Lumiere 2011 – review | Art and design | The Observer:
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Showing posts with label Light. Show all posts
Showing posts with label Light. Show all posts
Parasol unit: James Yamada
Parasol unit: James Yamada:
On 22 November 2011, Parasol unit will unveil the first artwork in its Parasolstice – Winter Light series of outdoor projects to be realised by various international artists, each of whom creates sculptural works that address the phenomenon of light. The works will be exhibited throughout the winter months in the foundation’s outdoor space, which will be open to the public free of charge. When invited to collaborate on the first project, American artist James Yamadacreated a dramatic installation entitled The summer shelter retreats darkly among the trees.
The aluminium structure of Yamada’s installation both shelters visitors from bad weather and offers them some privacy. Integrated into its rooftop are various light elements at 10,000 lux, which is the sunlight-mimicking intensity referred to as ‘full spectrum light’. This is the light commonly used in light therapy to treat the symptoms of SAD (seasonal affective disorder). The focus of The summer shelter retreats darkly among the trees is to involve visitors in an uplifting and insightful experience. During the darkest months of the year, they are encouraged to enjoy the benefits of exposure to bright light.
James Yamada has forged a reputation for making ingenious constructions that create encounters between nature and technology. In The summer shelter retreats darkly among the trees the artist highlights how recent technology benefits mankind by helping to prevent illness.
The exhibition is generously supported by Arts Council England.
Download the full press release here.
'via Blog this'
On 22 November 2011, Parasol unit will unveil the first artwork in its Parasolstice – Winter Light series of outdoor projects to be realised by various international artists, each of whom creates sculptural works that address the phenomenon of light. The works will be exhibited throughout the winter months in the foundation’s outdoor space, which will be open to the public free of charge. When invited to collaborate on the first project, American artist James Yamadacreated a dramatic installation entitled The summer shelter retreats darkly among the trees.
The aluminium structure of Yamada’s installation both shelters visitors from bad weather and offers them some privacy. Integrated into its rooftop are various light elements at 10,000 lux, which is the sunlight-mimicking intensity referred to as ‘full spectrum light’. This is the light commonly used in light therapy to treat the symptoms of SAD (seasonal affective disorder). The focus of The summer shelter retreats darkly among the trees is to involve visitors in an uplifting and insightful experience. During the darkest months of the year, they are encouraged to enjoy the benefits of exposure to bright light.
James Yamada has forged a reputation for making ingenious constructions that create encounters between nature and technology. In The summer shelter retreats darkly among the trees the artist highlights how recent technology benefits mankind by helping to prevent illness.
The exhibition is generously supported by Arts Council England.
Download the full press release here.
'via Blog this'
Lightway/Lichtweg
Lightway/Lichtweg
Keith Sonnier
ISBN 10: 3893223878 / 3-89322-387-8
ISBN 13: 9783893223879
Publisher: Distributed Art Pub Inc
Publication Date: 1993
Binding: Hardcover
p31 Sonnier "I think the best contemporary art is fragile in form or ideology. It needs an elaborate support system like the white space of a museum or the gallery. it seems as though art almost needs a special psychological housing for it to obtain its function. Different people get different ideas from it."
Keith Sonnier
ISBN 10: 3893223878 / 3-89322-387-8
ISBN 13: 9783893223879
Publisher: Distributed Art Pub Inc
Publication Date: 1993
Binding: Hardcover
p31 Sonnier "I think the best contemporary art is fragile in form or ideology. It needs an elaborate support system like the white space of a museum or the gallery. it seems as though art almost needs a special psychological housing for it to obtain its function. Different people get different ideas from it."
Keith Sonnier: Sculpture Light Space
Keith Sonnier
Keith Sonnier: Sculpture Light Space
Susanne Ehrenfried, Wolfgang Jean Stock, Konrad Bitterli, Keith Sonnier, Wolfgang Häusler, Conrad Lienhardt (Editor), Wolfgang Hausler (Editor)
Publisher: Hatje Cantz Publishers
ISBN: 3775791248 DDC: 709 Edition: Paperback; 2003-07
Q: Is light art haptic?
corridor leading north, Munchener Ruck
p.38 "Onto the ceiling of the underground space, Keith Sonnier has aligned neon tubes in stripes of pure primary colours. Their intense hues subdivide the single sectors into imposing colour blends. A walk through the passage renders moods of alternating colour physically tangible."
