DOCSLIB.ORG

Using Site-Specific Art As an Alternative for Interpreting Port Hudson State Historic Park, Louisiana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Using Site-Specific Art As an Alternative for Interpreting Port Hudson State Historic Park, Louisiana Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Using site-specific ra t as an alternative for interpreting Port Hudson State Historic Park, Louisiana Yi-Chia Chen Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Landscape Architecture Commons Recommended Citation Chen, Yi-Chia, "Using site-specific ra t as an alternative for interpreting Port Hudson State Historic Park, Louisiana" (2005). LSU Master's Theses. 798. https://digitalcommons.lsu.edu/gradschool_theses/798 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. USING SITE-SPECIFIC ART AS AN ALTERNATIVE FOR INTERPRETING PORT HUDSON STATE HISTORIC PARK, LOUISIANA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Landscape Architecture in The School of Landscape Architecture By Yi-Chia Chen B.Arch., Chung-Hua University, 1998 August 2005 ACKNOWLEDGMENTS Upon the completion of this thesis, I would like to express my gratitude to three groups of people. Those in the first group gave me direct help in conducting this study. People in the second group enlightened me with ideas on the issues covered in this thesis. Those in the third group are people from my home country—Taiwan—who constantly encouraged me over the years. Without the support of persons from all these groups, this thesis would by no means have come into being. I thank my chair professor Kevin J. Risk, who never hesitated to share his unique insights into historic preservation with me and give me advice through the thorough review of my thesis drafts. To the members of my thesis committee, Professor Bruce G. Sharky, who helped me to come up with the conceptual framework of this thesis through his familiarity with and fondness for art, and Professor Max Z. Conrad, who demonstrated to me the possibility of securing the meaning of place through landscape design by making it possible for me to witness various landscape design projects during his numerous field trips in the world, I would never spare my appreciation. I would also like to extend my gratitude to Professor Suzanne Tuner, who rescued me from the dark forest of the complexity of the current preservation methods. To the staffs in the Louisiana Office of State Parks and at the Port Hudson Sate Historic Site, I extend thanks for providing me information about the Site. My personal editor, Mr. Leonard Martin, and Dr. Joe Abraham in the LSU Writing Center, deserve special thanks for the invaluable help they gave me in the process of writing. Concerning the second group of people, first, to Dr. Masafumi Shimada, who informed me of the methods of historic preservation in Japan, I owe deep debts for his ii generosity and friendship. To Dr. Miles Richardson, who guided me into the theories of place and culture, for his great wisdom and humanitarian inspiration, I, as his apprentice, cannot fully express the extent of my gratitude. The last thanks to a person in this group goes to Mr. Brian J. McBride, my friend and brother in America. Without his camaraderie, I would have been defeated by my own weaknesses before I could have completed this thesis. I would like to shout my thankful words out loud to let them cross the Pacific Ocean to reach the people in the third group far away in Taiwan. To Mr. Chiaojung C. Yang, Dr. Rui-Zong Li, and Mr. Tzuwen J. Wang, I offer my sincerest appreciation for your constant encouragement since my days as a baby in the profession of landscape architecture. Special thank go to Ms. Yi-Jen Chen, without whom I would not have come to the United State for my advanced education at in the first place. Most importantly, to my parents, Mr. Che-San Chen and Li-Min Wang, and to my girlfriend, Yen-Wen Chiu, whose love, forgiveness and patience kept me together as I struggled to overcome unspeakable difficulties in the process of completing this thesis, I am deeply indebted. Finally, I would like to express my appreciation to you who are reading this thesis and share my aspiration to push the methods of historic preservation toward new ends. Without you, this thesis would be valueless. I hope you can find something in this work that you feel is useful for the development of your own ideas. iii TABLE OF CONTENTS ACKNOWLEDGMENTS……………………………………………………………...ii LIST OF TABLES…………………………………………………………….....