The process of welding, and my lack of skill, have led to some interesting outcomes with Abstract Heads:
https://picasaweb.google.com/lh/photo/uQZT69nYhjOETeq32OPzvDYu85D8Pm7KP-y-BlUr8kA?feat=directlink
Abstract Heads - Welding
The process of welding, and my lack of skill, have led to some interesting outcomes with Abstract Heads:
https://picasaweb.google.com/lh/photo/uQZT69nYhjOETeq32OPzvDYu85D8Pm7KP-y-BlUr8kA?feat=directlink
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'
Kunstverein Hannover
KunstEva Rothschild has already exhibited internationally, including the impressive spacial site-specific 2009 installation “Cold Corners” at Tate Britain. The exhibition at Kunstverein Hannover is the first presentation of her work in Germany.
The fragile and linear formal vocabulary of Eva Rothschild’s sculptures and objects convince through their compositional clarity and strictness. The graphic linearity of her installations creates a fascinating impression of three-dimensional drawings in space.
In Rothschild’s object worlds, the history of abstract art, and hence the tradition of elementary forms such as circle, cone, square and triangle, encounters the puzzling and meaningful aura of the material. Rational minimalism meets emotional mysticism. The artist’s works consequently contain references to subcultures and the fetishization of the autonomous object: like archaic ritual atifacts, woven leather objects hang on the wall or as a group in space. Paper pictures with long rug fringes recall the leather jackets and rug culture of a romantically transfigured hippy world, formally re-dissolving the pieces’ abstract appearances. The overlapping of systems and worlds of meaning is particularly clear when Eva Rothschild interweaves two model images each for her woven paper works. In “Hand and I” (2003), a pair of eyes is thus pictorially entwined with an esoterically tinged corona.
The artist succeeds in making the spiritually-laden works of the early avant-garde equally visible in her pieces as concrete art’s claims of sociopolitical relevancy and the aesthetic pervasion of everyday life. The autonomous elementary form of minimalism encounters the potentially utopian, spiritual “image material” it finds in the environment of the esoteric and recent social utopian models.
Eva Rothschild subverts modernist insignias with irrationality, emotionality and contentual irritation that endow the works with a peculiar melancholy, an ambivalent potential between visionary progress and reactionary withdrawal. Her works’ subtlety enmesh the viewer in questions regarding pictures as objects of use and the use of pictures.
verein Hannover:
'via Blog this'
The fragile and linear formal vocabulary of Eva Rothschild’s sculptures and objects convince through their compositional clarity and strictness. The graphic linearity of her installations creates a fascinating impression of three-dimensional drawings in space.
In Rothschild’s object worlds, the history of abstract art, and hence the tradition of elementary forms such as circle, cone, square and triangle, encounters the puzzling and meaningful aura of the material. Rational minimalism meets emotional mysticism. The artist’s works consequently contain references to subcultures and the fetishization of the autonomous object: like archaic ritual atifacts, woven leather objects hang on the wall or as a group in space. Paper pictures with long rug fringes recall the leather jackets and rug culture of a romantically transfigured hippy world, formally re-dissolving the pieces’ abstract appearances. The overlapping of systems and worlds of meaning is particularly clear when Eva Rothschild interweaves two model images each for her woven paper works. In “Hand and I” (2003), a pair of eyes is thus pictorially entwined with an esoterically tinged corona.
The artist succeeds in making the spiritually-laden works of the early avant-garde equally visible in her pieces as concrete art’s claims of sociopolitical relevancy and the aesthetic pervasion of everyday life. The autonomous elementary form of minimalism encounters the potentially utopian, spiritual “image material” it finds in the environment of the esoteric and recent social utopian models.
Eva Rothschild subverts modernist insignias with irrationality, emotionality and contentual irritation that endow the works with a peculiar melancholy, an ambivalent potential between visionary progress and reactionary withdrawal. Her works’ subtlety enmesh the viewer in questions regarding pictures as objects of use and the use of pictures.
verein Hannover:
'via Blog this'
Welding
I did my first bit of welding. It's fun... and very difficult, but works with my aesthetic. 
