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Ball, Benjamin 2160504614 Ball, Benjamin 2160504614 San Francisco Arts Commission Port Pier 92 Public Art Project Benjamin Ball 2018 N. Vine Street Los Angeles, CA 90068, US 2135483673 [email protected] Submitted: Jul 9 2012 10:15PM CST/CDT Tags: Yes Port Port Pier 92 Eligibility 1. Are you a professional practicing artist residing in one of the following states: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, or Wyoming? If you do not reside in one of these states, you are not eligible to apply to this call. Yes Letter of Interest 1. Letter of Interest: 1 Ball, Benjamin 2160504614 To create a monumental artwork for Pier 92 is an opportunity to make more than an engaging kinetic installation or multimedia project; it presents a chance to engage residents of Bayview by means of a symbolic gateway to their community. Pier 92 is a visual hub, it connects vantage points along major roads and bridges, but it is not a setting that one typically associates with art. It is hiding in plain sight – a remnant of an era that is fading from collective memory. In contrast, a major artwork that engages the silos can be a potent symbol of change for the community: the artwork itself can be an axis on which the past pivots to become the future. If we understand the surrounding neighborhood as an organism, art can serve as “urban acupuncture” (a concept originated by urban theorist Marco Casagrande), a tactical needle prick to the body of the City, the effects of which will ripple through Bayview. Architecture and urban infrastructure typically dwarf public artworks in scale, but at Pier 92, an artwork made of fabric, netting or other lightweight materials could rival the silos and become a symbol. This is what we hope to achieve if awarded this commission. Ball-Nogues brings 30 years of experience to our art practice. Prior to collaborating, Gaston and I assisted architects on projects ranging from sculptures and installations, to public buildings and urban design. Our backgrounds prepared us to interface with community groups, contractors, engineers, architects, planners, and city officials. Our flexible organizational structure and experienced project managers enable us to work on multiple projects simultaneously without compromise. We are uniquely qualified to work with a team of professionals to create a work for Pier 92. Ball-Nogues explores the intersection of ephemeral art and architecture. We first explored this in 2005 with Maximilian's Schell. Located in Silverlake, it was a temporary spectacle that was visible throughout the neighborhood. It made a gathering place that was at once social and contemplative. During the day it provided soothing shade and projected colored light patterns onto the ground that were suggestive of mandalas. Air Garden, a new project will create a sense of repose amidst a cacophony of visual noise in a new terminal at Los Angeles International Airport. Cradle, in Santa Monica, hangs from a parking garage and, while it addresses motorists, it also engages the sidewalk by reflecting people walking below its mirrored surfaces. In 2010, Americans for the Arts Public Art Year in Review designated it as one of its top 50 public artworks. Each of these projects speaks to the public both aesthetically and socially. Each one addresses multiple modes of transport and incorporates emerging computational techniques to generate visual effects not possible a few years ago. Thank you for taking the time to learn about our interest in creating a new piece at Pier 92. We would be thrilled to work with you. Should you have any questions, don’t hesitate to contact us. Annotated Image List 1. Annotated Image Descriptions 2 Ball, Benjamin 2160504614 IMAGE LIST 1. MAXIMILIANS SCHELL Artists: Benjamin Ball and Gaston Nogues Year: 2005 Media: polyester reinforced Mylar, cable, hardware, steel tube Dimensions: 45 ft long x 24 ft wide x 25 ft high Location: Materials & Applications, Los Angeles, California Budget: $45,000 Description: This vortex-shaped, temporary outdoor installation in the exhibition space of Materials & Applications, warped the flow of space with a featherweight rendition of a celestial black hole. Hovering over M&A's courtyard, Maximilian's Schell was a spectacle the size of an apartment building constructed in tinted Mylar resembling stained glass. The piece functioned as a shade structure, swirling overhead for the summer. Commissioning Agency: Materials & Applications 2. LIQUID SKY Artists: Benjamin Ball and Gaston Nogues Year: 2007 Media: polyester reinforced Mylar, netting, cable, hardware, untreated utility poles, earth anchors, steel tubing, gravity-induced water buckets Dimensions: 32 feet x 80 feet x 150 feet Location: PS1 Contemporary Art Center, Museum of Modern Art, New York Budget: $70,000 Description: Liquid Sky immersed its audience in kaleidoscopic pattern of color created by sunlight filtering through an array of translucent, tinted Mylar petals that resemble blossoming