"His neon installations combine a painter´s colouration with a sculptor´s form. He treats colour not as a flat plane, but as a volume, thereby allowing a close alliance with the architecture. He says himself that light has always offered him the possibility to create spaces within an already existing space." Susanne Ehrenfried
Compare stained glass windows "the luminosity of colour was first deliberately deployed in an architectural context. Church windows were the first example in the history of art in which a two dimensional depiction inter-penetrated the three-dimensional space with boundless light." p.39
"The fascination of neon lighting is based on the unusual, almost contradictory qualities of the material. Rigid glass, for one, can be formed during its manufacturing process into almost any shape. On the other hand, neon gas makes possible a countless variation in colour. The light gives the glass tubes the quality of an immaterial appearance, thereby dispelling the boundaries of its actual shape." p.39
"At the centre of Sonnier´s works, light stands as an object whose form is treated self-referentially. the concious delineation of the form allows no symbolic references; light oscillates between self-referentiality and abstraction." p.39
Keith Sonnier: Sculpture Light Space
Susanne Ehrenfried, Wolfgang Jean Stock, Konrad Bitterli, Keith Sonnier, Wolfgang Häusler, Conrad Lienhardt (Editor), Wolfgang Hausler (Editor)
Publisher: Hatje Cantz Publishers
ISBN: 3775791248 DDC: 709 Edition: Paperback; 2003-07
Q: Is light art haptic?
corridor leading north, Munchener Ruck
p.38 "Onto the ceiling of the underground space, Keith Sonnier has aligned neon tubes in stripes of pure primary colours. Their intense hues subdivide the single sectors into imposing colour blends. A walk through the passage renders moods of alternating colour physically tangible."
"His neon installations combine a painter´s colouration with a sculptor´s form. He treats colour not as a flat plane, but as a volume, thereby allowing a close alliance with the architecture. He says himself that light has always offered him the possibility to create spaces within an already existing space." Susanne Ehrenfried
Compare stained glass windows "the luminosity of colour was first deliberately deployed in an architectural context. Church windows were the first example in the history of art in which a two dimensional depiction inter-penetrated the three-dimensional space with boundless light." p.39
"The fascination of neon lighting is based on the unusual, almost contradictory qualities of the material. Rigid glass, for one, can be formed during its manufacturing process into almost any shape. On the other hand, neon gas makes possible a countless variation in colour. The light gives the glass tubes the quality of an immaterial appearance, thereby dispelling the boundaries of its actual shape." p.39
"At the centre of Sonnier´s works, light stands as an object whose form is treated self-referentially. the concious delineation of the form allows no symbolic references; light oscillates between self-referentiality and abstraction." p.39
Artificial light: new light-based sculpture and installation art
Artificial light
Artificial light: new light-based sculpture and installation art: Jennifer Allora and Guillermo Calzadilla, Spencer Finch, Ceal Floyer, Ivan Navarro, Nathaniel Rackowe, Douglas Ross
Elana Herzog... [et al.]; curated by Sabine Russ and Gregory Volk
Publisher: Richmond, Va. : VCUarts Anderson Gallery, c2006.
ISBN: 0935519289
Jennifer Allora and Guillermo Calzadilla, In Growth (Survival), 2006, mixed media
Iván Navarro uses fluorescent tubes and electrical materials to create sculptural works that offer social and political commentary within an art historical context. In his works, Navarro appropriates the formal qualities of Minimalism and other avant-garde movements, such as geometric abstraction and constructivism, to speak about violence, energy and the media.
Spencer Finch "White (Niagara Falls Obscured by Mist) 2006". Lightbox and filters. This piece re-creates the light at a moment when the falls was obscured by its own mist.
p.68 "Bob Irwin was using light to dematerialise objects, to make them less solid; I was trying to materialise light as object" James Turrell.
Artificial light: new light-based sculpture and installation art: Jennifer Allora and Guillermo Calzadilla, Spencer Finch, Ceal Floyer, Ivan Navarro, Nathaniel Rackowe, Douglas Ross
Elana Herzog... [et al.]; curated by Sabine Russ and Gregory Volk
Publisher: Richmond, Va. : VCUarts Anderson Gallery, c2006.
ISBN: 0935519289
Jennifer Allora and Guillermo Calzadilla, In Growth (Survival), 2006, mixed media
p.68 "Bob Irwin was using light to dematerialise objects, to make them less solid; I was trying to materialise light as object" James Turrell.
