photos I took of his work at the Venice Biennial 2007
below are links to his billboard works (links 1 and 2) and a link to his venice biennial work (link 3)
link 1
link 2
link 3 (venice biennial 2007)
Showing posts with label everyday. Show all posts
Showing posts with label everyday. Show all posts
Tuesday, April 1, 2008
Felix Gonzalez-Torres
photos I took of his work at the Venice Biennial 2007
below are links to his billboard works (links 1 and 2) and a link to his venice biennial work (link 3)
link 1
link 2
link 3 (venice biennial 2007)
Thursday, February 28, 2008
Granary Building at night
Here's a video I made on tuesday night. I initially wanted to film the design building, but the security guards had already turned off half the lights in the building by the time I got to the red square (8:40). So I decided to film the Granary building instead. Unfortunately, the camera malfunctioned after 6:29 minutes, so my film was confined to that time (at least for the time being- I'll probably film either the granary or design building again at some point this/next week). I edited the film to be black and white, might put out a color version as well. The black and white film references directly to the aesthetic of 'Empire', Warhol's piece which inspired this idea.
Tuesday, February 26, 2008
Wednesday, February 20, 2008
more more research
Kathy Prendergast
(b. 1958, Dublin, Ireland)
As a sculptor and a draftswoman, Kathy Prendergast transforms commonplace items such as maps, bits of clothing, human hair, and household objects in order to draw our attention to issues of identity, political power, and individual experience. In 1992, Prendergast began work on an enormous project called City Drawings in which she set out to draw maps of all the world’s major capital cities in pencil. Each map consists of delicate lines that depict the main thoroughfares and streets of a city as though they were the veins and arteries of a human body. When complete, there will be some 180 drawings in this series.
Prendergast’s “Lost Map” appears at first to be a straightforward map of the United States with the familiar topographical information about mountain ranges, lakes, and state borders. Yet, on closer inspection, this computer-generated map reveals that all the names of places have been removed from the map except for those that begin and end with the word lost (e.g., Lost Creek, Lost Island, and Lost Canyon).
In describing “Lost Map” as well as her plans for an impending project, Prendergast writes: “For the last few years I have been researching place-names with the idea of producing an “Emotional Atlas of the World.” This atlas would show all the places in the world which have names connected with emotions, i.e., Lost Bay, Lonely Island, Hearts Desire, etc., rather than the conventional atlas which shows places of importance. The map Lost in the exhibition is a variation on this theme, showing all the “lost” places in North America. Until quite recently maps and atlases were produced by hand. Within the last few years new atlases have been produced using digital technology. It is the combination of this technology, the place-name information on the Internet and my idea that has made my project possible.”
from source 'Six Artists Who Use Maps in Their Work'
(b. 1958, Dublin, Ireland)
As a sculptor and a draftswoman, Kathy Prendergast transforms commonplace items such as maps, bits of clothing, human hair, and household objects in order to draw our attention to issues of identity, political power, and individual experience. In 1992, Prendergast began work on an enormous project called City Drawings in which she set out to draw maps of all the world’s major capital cities in pencil. Each map consists of delicate lines that depict the main thoroughfares and streets of a city as though they were the veins and arteries of a human body. When complete, there will be some 180 drawings in this series.
Prendergast’s “Lost Map” appears at first to be a straightforward map of the United States with the familiar topographical information about mountain ranges, lakes, and state borders. Yet, on closer inspection, this computer-generated map reveals that all the names of places have been removed from the map except for those that begin and end with the word lost (e.g., Lost Creek, Lost Island, and Lost Canyon).
In describing “Lost Map” as well as her plans for an impending project, Prendergast writes: “For the last few years I have been researching place-names with the idea of producing an “Emotional Atlas of the World.” This atlas would show all the places in the world which have names connected with emotions, i.e., Lost Bay, Lonely Island, