DOCSLIB.ORG

Alice Aycock: Sculpture and Projects

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. In this trope, death not only culminates disciplines to serve double duty in her work, to life; it is its chimerical and dark equivalent. create it even while dissipating it. In many of the Standing at the threshold of Hell, it looks back at pieces from the 1970s and early '8os for which she the vital forces it terminates, reflecting at once became famous, Aycock choreographs both her both time's multitudinous shapes and its cessation. sculptures and scripts about them so that the Viewed metaphorically, Milton's Death is a mirror binary opposites of presence and absence, creation and a fissure in a closed universe that provides and destruction -low-key late-twentieth-century glimpses of heretofore unimagined possibilities. surrogates for Life and Death-are deconstructed. This type of opening is a key stratagem in Although her art might appear to have an edge Aycock's work, which seeks to unlock a new space over her art writing, since we are accustomed to between juxtaposed worldviews. The price for this regard artists' statement as supplements, neither realization is high, of course, since it disrupts the act of viewing the sculpture nor the reading of established patterns and ways of reacting to them. its supplementary text should be given primacy. Ultimately it places all worldviews on notice and Binaries in Aycock's art give way to dif.ferance­ thus goes far beyond Marxist art's proclaimed Jacques Derrida's special conjunction of"difference" ability to undermine a dominant ideology's mode and "deferring"-that is spatial in demarcating of seeing and understanding. Moreover, this art distinctions among closely associated entities and supersedes the defamiliarization Russian time-bound in delaying ultimate or transcendent formalists theorized that new works are capable of meanings. Presence as authoritative meaning is effecting when they alter the ideological and destabilized in this postmodern work, and cultural terms used for both framing and Aycock's sculpture-like Milton's shape-shifting experiencing the world. Aycock's art does so by Death-provides new perspectives on life. empowering viewers so that they might continue Working in this vein in "The Beginnings ofa the process of transforming the world long after a Complex ... ," Aycock may have chosen to leave the given piece has been created. In addition to ending of the above statement inconclusive subscribing to Viktor Shklovsky's admirable because she envisioned the beginnings of the assessment that "the technique of art is to make complex constituting her art as the first objects 'unfamiliar; to make forms difficult, to installment of an ongoing contract with her increase the difficulty and length of perception viewers. Aycock provides these viewers with a great because the process of perception is an aesthetic number of meaningfuJ and often contradictory end in itself and must be prolonged;'2 Aycock clues and then encourages them to negotiate willingly abrogates part of the artist's traditional individually the terms in which her art is to be responsibility as the prime generator of a work's perceived. The basic stipulations may be hers, but meaning when she enlists viewers as her ongoing the outcome, as she intended, can be highly collaborators in this process. personal, depending as it does on the individual In citing Milton's mysterious image, Aycock understanding attained by viewers who willingly condenses life's intricacies into a disruptive complex submit themselves to the initial and, in many that she views as architectural and sculptural as cases, dizzying features of this obsessive work. well as mental and emotional. As we will see, this This book is concerned with Aycock's complex joins the presence of art with the otherness purposefully unwieldy complex, its development, of schizophrenia: it builds even as it tears down. and the many deliberate breaks in it, beginning in Moreover it demonstrates how this artist regularly the late 1960s and early '7os and continuing for almost two decades of extraordinarily intense research that was based on a belief in art and 2 sculpture as a mode of inquiry and not a stable entity. This study will contend that Aycock many of the iconographic sources for Aycock's rethought not only the role of the art object but works as possible and unravel many of its also the mode of apprehending it. She attempted mysteries and deliberate obfuscations, knowing that to discover the type of information art might such an approach will enrich the reader's overall convey and how it might do so. Moreover she understanding at the expense of impoverishing the intended to place viewers in situations where they direct apprehension of individual pieces, making would have to face this same problem. This two­ them less confrontational and puzzling. While my phased epistemological quest, undertaken first by approach may appear at times to undermine the artist and then by her viewers, involves