James Turrell
James Turrell
James Turrell: The Wolfsburg Project
Markus Bruderlin, Richard Andrews, Annelie Lutgens, James Turrell,
Publisher: Hatje Cantz
ISBN: 3775724559 DDC: 709 Edition: Hardcover; 2010-03-31
p.67 "Light is a charged substance what we have a primary connection with. Situations in which you notice the presence of such a charged substance are fragile. I mold it... so that you can feel the presence of the light in the room."
p.80 "First of all I am not dealing with an object. The object is perception itself. Secondly, I am not dealing with an image., because I want to avoid any associative symbolic thought. Thirdly, I am not dealing with a special purpose or focal point, either. With no object, image or purpose, what are you looking at? You are looking at yourself looking."
p. 155 "My work is about space and the light that inhabits it. It is about how you confront that space and plumb it. It is about your seeing. How you come to it is important. The qualities of the space must be seen, and the architecture of the form must not be dominant. I am really interested in the qualities of one space sensing another. It is like looking at someone looking. Objectivity is gained by being once removed. As you plumb a space with vision, it is possible to "see yourself see". This seeing, this plumbing, imbues space with consciousness. by how you decide to see it and where you are in relation to it, you create its reality. The piece can change as you move to it or within it. It can also change as the light source that enters it changes." Turrell in conversation with Julia brown, 1985.
James Turrell: The Wolfsburg Project
Markus Bruderlin, Richard Andrews, Annelie Lutgens, James Turrell,
Publisher: Hatje Cantz
ISBN: 3775724559 DDC: 709 Edition: Hardcover; 2010-03-31
p.67 "Light is a charged substance what we have a primary connection with. Situations in which you notice the presence of such a charged substance are fragile. I mold it... so that you can feel the presence of the light in the room."
p.80 "First of all I am not dealing with an object. The object is perception itself. Secondly, I am not dealing with an image., because I want to avoid any associative symbolic thought. Thirdly, I am not dealing with a special purpose or focal point, either. With no object, image or purpose, what are you looking at? You are looking at yourself looking."
p. 155 "My work is about space and the light that inhabits it. It is about how you confront that space and plumb it. It is about your seeing. How you come to it is important. The qualities of the space must be seen, and the architecture of the form must not be dominant. I am really interested in the qualities of one space sensing another. It is like looking at someone looking. Objectivity is gained by being once removed. As you plumb a space with vision, it is possible to "see yourself see". This seeing, this plumbing, imbues space with consciousness. by how you decide to see it and where you are in relation to it, you create its reality. The piece can change as you move to it or within it. It can also change as the light source that enters it changes." Turrell in conversation with Julia brown, 1985.
James Turrell
James Turrell
Zug Zuoz
By (author) Matthias Haldemann, Edited by Kunsthaus Zug
ISBN 9783775726023
p.28 "Light is a sculptural material for Turrell and he it physically palpable, like sound. Precise, but inconspicuous structural devices are designed to create this impression. The circular opening of ""Skyspace Piz Uter" 2005 Zuoz, Germany
has a sharp bevelled edge that reinforces the impression of flatness. And, as far as Turrell is concerned, a round space is better suited to the realm of perception than a rectangular one anyway. Moreover, the intensity and brightness of the white in the upper part of the room not only make the sky seem flatter than it really is, but also make its colours deeper and darker, outside the intense, luminous ultramarine is but a pale grayish blue. The same is evidently not the same and we cannot trust our own eyes: they see more than is actually there."
Zug Zuoz
By (author) Matthias Haldemann, Edited by Kunsthaus Zug
ISBN 9783775726023
p.28 "Light is a sculptural material for Turrell and he it physically palpable, like sound. Precise, but inconspicuous structural devices are designed to create this impression. The circular opening of ""Skyspace Piz Uter" 2005 Zuoz, Germany
has a sharp bevelled edge that reinforces the impression of flatness. And, as far as Turrell is concerned, a round space is better suited to the realm of perception than a rectangular one anyway. Moreover, the intensity and brightness of the white in the upper part of the room not only make the sky seem flatter than it really is, but also make its colours deeper and darker, outside the intense, luminous ultramarine is but a pale grayish blue. The same is evidently not the same and we cannot trust our own eyes: they see more than is actually there."
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