flowers of stained glass. Together, the petals form a tensioned matrix that reconfigures the horizon, cresting above the walls of the P.S.1 courtyard and visible from the surrounding streets. Six towers constructed from untreated utility poles support the array of petals while providing discrete spaces at their base for relaxing on enormous community hammocks made of brightly colored netting. Commissioning Agency: The Museum of Modern Art, New York 3. ELASTIC PLASTIC SPONGE Artists: Benjamin Ball and Gaston Nogues Year: 2009 Media: plastic tube, steel hardware, fluorescent tubes Dimensions: 125 ft long x 60 ft wide x 20 ft high Location: Coachella Valley Music and Arts Festival, Indio, California Budget: $30,000 Description: The Elastic Plastic Sponge was created by students from the Southern California Institute of Architecture (SCI-Arc) led by Benjamin Ball, Gaston Nogues and Andrew Lyon of Ball-Nogues Studio. It was a large scale installation that could be twisted, arched and curled to form different types of space including a lounge, a theater, or a large sculptural Mobius strip. In the desert heat of Indio, the architectural installation provided a respite from the sun by making shade and mist while at night, each cell supported a fluorescent tubethe tubes shifted in orientation relative to each other to create the effect of sweeping motion. Commissioning agency: Coachella Valley Music and Arts Festival 4. RIP CURL CANYON Artists: Benjamin Ball and Gaston Nogues Year: 2006 Media: cardboard, plywood, screws, hardware Dimensions: 44 ft long x 40 ft wide x 11 ft high Location: Rice Gallery, Houston, Texas Budget: $60,000 Description: Rice Gallery commissioned this installation in collaboration with The Museum Fine Arts in Houston exhibition, The Modern West: American Landscape, 1890-1950. We invited visitor exploration by extending the casual social terrain of the campus into the gallery, transforming it into a traversable rolling playground. On any given day one might discover a group of gallery goers studying, snoozing, climbing, sliding down the rolling terrain, or making-out in one of the darkened recesses below the cardboard surface. Commissioning Agency: Rice Gallery 5. FEATHERED EDGE Artists: Benjamin Ball and Gaston Nogues Year: 2009 Media: nylon twine, plastic coated mesh, steel, ink 3 Ball, Benjamin 2160504614 Dimensions: 24 ft long x 24 ft wide x 35 ft high Location: Museum of Contemporary Art, Los Angeles, California Budget: $57,000 Description: The project explores the convergence of digital technology and craft. Integrating complex digital computation, mechanization, and printing with traditional handcrafted production techniques, Feathered Edge explores our desire to alter a space with fluid architectural forms that require a minimal use of material while utilizing a new proprietary technique that yields the effect of three dimensional spatial constructs printed to resemble objects hovering in space. Commissioning agency: Museum of Contemporary Art, Los Angeles 6. CITY WALL Artists: Benjamin Ball and Gaston Nogues Year: 2008 Media: tooling board, brass Luminore finish Dimensions: 4.5 ft high x 25 ft long x 3 in deep Location: San Diego, California Budget: $41,000 Description: A low resolution analog aerial image of San Diego translated into a sculptural city map; the result approaches abstraction. The project was fabricated using a computer numerically controlled router and finished to look like brass. Commissioning agency: SE San Diego Hotel 7. VEIL Artists: Benjamin Ball and Gaston Nogues Year: 2011 Media: acrylic beads, cable, hardware Dimensions: 110 ft (11 floors) x 20 ft x 2 in Location: San Francisco, California Budget: $200,000 Description: Veil is a cascading diaphanous curtain attached to the inside of the tower's glass wall system. Cascades of color and form migrate from the bottom of the tower to the top. The tower faces south permitting light to pass through it on three sides while the veil - made of refractive beads - produces the effect of cathedral windows. At night, the work has a gentle glowing presence. The combined visual effect of the catenaries is similar to fabric; however space between the chains permits views into the stairwell and to the sky beyond. Commissioning agency: Mercy Housing California 8. CRADLE Artists: Benjamin Ball and Gaston Nogues Title: Cradle Year: 2010 Media: stainless steel spheres, cable, hardware Dimensions: 50 ft wide x 30 ft high x 8 ft deep Location: Santa Monica, California Budget: $162,000 Description: An aggregation of mirror polished stainless steel spheres, the sculpture operates structurally like an enormous Newtons Cradle - the ubiquitous toy found on the desktops of corporate executives. The project is an exploration in sphere packing. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls while reflecting a distorted image of passersby both in cars and on foot. Commissioning agency: City of Santa Monica, Santa Monica Arts Commission 9.
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