taking Aycock's radical attempt to project the task of substantial risks, as the process of looking at and making meaning out to viewers, l hope that understanding a given work of art is far more readers will recognize this artist's incredible leaps open-ended than usual: responses can be from one symbolic system to another as generalized even though individual reactions concerted attempts to undermine established cannot be predicted. ideological pathways. Although her highly complex individual works This book will also demonstrate how the might appear to lack a coherent meaning and a openness Aycock courts in her art is relatable to fixed identity, Aycock's overall oeuvre must be new ways of viewing the world in the late twentieth regarded with some sense of closure, as her series century that are a legacy of the information age, of works reveal overarching patterns and concerns first in terms of the widespread advance of the that partially mHitate against the epistemological mass media in the mid-twentieth century and then quandaries specific pieces can initiate. Moreover, in terms of the creation of Pes in the 1970s by leaving individual pieces susceptible to the followed by changes enacted by the Internet at the references and associations she provides, Aycock century's end. Developed in tandem with this has created a situation of putative presence and plethora of information were concomitant notable absence that is applicable to her work and innovations in its storage and retrieval, as well as to the artist's traditional role. This inherent an increasing awareness of the ways it can be contradiction between single works and entire marshaled to ratify some worldviews while series-as well as between an individual piece's undermining others. By looking at Aycock's work cogency and the accompanying text's apparent chronologically, we can begin to see how it disruption of any straightforward efficacy-is one participates in the sheer wealth of this information of the disconcerting and exciting dialectics on age at the same time as it casts aspersions on which her art is predicated. Although she often monolithic views. Repeatedly this type of refers to her family history, voluminous reading, epistemological work creates puzzles with distinct and far-ranging image file, her work, which breaks, establishing perceivable gaps in the remains insistently open to her own contradictions ideological fabric of its contemporaneous world and therefore to viewers' interpretations, can and in the individual work's rhetoric so that both frustrate those who wish to view individual pieces its time and our views of it are fluid and disruptive. as closed circuits synonymous with their creator, It allows us to imagine how people in the past as did the abstract expressionists and their critics. might have fantasized, for example, about the Because I will be considering Aycock's ability to fly and to be in two places simultaneously individual works in terms of her overall oeuvre, that became realities in the twentieth century this study may be able to achieve an overall when airplanes and telephones substantially changed conclusiveness about this challenging work that is people's modes of travel and communication.
Load more

Recommended publications
  • Summer 1987 CAA Newsletter
    newsletter Volume 12. Number 2 Summer 1987 1988 annual meeting studio sessions Studio sessions for the 1988 annual meeting in Houston (February Collusion and Collision: Critical Engagements with Mass 11-13) have been planned by Malinda Beeman, assistant professor, Culture. Richard Bolton, c! 0 Ha,rvard University Press, 79 University of Houston and Karin Broker, assistant professor, Rice Garden Street, Cambridge, MA 02138. University. Listed below are the topics they have selected. Anyaddi­ Art and mass culture: it is customary to think of these two as antagon­ tional information on any proposed session will be published in the Fall ists, with art kept apart to best preserve its integrity. But recent art and newsletter. Those wishing to participate in any open session must sub­ theory has questioned the necessity of this customary antagonism, and mit proposals to the chair of that session by October I, 1987. Note: Art many contemporary artists now regularly borrow images and tech­ history topics were announced in a special mailing in April. The dead­ niques from mass culture. This approach is fraught with contradic­ line for those sessions was 31 May. tions, at times generating critical possibility, at times only extending the reign of mass culture. It becomes increasingly difficult to distin­ Artists' Visions of Imaginary Cultures. Barbara Maria Stafford (art guish triviality from relevance, complicity from opposition, collusion historian). University of Chicago and Beauvais Lyons (print­ from collision. Has the attempt to redraw the boundaries between maker), University of Tennessee, Department of Art, 1715 Vol­ mass culture and art production been successful? Can society be criti­ unteer Blvd., Knoxville, TN 37996-2410.
