Archive for the ‘Installation’ Category

El Corazon Sangrante/The Bleeding Heart

Friday, November 1st, 1991

FRIDA KAHLO’s Self-Portrait with Thorn Necklace and Hummingbird shows her in a jungle with butterflies in her hair and a hummingbird dangling from a thorn necklace that pierces her neck, drawing small red drops of blood. “I never painted dreams,” she said. “I painted my own reality.”

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Rosemarie Trockel

Saturday, May 25th, 1991

“All these images are obliterated, defaced, lost. It’s about those marginal, mundane experiences that are for some reason significant to her. There are certain things about her work that are mysterious. They remain mysterious. And she treasures that mysteriousness.”

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Robert Wilson’s Vision

Thursday, January 17th, 1991

ROBERT WILSON’S VISION is structured like a journey — a journey that moves from morning to night — from white to black — from the past to the future — from birth to death. A journey that has no beginning and no end, but all takes place in a timeless, endless present.

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Ilya Kabakov/Soviet Conceptual Art

Sunday, January 6th, 1991

When you look up, all those fragments convey a vertiginous sense of disintegration, and decay. But when you look down, everything is compressed onto a single shiny surface, and it’s beautiful. All that debris — all that waste and pain — is transformed into art.

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Love and Death

Friday, December 14th, 1990

The prayers were long, thin strips of paper or canvas, newsprint, photographs, or tinsel, embellished with drawings, paint, cut‑outs, dried roses, gold leaf, buttons, beads. Some were abstract; some had words; others had musical notations written on them. One prayer was made from a piece of old, paint‑splattered blue jeans, with a peace symbol and love beads.

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Matt Mullican

Friday, July 6th, 1990

Being inside MATT MULLICAN’s installation is like being inside Matt Mullican’s mind – a dizzying experience. He’s constantly classifying and re-ordering everything. “It’s the first time I’ve arranged my meaning as objects in space depicting my meaning,” he says.

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Sophie Calle

Wednesday, January 24th, 1990

SOPHIE CALLE borrows elements from detective novels, philosophical investigations, the film noir, the nouveau roman, documentary photography, love letters, art movies, B-movies, John Cage’s theories of randomness, and Joseph Beuys’s actions. She combines them in startling ways, as meditations on the mysterious spaces between self and other.

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Robert Whitman

Sunday, January 14th, 1990

The canvas curled back like a white wave. The light turned red. Silhouettes of dancers moved through the white space like brushstrokes moving across a picture plane. The light turned white. The ceiling rippled and billowed. Silence. White light. I was taking notes, and the only sound I could hear was the sound of my own writing. It was over.

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Yoko Ono

Sunday, January 7th, 1990

Every viewer who chooses to participate will have a different experience. For me, it was a moving meditation on loss, change, and getting a second chance. As one of the characters in William Faulkner’s novel The Wild Palms says, “Between grief and nothing, I will take grief.”

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My Day Without Art

Monday, December 4th, 1989

Standing at the center of the spiral, I see the backs of all the chairs facing away from me, and feel a tremendous shock of loneliness and loss. Looking down from the balcony, I see that the chairs are the beginning of a spiral that could go on forever.

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The Situationists

Saturday, January 28th, 1989

The Situationists called for an art of excess, delirium, outrage, and social change. They believed that capitalism had turned contemporary life into a society of “spectacle” that its inhabitants could only passively watch and consume. Situationism would bring art out of the museums and into the streets, and sabotage the society of spectacle by creating situations in which people could turn their own lives into a creative experience.

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Ritsuko Taho

Wednesday, December 14th, 1988

RITSUKO TAHO’s ever-changing installation is a spare but elegant invitation to participate in a work of art, both literally and metaphorically – by bringing more leaves, and by making a leap of imagination that transforms a heap of trash on a vacant lot into a poem in silver and brown.

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John Udvardy

Monday, November 2nd, 1987

Sculptor JOHN UDVARDY sees the aesthetic possibilities in an old whittled paddle or a forked birch branch, and he knows how to make a curve from a green sapling. But most of all, he brings to his materials a feeling that every mark matters: every stick, every thread, every shell, every bone.

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Otto Piene

Saturday, May 1st, 1982

As a very young man, OTTO PIENE saw the sky reflected in a sea at long last calm: “The feeling of being reborn has never left me.” Out of this rebirth came “a love for the sky, the desire to point at it, to show how beautiful it is, how it makes us live and feel alive.”

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Sky Art Conference

Friday, January 1st, 1982

Artists and scientists. working in neon, laser, steam, smoke, video, pyrotechnics, film, inflated and flying sculpture, and other celestial navigations, celebrate the sky as a medium of expression, transmission, and space.

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