Elmgreen & Dragset
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How a Fake Luxury Boutique Be
Prada in the desert: how a fake luxury boutique be- came a Texas landmark For the first time in almost 15 years, the artists Elmgreen & Dragset have re- turned to an installation they expected to ‘just disappear’ The artists Michael Elmgreen, right, and Ingar Dragset at Prada Marfa Photograph: Katie Reese hen the Scandinavian artists Michael El- elements, a legal threat and repeated acts of mgreen and Ingar Dragset erected Prada vandalism. Marfa, a sculptural, non-functioning replica of a luxury Prada boutique, on the edge of Recently, when the Berlin-based artists re- a lonely west Texas highway, they imagined turned to the site for the first time in nearly that it would end up like the remote Land Art 15 years, they found a sculpture that had of the 60s and 70s. In the absence of mod- taken on a life of its own. ern social media, it would quietly erode into the landscape before anyone ever really got a “It became a symbol beyond our expectations, chance to see it. or individual ideas, in good ways and bad,” said Elmgreen during the recent visit, bring- “It would exist more as documentation and a ing to light the friction between the public rumor,” Dragset recalled, “and at some point and public art, artistic intention and out- just disappear.” come. For Dragset, Prada Marfa had become a lens to view the passage of time, “changes in But rather than fade away, Prada Marfa defied how we use technology to perceive a site, or the artists’ expectations, mutating into a an experience”, he said, particularly in terms cultural sensation over the years. -
To See Itinerary
LOWE ART MUSEUM, UNIVERSITY OF MIAMI PATRON TRAVEL to MARFA, TEXAS November 14–17, 2021 DRAFT ITINERARY – as of March 2021; venues & times subject to change ________________________________________________________________________________________ In the mid-1970s the Minimalist artist Donald Judd, with the support of the Dia Art Foundation, acquired a former cavalry fort in the Far West Texas border town of Marfa. Approximately three hours by car from both the El Paso and Midland-Odessa airports, Marfa is where Judd chose to realize his vision of creating a museum -- the Chinati Foundation -- for permanently installed, site- specific works by the artist and a select few of his colleagues. Judd died unexpectedly in 1994 at the age of 65, and his estate became the Judd Foundation, a separate entity from Chinati. The Foundation holds and maintains Judd’s various properties (a total of 15) in Marfa and New York City, including his homes, studios, library, archive and collections of artworks by him and others. Page 2 of 5 November 14 TRAVEL TO TEXAS_____________________________________________________ Sunday Travel. Fly to El Paso, where you will be met by a private coach for the 3-hour drive to Marfa. Arrival times to be coordinated for the group transfer. Estimated arrival time in Marfa is 7:00 pm CST. Ground transportation in Marfa will be provided for the whole trip. Accommodations: Hotel Saint George The Hotel Saint George is a 55-room contemporary boutique hotel on Marfa’s main street. It features 2 restaurants, a bar/lounge and outdoor pool and is the new home of The Marfa Book Company, a very special independent bookstore. -
Page 1 C R O S S I N G S B E T W E E N T H E
OCT 12 14 CROSSINGS BETWEEN THE PROXIMATE AND REMOTE MARFA 2017 ACSA FALL CONFERENCE “In West Texas there’s a great deal of land but nowhere to go.” —Donald Judd, Architektur, 1989 Host School: Texas Tech University College of Architecture Co-chairs: Urs Peter Flueckiger, Texas Tech University Victoria McReynolds, Texas Tech University ABOUT THE CONFERENCE The Remote is both a tangible and imaginary space that lures us from our hectic lives and contested contexts into other, more distant worlds. Few terrains embody this sirens’ call more than the American Desert whose majestic and beguiling frontiers were described by Reyner Banham as an evocative combination of “elation and bewilderment.” For Donald Judd, one of the most architecturally influential artists of the twentieth century, the remote desert region was more than a tourist stop, site to survey, or exotic curiosity. Judd leveraged the expansive Trans-Pecos region of the Chihuahuan Desert to fuse art, architecture and landscape into permanent configurations that meld together different worlds: in his case the distant art world of New York with the rough and tumble realities of Marfa, Texas - perhaps the quintessential remote. Judd once said, “Marfa is two six packs from El Paso” - a joke perhaps - but also effectively placing his work and experience within a unique and contemporary measure of time, space and culture. The Fall 2017 ACSA Conference, Crossings Between the Proximate and Remote, embraces these observations and welcomes an expansion and meditation on them. We, as architects and artists, are increasingly compelled to cross the boundaries of our disciplinary practices with other practices, perceptions and realities. -
John Chamberlain and Carl Andre Chinati Foundation
