site specific works

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Color Theory

James Turrell, Selected Works, Contemporary

‘We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like feeling the power of light and space physically because then you can order it materially. Seeing is a very sensuous act-there’s a sweet deliciousness to feeling yourself see something’

This morning, we’re getting a first look at the 2017 Biennial. Here’s Raúl de Nieves’s site-specific work on the fifth floor. The artist covered six floor-to-ceiling windows with eighteen “stained-glass” panels he made using paper, wood, glue, tape, beads, and acetate sheets. They create a vivid backdrop for the beaded sculptures, especially in the morning sun!

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Carlo Bernardini (b.1966, Italy)

Carlo Bernardini works with optic fiber since 1996; he has created and installed permanent public sculptures in stainless steel and optic fibers in various Italian cities, and in 1996 and 2003 he has installed site specific works at the XII and XV Quadriennial National of Rome. Carlo Bernardini lives and works in Milan; he teaches Multimedia Installations at the Accademia di Belle Arti di Brera in Milan. © All images courtesy of the artist

[more Carlo Bernardini | via Fubiz]

Install in progress! Today, we’re excited to debut a new work by Do Ho Suh as part of the ongoing series of public art installations located across the street from the Museum and the High Line. Suh’s site-specific work visually reconnects the building facade of 95 Horatio Street with the elevated railway that once occupied the neighborhood. Although today the High Line ends at Gansevoort Street, the artist imagines what the vista might have looked like in the days when train tracks continued to run through buildings down into SoHo.

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anonymous asked:

I thought on AO3 you could post original stuff? Or is that somewhere else? Sorry if this bothers you.

This is AO3′s home page:

This is the “About” for the organization that runs AO3:

“The Organization for Transformative Works (OTW) is a nonprofit organization, established by fans in 2007, to serve the interests of fans by providing access to and preserving the history of fanworks and fan culture in its myriad forms. We believe that fanworks are transformative and that transformative works are legitimate.”

Here’s the definition of the term “transformative works”:

AO3′s search and tag systems are designed for fandoms and character pairings. When asked about the idea of redesigning AO3 to support original works, OTW stated:

The archive is not a place for all fictional works and it will never be…[It] is designed for fanworks and fandom; all our features are designed to serve them best; that is our continued commitment. Our tech people do not anticipate a technical/hosting/tagging burden from allowing the kinds of original works under discussion. If that changed, we would always prioritize core fanworks.”   

Bottom line, posting original works to AO3 is a waste. It’s literally an archive for fanfic, and readers go there specifically for fanfic. There’s little chance someone would find your original story since they will be searching for a pre-existing fandom or pre-existing characters, neither of which will your original work contain therefore no search will bring up your story. 

Original works do better on sites designed specifically for original works with readers who come specifically for original works. If you post fanfic to AO3 and also want a place to post your original work, post it on Fictionpress or Wattpad.

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Some recent artworks I created while Artist-in-Residence at the Penland School of Crafts, and as a fellow at the Hambidge Center for Creative Arts & Sciences, Georgia, this year.  At Hambidge I focused on creating site-specific works with paint from my “Painting the Landscape” series. More details on my website www.jacquelinerushlee.com

Landscape Book (Fired Book) 2017

Fall Line(s). From “ResurgencePainting the Landscape Series, 2017.    Site-specific Installation of draped Paint installed within the interior of the Spring House, Hambidge Center, Georgia. (Exterior of Spring House pictured).

Floating Landscape Sky Blue Paint on Water 2017. Dye Shed Ruins, Hambidge Center, Georgia

External image

Part of your process seems to involve being in the moment when you are painting some of your site-specific work. You’ve spoken in interviews about letting your feelings, thoughts and the environment around you influence where you take your work. What sort of preparations do you make leading up to putting paint to surface? Do you have a color palate?  