……vii LIST OF FIGURES…………………………………………………………...….......viii ABSTRACT………………………………………………………………..………….xv CHAPTER 1. INTRODUCTION………………………………………………….......1 1.1 Problem Statement…………………………………………………………...4 1.2 Scope…………………………………………………………………………6 1.3 Objectives…………………………………………………………………….8 1.4 Methodology…………………………………………………………………9 1.5 End Notes…………………………………………………………………...10 CHAPTER 2. CRITIQUE OF FEDERAL PRESERVATION GUIDELINES FOR THE TREATMENTS OF CULTURAL LANDSCAPES AS APPLIED TO LANDSCAPE-DOMINATED SITES………………………………... 12 2.1 Preliminary Diagnosis of Federal Treatment Guidelines……………….…..13 2.2 The Structure of Standards for the Treatment……………………………… 15 2.3 Value of Comparing Treatments……………………………………………19 2.4 Comparison of the Four Treatments………………………………………...20 2.5 Comparison of Principles…………………………………………………...29 2.6 The Possibility of Applying Site-specific art……………………………….30 2.7 The Application of the Standards to the Port Hudson State Historic Site…..33 2.8 End Notes……………………………………………………………….......33 CHAPTER 3. THE POTENTIAL OF SITE-SPECIFIC ART FOR INTERPRETING A COMMEMORATIVE SITE………………………………………….. 35 3.1 Concepts of Site Specificity………………………………………………...38 3.1.1 Robert Smithson’s Non-Site as A Symbolic Absence……………41 3.1.2 The Minimalist Opinions in Favor of Site Specificity…………...47 3.2 Land Art as an Open Work………………………………………………….50 3.2.1 The American Avant-garde………………………………………50 3.2.2 The European School…………………………………………….60 3.3 Land Art and Landscape Architecture……………………………………....70 3.3.1 Inception of the Incorporation of Land Art into Landscape Architecture……………………………………………………… 71 3.3.2 The Reflexivity of the Vietnam Veterans Memorial……………..72 3.3.3 Directed Movement in the FDR Memorial Park………………… 79 3.4 An Experiential Journey in Recuperating the Absence……………………..87 3.5 End Notes…………………………………………………………………...90 iv CHAPTER 4. PORT HUDSON STATE HISTORIC SITE IN THE PAST, PRESENT AND FUTURE……………………………………………………….. 92 4.1 The Palimpsest of Port Hudson……………………………………………..93 4.1.1 The River Age (1699-1905)...……………………………………94 4.1.2 Civil War in Port Hudson (1863)……………………………….104 4.1.3 The Terra Age (1905-1982)…………………………………...110 4.1.4 The Commemorative Age (1982-present)………………………116 4.2 A Factory of Déjà Vu, An Identity of A Deep South Civil War Battlefield………………………………………………………………….118 4.2.1 Enchantment of the Reenactment………………………………119 4.2.2 The Demystification Journey…………………………………...120 4.2.3 The Facilities of the Site………………………………………..123 4.2.4 Current Program for Evoking Historical Déjà vu……………....139 4.2.5 Critique……………………………………………………….....145 4.3 The Application of Site-Specific Art into Port Hudson State Historic Site……………………………………………………………………….147 4.4 End Notes………………………………………………………………….155 CHAPTER 5. PROPOSED PLANS FOR ENHANCEMENT OF SIGNIFICANT SPOTS IN PORT HUDSON STATE HISTORIC SITE……………..157 5.1 Site Analysis and Design Vocabularies……………………………………157 5.1.1 Analysis of the Intensities of Park Use…………………………158 5.1.2 Analysis of the Open Space…………………………………….160 5.2 Selection of the Significant Historic Spots for Rehabilitation…….………166 5.3 The Artillery Ridge: The Point of Invasion………………………………168 5.3.1 The Entrance of Artillery Ridge: A Turbulent Landscape………171 5.3.2 The March Highway: the Logistical Section of Artillery Ridge………...………………………………………………….178 5.3.3 The Federal Gun Emplacements: The Trajectory-Overlook Dikes……………………………………………………………181 5.4 The Shape of Fort Desperate: The Smell of Earth……………………….188 5.5 The Heart of the Ravine: The New Port Hudson Peace Monument…………………………………………………………………204 5.6 Conclusion………………………………………………………………...206 5.7 End Notes………………………………………………………………….206 CHAPTER 6. CONCLUSIONS AND SUGGESTIONS FOR FURTHER RESEARCH………………………………………………………….209 SELECTED BIBLIOGRAPHY……………………………………………………212 APPENDIX A ANALYSIS OF THE STRUCTURES OF THE FOUR TREATMENTS…………………………………………………218 APPENDIX B ANALYSIS OF THE FOUR TREATMENTS……………….....226 v APPENDIX C THE PROCESS OF REDUCTION OF PRINCIPLES………....234 APPENDIX D THE PROCESS OF JUSTIFYING THE FOUR POSSIBILITIES.