    [Show full text]
  • 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]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [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]
  • Abstract Expressionism: a Concern with the Unknown Within.” in Robert Hobbs and Gail Levin
    “Early Abstract Expressionism: A Concern with the Unknown Within.” In Robert Hobbs and Gail Levin. Abstract Expressionism: The Formative Years. New York: Whitney Museum of American Art, 1978; pp. 8-26. Text © Robert Hobbs Early Abstract Expressionism: A Concern with the Unknown Within by Robert Carleton Hobbs Breakthrough! The term "breakthrough" is often used to assess a major accomplishment of an artist, the works in which he first achieves an undeniable advance. But what does a breakthrough really signify? What does an artist leave when he begins a new style? Is he really leaving, so to speak, one room, closing and sealing the door to it when he enters another? Or is he remodeling, expanding, or merely redecorating the room in which he exists? A major intent of this essay is to look closely at the rooms occupied by the Abstract Expressionists during their formative years, the enclosures pejoratively designated Surrealist-Cubist, in order to understand exactly what sort of quarters they inhabited before their acclaimed breakthrough. Moreover, the essay will examine these spaces, the ideas expressed in them and the artistic and literary sources supporting them. It will imply ways the later style is incorporated in the earlier one, for the development of the New York painters in the late 1940s was from the complex to the simple, from an admittedly conftated ambiguity typifying their work in the late thirties and greater part of the forties to the more condensed forms that remained the distinctive characteristic of their later style. The early paintings explain the later ones: they provide the key to interpreting the significant content that preoccupied the Abstract Expressionists.
    [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]
  • Museums and Their Objects.” in Robert Hobbs and Frederick Woordard, Eds
    “Introduction, HUMAN RIGHTS/HUMAN WRONGS: Museums and Their Objects.” In Robert Hobbs and Frederick Woordard, eds. HumanRights/Human Wrongs: Art and Social Change. Iowa City: The University of Iowa Museum of Art, 1986; pp. 1-19. Text © Robert Hobbs INTRODUCTION HUMAN RIGHTS/HUMAN WRONGS: Museums and Their Objects ROBERT HOBBS Although museum staff members and the general public often ac­ cept the conventions of exhibiting art and producing catalogues as norms which are beyond question, I believe these conventions need to be challenged. I wish to begin this book by questioning assumptions about the inherent goodness of art, the great benefits to be derived from going to museums, the satisfying knowledge currently available about art, and the separation of art from the power struggles that seem to pervade all other aspects of life. Rather than providing an­ swers, this introduction will suggest ways that certain beliefs can and should be questioned. Museums and their publications often constitute a way of looking that is superimposed upon the visions of an individual artist to be­ come the societal work of art that we call culture. If we are to free art from the current mode of museum practice-which seems intent on embalming it in a mausoleum-and allow it to be a deeply felt re­ action to the world by a sensitive individual, then we have to look critically at museums and assess their attitudes about the role of art in contemporary life. THE MusEUM AS MAusoLEUM Largely a late eighteenth- and early nineteenth-century creation, the art museum has been viewed as an arbiter of taste, a legitimizer of vanguard experiments, and a repository for art where one can go and look and be suspended in time.
    [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]
  • Felix Gonzalez-Torres's Epistemic
    \\jciprod01\productn\C\CJP\26-3\CJP305.txt unknown Seq: 1 18-MAY-17 15:07 F ELIX´ GONZALEZ-TORRES’S ´ EPISTEMIC ART Robert Hobbs* Latin-American, gay, and AIDS positive, F´elix Gonz´alez-Torres seemed to be the perfect model for both the late 1980s and early ’90s culture wars, which emphasized sex and diversity. Because Gonz´alez- Torres’s life made him such an apt subject for addressing social and po- litical wrongs, many critics and art historians premiered both him and his art when discussing these hotly debated issues. But Gonz´alez-Torres himself regarded these personal matters separately from his epistemolog- ically oriented work. In an interview with fellow artist Tim Rollins, he discussed his desire to critique mainstream culture from within its struc- ture and accepted practice rather than serve as one of its pawns: “I love the idea of being an infiltrator. I always said that I wanted to be a spy . I don’t want to be the opposition because the opposition always serves a purpose . .”1 Because Gonz´alez-Torres understood the need to focus his energies within established art discourses rather than mounting attacks from the outside, his art, with its important epistemological and ontologi- cal innovations, places him in a direct line with such major twentieth- century artist-thinkers as dadaist Marcel Duchamp, minimalists Donald Judd and Robert Morris, and earth artist Robert Smithson. Although he often alluded to his partner, Ross Laycock, in a number of works, Gonz´alez-Torres straightforwardly presented a series of HIV- positive blood count charts with their gridded formats resembling the look of Minimalism, and drew on Latino festivals in his works consisting of strings of light bulbs and Caribbean d´ecor in his beaded curtains.
    [Show 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.
    [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]