It really depends on the project as far as how I’m going to determine the outcome of the piece I’m going to create. For this project, I really wanted to focus on my ethnic background — being of Mexican descent. My source of color palette inspiration was a cup of fruit that you would buy from a vendor on the street in Mexico. After spending the first day here on location, I got to meet some of the staff here. Most of them happen to be Latino (or part-Latino) and I knew I had made the right decision. 

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Remember that this place exists. An hour’s bus ride from Midtown Manhattan, Storm King’s our favorite museum whose halls and ceilings are made of air and sunlight, and whose featured works stand among us like ancient beasts so startlingly beautiful you have to squint. Every day we go there is a really good day.

Now, to celebrate the longest day of the year, when the light is there to illuminate genius for all of the hours, we party. Tomorrow is Storm King’s annual Summer Solstice Celebration, a star-lit repast amidst Hudson Valley swoon. You can see new site-specific work by artists Lynda Benglis and also by Luke Stettner — whose having an art show at Ace Hotel New York this August. Sigh. All this thinking’s making us want to get off the Screen and go outside. So that’s what we’re doing. Goodbye. 


Photos property of Storm King Art Center. Except Alyson Shotz’ Mirror Fence, which is property of @kafkaesque_k.

nytimes.com
An Icon of Postmodern Architecture — Covered in Polka Dots

The Glass House, Philip Johnson’s New Canaan, Conn. postmodernist paean to voyeurism (well, sort of), has played host to a number of site-specific projects over the last few years, ever since its exhibition series began with a show of Frank Stella sculptures in situ back in 2012. In almost every case, though, “site-specific work” at the Glass House has entailed inhabiting the unique exhibition space, often with contemporary dance or ambient music — not interfering with the house itself. (The closest anyone had come to date was Fujiko Nakaya’s “Veil,” which enveloped the house in a mist of fog once an hour in 2014.)

That changes today — in as dramatic a fashion as possible — with the unveiling of Yayoi Kusama’s “Dots Obsession – Alive, Seeking for Eternal Hope,” a bold intervention that completely wraps the house in Kusama’s signature bright spots, this time in candy-apple red. “Kusama directly and deliberately plays with the surface of the Glass House,” the curator Irene Shum explains, adding that the work “draws the visitor out into the landscape with layer reflections of polka dots.” The exhibition, up through Sept. 26, accompanies a longer-running Kusama exhibition, “Narcissus Garden” (through Nov. 30), for which the artist installed 1,300 floating steel spheres a foot in diameter in the property’s meadow, forest and pond.

Read the full NYT article here.

Desert Breath | Land Art project | by D.A.ST. Arteam | 1997

“The project is rooted in our common desire to work in the desert. In our mind’s eye the desert was a place where one experiences infinity. We were addressing the desert as a state of mind, a landscape of the mind. The point of departure was the conical form, the natural formation of the sand as a material. 

Desert Breath expands in an area of 100.000 m2, in the eastern Sahara desert bordering the Red Sea in El Gouna, Egypt. It is a site-specific work that generated out of our perception of the site itself. Its construction consists of the displacement of 8.000 m3 of sand formed so as to create precise positive and negative conical volumes. The conical volumes form two interlocking spirals that move out from a common centre with a phase difference of 180o degrees in the same direction of rotation. The centre is a 30-metre diameter vessel formed in a W-shaped section and filled with water to its rim. 

Located between the sea and a body of mountains at the point where the immensity of the sea meets the immensity of the desert, the work functions on two different levels in terms of viewpoint: from above as a visual image, and from the ground, walking the spiral pathway, a physical experience.

The construction of Desert Breath was completed in March 1997. Desert Breath still exists becoming through its slow disintegration, an instrument to measure the passage of time." 

Mattress Factory, Pittsburgh, Pennsylvania

The Mattress Factory is a contemporary art museum in the Mexcian War Streets district of Pittsburgh’s northside. It is unique in that it specialises in room-sized installations and site-specific works. The main building was originallly a mattress warehouse before being converted into an art gallery in the 1970s.