………………………………………………..237 APPENDIX E REALISTIC POSSIBILITIES OF APPLYING CONTEMPORARY ART STYLES UNDER FOUR TREATMENTS……….………………………………………...244 VITA…………………………………………………………………………………249 vi LIST OF TABLES Table Page 2.1. The Possibilities for Involvement of Contemporary Art under the Treatments.......………………………………………………………………...27 2.2. Justified Possibilities for Involvement of Contemporary Art…………………31 vii LIST OF FIGURES Figure Page 1.1. Halprin’s “Perfectly Placed Rocks”……………………….........………………3 2.1. Chart of the Structure of The Secretary of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for the Treatment of Cultural Landscapes ……………………………………………………………………17 2.2. Conceptual Flow Chart of Standards for the Treatments……………………...18 2.3. Hadrian’s
Load more

Recommended publications
  • Grade by Grade Fine Arts Content Standards
    Montgomery County Public Schools Pre-k–12 Visual Art Curriculum Framework Standard I: Students will demonstrate the ability to perceive, interpret, and respond to ideas, experiences, and the environment through visual art. Indicator 1: Identify and describe observed form By the end of the following grades, students will know and be able to do everything in the previous grade and the following content: Pre-K Kindergarten Grade 1 Grade 2 I.1.PK.a. I.1.K.a. I.1.1.a. I.1.2.a. Identify colors, lines, shapes, and Describe colors, lines, shapes, and Describe colors, lines, shapes, textures, Describe colors, lines, shapes, textures, textures that are found in the textures found in the environment. and forms found in observed objects forms, and space found in observed environment. and the environment. objects and the environment. I.1.K.b. I.1.1.b. I.1.2.b. I.1.PK.b. Represent observed form by combining Represent observed physical qualities Represent observed physical qualities Use colors, lines, shapes, and textures colors, lines, shapes, and textures. of people, animals, and objects in the of people, animals, and objects in the to communicate observed form. environment using color, line, shape, environment using color, line, shape, texture, and form. texture, form, and space. Clarifying Example: Clarifying Example: Clarifying Example: Clarifying Example: Given examples of lines, the student Take a walk around the school property. The student describes colors, lines, Given examples of assemblage, the identifies lines found in the trunk and Find and describe colors, lines, shapes, shapes, textures, and forms observed in a student describes colors, lines, shapes, branches of a tree.
    [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]
  • 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]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Visual Arts Curriculum
    August 2013 Ceramics I: Academic Grade Level 9, 10, 11, 12 Course Number 702 Subject Area Visual Arts Course Description This course introduces clay activities involving basic hand-building techniques, such as coil method, slab method, hollowing out and pinch method. Glazing techniques will be taught as well as techniques of clay preparation, storing of unfinished clay pieces and firing. Electric wheel throwing will be demonstrated. The final project will be of the students’ choosing and will involve a written description of the project to be accompanied with a research paper and presentation. Content Standards What aspects of the state standards does the course address? Standard 1. Students will demonstrate knowledge of the methods, materials, and techniques unique to visual arts. Standard 2. Students will demonstrate knowledge of the elements and principals design. Standard 3. Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials and techniques. Standard 4. Students will demonstrate knowledge of the processes of creating and exhibiting their own art work: drafts; critique; self -assessment; refinement; and exhibit preparation. Standard 5. Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. Standard 6. Students will describe the purposes for which works of dance, music, theater, visual arts, and architecture are created, and, when appropriate, interpret their meanings. Standard 7. Students will describe the roles of artists, patrons, cultural organizations, and art institutions in societies of the past and present. Standard 8.