009 Prada Marfa-Iconic Marfa, Texas?13 John Chamberlain and Carl Andre 20 Chinati Foundation “The Block” 100 Aluminum 21 Works—Judd Foundation 25 Contact 01-02 Editor´s note Donald Judd’s Marfa, Texas 04 07 15 Concrete Artworks—Chinati Foundation Index The Growth of Marfa, aka Still Marfa? 09 11 What Makes Marfa So Special? Editor´s Note 01 Reaching Marfa is as hard as everyone says. However, leaving is even harder. The red sunsets in the desert, the mysterious lights which scientists from around the world have been trying to explain for over 125 years, the best burritos in the area, and the awe-inspiring natural beauty surrounding Marfa are an incomparable stage for the monumental artworks here, each of which is as different and unique as Marfa itself. We must thank Donald Judd for his pilgrimage to this windswept Texas prairie, for his radical conception about art, and for his vision to create an astonishing aesthetical experience. An ode to contemplation, Marfa showcases huge, heavy pieces, in situ pieces only to be seen here. Standing l i k e t h e l a n d s c a p e i n t h e background, these works were created FOR this place, to be understood here. There are no photographs available, no reproductions at the store to be purchased as souvenirs, no chance to see them elsewhere; just pieces which require open minds and open senses. The city’s motto was clear after my visit: "Tough to get, Tougher to explain. But once you get here, you get it". -
Syllabi & Program Description
LAND ARTS OF THE AMERICAN WEST Land Arts lunching at Sun Tunnels (1976), an earthwork by Nancy Holt near Lucin, Utah, collection of Dia Art Foundation. SYLLABI & PROGRAM DESCRIPTION The concept of Nature isn’t only untrue; it’s responsible for global warming! Nature is defined within agrilogistics as a harmoniums periodic cycling. Conveniently for agrilogistics, Nature arose at the start of the geologic period we call the Holocene, a period marked by stable Earth system fluctuations. One might argue that Nature is an illusion created by an accidental collaboration between the Holocene and agrilogistics: unconscious, and therefore liable to be repeated and prolonged like a zombie stumbling forwards. Like Oedipus meeting his father on the crossroads, the cross between the Holocene and agrilogistics has been fatally unconscious. Timothy Morton “What is Dark Ecology” in Mirna Belina (ed.). Living Earth: Field Notes from the Dark Ecology Project 2014-2016. Amsterdam: Sonic Acts Press, 2016, p. 43. Land Arts of the American West at Texas Tech University is a transdisciplinary field program, based in the College of Architecture, dedicated to expanding awareness of the intersection of human construction and the evolving nature of our planet. Land art or Chris Taylor — Director of Land Arts of the American West at Texas Tech University Aug 23, 2021 College of Architecture — 3016 18th Street, Rm 1005 — Lubbock, Texas 79409-2091 Page 1 of 36 806-834-1589 — [email protected] LANDARTS.ORG LAND ARTS OF THE AMERICAN WEST earthworks begin with the land and extend through the complex social and ecological processes that create landscape. -
The Price of Everything : Perspectives on the Art Market
THE PRICE OF EVERYTHING... Digitized by the Internet Archive in 2013 http://archive.org/details/priceofeverythin50whit THE PRICE OF EVERYTHING... PERSPECTIVES ON THE ART MARKET May17-June24, 2007 UJHITNEM Whitney Museum of American Art Independent Study Program Exhibition at The Art Gallery of The Graduate Center The City University of New York Whitney Museum of American Art, New York Yale University Press, New Haven and London This publication accompanies the exhibition THE PRICE OF EVERYTHING... PERSPECTIVES ON THE ART MARKET, May 17-June 24, 2007, organized by the 2006-07 Helena Rubinstein Curatorial Fellows of the Whitney Museum of American Art Independent Study Program: Martin Braathen, Stephanie Fabre, Minnie Scott, and Mike Sperlinger. The Independent Study Program is supported in part by Joanne Leonhardt Cassullo, The Dorothea L. Leonhardt Foundation, Inc.; the Dorothea L. Leonhardt Fund of the Connmunities Foundation of Texas, Inc.; The Edward and Sally Van Lier Fund of the New York Community Trust; the Easton Foundation; and the Whitney Contemporaries of the Whitney Museum of American Art. Endowment support is provided by the Communities Foundation of Texas, Inc.; The Dorothea L. Leonhardt Foundation, Inc.; the Helena Rubinstein Foundation; and George S. Harris. mHITNEV Whitney Museum of American Art 945 Madison Avenue at 75th Street New York, NY 10021 www.whitney.org © 2007 Whitney Museum of American Art All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage and retrieval system, or otherwise without written permission from the Whitney Museum of American Art, New York. -
Download The
Painting by Rebecca Ness (CFA’15) Ness Rebecca by Painting Re-Engage, Re-Define, Re-Imagine According to Rebecca Ness (CFA’15), painting fabrics, attire, and the people behind them is a way to explore the ways in which “people curate themselves and what they want to communicate to the world.” At the beginning of a year characterized by growth and evolution at the CFA, this issue of Spark dives right in with stories focused on themes of embracing transitions, taking risks, and defining identities, as individuals and as a community. Read about artists, performers, and composers whose work is bursting at the seams of expression—both figuratively and literally—from the BU Art Gallery to the newly imagined Studio ONE. Join current students on their own journeys of self-exploration around the world, from stages of Berlin and Carnegie Hall to sketch-writing studios in LA and galleries in Chelsea. The CFA community is characterized by purposeful makers and passionate minds, and they’re ready to share their stories. IN THIS ISSUE volume three, issue one 01 Re-Engage, Re-Define, Re-Imagine 02–03 Snapshot of the Summer 04 Stretching Perceptions 05 Bands of the Beanpot 06–07 Fall Events 08 Reimagining Fringe 09 Marfa: Minimalism Made Monumental 10 Catalyst for Common Ground 11 From One Dream School to Another 12 Overdrive Boston, MA 02215 MA Boston, 855 Commonwealth Avenue Avenue Commonwealth 855 G OR NONPROFIT 2 SPARK Anna Bortnick (CFA’18) Major: Theatre Arts – Performance Minor: History of Art & Architecture Bard College Berlin Theater Intensive “My work in Berlin expanded my understanding of how theater can challenge its audience.