social, cultural and political en#ironment, which (ustifies and anchors the work The Łódź context forced the artist to change his strategy, but the work based on the )#ery rare in art history* pattern of a triangular labyrinth may be interpreted as an important element of Morris's Threading through a labyrinth Tracing the changes in the Minimalist discourse of the recent decades I focus on a few interpretati#e lines, connected with the functioning of the -labyrinth- as a structure, I find some analogies between pattern repetitions by writers from the .ulipo group and the acti#ities of Robert Morris. + , + , + , + , + /$0 I #isited 1ucca last summer for the second time, reminding myself of this incredible city+s walls structure and the people who had disappeared inside 2 a little bit like Italo 3al#ino+s characters.
    [Show full text]