    [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]
  • Formative Assessment in the Visual Arts
    The Artful Learning Communities project is designed to help teachers assess student learning in art, including motivating students to self- and peer-assess. Formative Assessment in the Visual Arts HEIDI ANdrade, JoaNNA HEFFEREN, and MARIA PALma lassroom assessment is a hot topic in K-12 education because of compelling evidence that assessment in the form of feedback is a powerful teaching and learning tool (Hattie & Timperley, 2007). Although formal evaluation has been anathema to many art specialists and teachers (Colwell, 2004), informal assessment in the form of feedback is not. As educators in other subjects have discovered, there are myriad ways in which assessment can not only measure and document student C learning but also—and more importantly—actually promote learning (Andrade & Cizek, 2010). This article shares examples and briefly documents the work of art specialists in Brooklyn, New York, who have experimented with the latest assess- ment techniques in order to increase student engagement and learning. The Artful Learning Communities project Our first challenge was to convince our described in this article was supported by a grant collaborators, the arts specialists, of the value from the U.S. Department of Education. The goals of assessment in arts education. Early on, we of the project were to (1) strengthen the capacity were politely told that art cannot be assessed, and of elementary and middle school arts specialists furthermore, we should not assess children’s art to assess standards-based learning in the Arts; because so doing could threaten their self-esteem (2) promote increased student achievement in and diminish their motivation to engage in Detail from Figure 3.
    [Show full text]
  • Project Update & Public Art Proposal
    To: Center City Development Corporation (CCDC) Board of Directors From: DMC Staff, Planning & Development Department Date: June 10, 2015 RE: South End Underpass Improvements: Project Update & Public Art Proposal ________________________________________________________________________ Background: In 2014, DMC staff and the Henry Turley Company presented a joint proposal to the CCDC to make improvements at two (2) railroad underpasses in the South End neighborhood. The underpasses along Florida Street and South Main Street are dark, dirty, unpleasant, and discourage walking and biking in the area. At its March 16, 2014 meeting, the CCDC approved the South End Underpass Improvement Project. Staff’s original request included $125,000 for the total project, with approximately $50,000 of the budget dedicated to public art. Ultimately, the Board authorized up to $80,000 for Phase I of the project and instructed staff to bring back a detailed plan and budget for public art at a future meeting. The scope of work in Phase I includes cleaning the concrete surfaces, removing the unused roadbed at Florida Street, adding lighting above the sidewalk at two (2) underpasses, and the fees associated with traffic control, contracting, and design. Included in the $80,000 is up to $5,000 to design and plan the public art. The Henry Turley Company agreed to provide development services as an in-kind contribution to the overall project. These services include analysis of existing conditions, project scoping and design, project management, outreach to relevant agencies, and securing any required approvals. Current Status of Project: Over the past year, the Henry Turley Company has been actively securing the required approvals while working to keep the project within budget.
    [Show full text]
  • The Functional Print Within the Print Market of the Late Fifteenth and Early Sixteenth Century in Northern Europe and Italy
    THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY Lyndsay Bennion A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2006 Committee: Dr. Allison Terry, Advisor Dr. Andrew Hershberger © 2006 Lyndsay Bennion All Rights Reserved iii ABSTRACT Dr. Allison Terry, Advisor The focus of my thesis is the print market of the late fifteenth and early sixteenth century. This market was a byproduct of the trade-based economy of Venice and cities in Northern Europe. The multiplicity of prints allowed for their widespread circulation among these cities. Religious prints were the first type of print to be disseminated via the various trade routes. Such prints experienced an immense popularity due to the devotional climate of early Renaissance society. Most often, they were utilized by consumers as devotional tools. Yet as the print market grew, so too did the tastes of consumers. A new type emerged who viewed the print as an art object and used it accordingly; collecting it and storing it away within their private print cabinets. It is these two different functions of the print that I am most interested in exploring. My intent is to view the print as a functional object whose use changed depending on the type of consumer who purchased it. The differing functions of the print resulted in a segmentation of the market into a larger devotional market and a much smaller fine print market.
    [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]
  • 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]