The Mattress Factory’s newest gallery space opened recently in a nearby renovated 19th century row house. The work shown in the photo above, “Trace of Memory” by Japanese artst Chiharu Shiota, filled the entire three floors of this new gallery space. Each room contained items of old furniture with black yarn woven around them, suggesting a web of memories. It was quite haunting and felt like walking into a giant spider web!

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Egyptian Desert Sand Spiral Spans Distance And Time

In the eastern Sahara desert bordering the Red Sea stands Desert Breath, a stunning land-art project comprised of perfectly-formed cones and a glistening pool of water. Nestled between the hills on the Egyptian desert floor, this site-specific installation was the work of D.A.ST. Arteam, made up of Danae Stratou (installation artist), Alexandra Stratou (industrial designer and architect), and Stella Constantindies (architect). They spent from 1995 to 1997 working on Desert Breath, relocating 8,000 square meters of sand to create what we see here. The curves of the two interlocking spirals are dotted with cones that create both positive and negative shapes, as some point up towards the sky while others extend below the surface. Everything radiates from its center, a vessel of water filled rim to rim. All told, this massive and impressive project covers 100,000 square meters (about 1 million square feet).

The terrain was the the driving force behind Desert Breath, and the three women formed D.A.ST. Arteam just for the execution of this project. Danae Stratou explains, “In our mind’s eye the desert was a place where one experiences infinity. We were addressing the desert as a state of mind, a landscape of the mind.” You can view the installation in more than one way. From above, it forms a complete visual image where we can marvel at its design an execution. Or, if we’re lucky enough to experience it from the ground, it is a physical experience as you walk the pathway and come face to face with the larger-than-life cones.

Although it’s been 17 years since the project’s completion, Desert Breath still remains. Just like the conical sands that form when you turn over an hourglass, it too illustrates the passage of time, as wind and other elements reintroduce it to the surrounding landscape.

“They’re really two sides of the coin of social inequality. Museums increasingly are warehouses of wealth, capturing surplus in the form of artworks that are no longer financially productive. Prisons are institutions that warehouse surplus labour and populations that have been economically excluded from the labour market.” Andrea Fraser talks to The Guardian about her new site-specific work, Down the River, on view through March 13. 

Index II, 2014, graph. Photograph by Andrea Fraser

STWTS in the Bay Area

BAY AREA: 

I will be in Oakland February 19-28th to produce Bay Area-specific STWTS posters. This includes meeting local women and portraying their experiences with street harassment in new posters that I will install while in town. I’m partnering with Betti Ono Gallery, who will exhibit the work I create along with already existing STWTS posters, and oil paintings that relate to the project. That show will open on March 7th

During the week, we will host events centered around the project including a wheat pasting night and youth workshop. The first event will be a group discussion on the project and street harassment on Thursday, February 20th. All are welcome and invited to attend. I’ll be using this event to discuss the project, meet and photograph women, and talk with supporters. I encourage anyone interested in potentially being portrayed in the posters to come! 

Dates and times for the other events during the week will be posted soon. I’ll be looking for supporters, volunteers, wheat pasters, and anyone wanting to help amplify this work in Oakland and San Francisco. I’m excited. I’ll see you all soon!

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BETTI ONO EXHIBITION:

Oakland, CA - Betti Ono kicks-off International Women’s History Month 2014 and a new season of arts and culture experiences with the ground breaking public art project and exhibition Stop Telling Women To Smile, featuring new work from artist Tatyana Fazlalizadeh portraying local Bay Area women. The exhibition opens to the public Friday, March 7, 2014 from 6-9pm during Oakland Art Murmur and runs through April 19, 2014.

Fazlalizadeh will be working as Artist In Residence at Betti Ono from February 19-28, 2014. During the residency, she will lead group discussions and workshops about gender based street harassment and produce Bay Area-specific posters. During the workshops and group discussions, the artist will meet and photograph local women, collect their stories, and then portray their experiences with street harassment in new posters that will be installed in public spaces. The resulting exhibition will feature new site-specific work along with existing STWTS posters and oil paintings related to the project.