So this is the basic style of a new version of "Abstract Heads: The Last Supper" that I will be working on over the next couple of weeks. So far, I have enough steel prepared for 6 of the 13 Heads, and hopefully I'll be able to get to the scrapyard to get more steel before the end of the week.
So this is the basic style of a new version of "Abstract Heads: The Last Supper" that I will be working on over the next couple of weeks. So far, I have enough steel prepared for 6 of the 13 Heads, and hopefully I'll be able to get to the scrapyard to get more steel before the end of the week.
Modern Frames
At the Hepworth gallery in Wakefield I was interested to look at the frames that artists used. These were often clearly not professionally framed, and it seemed that they were sometimes made from recycled frames. Roger Fry's "Boats in Harbour" 1915 has a series of frames including a 1/2" gilded frame, a lower 1" inner frame and then a 2" white frame. A simple tenon joint on the back frame gives depth to a mitre on the front frame. Mondrian's "Composition C (No 111)" has a piece of 1/2" wood, butt-jointed around a canvas 1" deep, producing a "stepped" profile. John Wells' "Island Counterpoint" 1956 also has this "double frame", with the inner frame having both mitre and butt joints in the same frame. When searching for these paintings online, you can only see the painting, not the frame. I understand this in some ways, but for me the part of the essence of the paintings is the quality and experience of the frame. I am using these framing systems in my work to give feelings of Arte Povera, heirloom and timelessness.
Terry Smith, One and Three Ideas: Conceptualism Before, During, and After Conceptual Art / Journal / e-flux
Terry Smith, One and Three Ideas: Conceptualism Before, During, and After Conceptual Art / Journal / e-flux:
"I think that we are getting close to the core of conceptualism worthy of the name, and to the basis of its appeal to serious young artists today: it is something to do with rigor, without cause, and with implacable commitment in the face of meaninglessness."
'via Blog this'
"I think that we are getting close to the core of conceptualism worthy of the name, and to the basis of its appeal to serious young artists today: it is something to do with rigor, without cause, and with implacable commitment in the face of meaninglessness."
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9781930743953
Richard Kalina p.8 "What distinguishes Sonnier´s true free standing work is its exploration of stance: no small matter for sculpture. Moving off the base and into the viewer´s physical and emotional space has been a concern of advanced sculpture for most of the twentieth-century and beyond. This un-basing of sculpture is not as simple as merely removing the pedestal and setting the work on the floor. Just as the base is a historically loaded entity, the sculpture´s equivalent of painting´s frame, sculpture "in the room" has its own set of precedents and traps. Freestanding sculpture must literally balance itself, and in doing so, it tends to evoke either the architectural and the built, or living forms, animal or human. Stance is thus simultaneously metaphorical and actual."
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.
Light
Lighthouse
Traffic light
Brake Light
Street Light
Reading Light
Stage Light
Torch
Candle
Airport lights
Airplane lights - horizontal rain
light coming in under the door of the bathroom
Advertising
Martin Creed - Turner
Bruce Nauman (Richard Serra!)
Leger - Theatre lights flashing
Hell(o) (T)here
Lots of artists use words in lights
light at the end of the tunnel
Light reflected on the back of a van as you go through a tunnel
Fireworks
Fire
Ambulance / Fire / Police
Julien Gardiner
Traffic light
Brake Light
Street Light
Reading Light
Stage Light
Torch
Candle
Airport lights
Airplane lights - horizontal rain
light coming in under the door of the bathroom
Advertising
Martin Creed - Turner
Bruce Nauman (Richard Serra!)
Leger - Theatre lights flashing
Hell(o) (T)here
Lots of artists use words in lights
light at the end of the tunnel
Light reflected on the back of a van as you go through a tunnel
Fireworks
Fire
Ambulance / Fire / Police
Julien Gardiner
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.
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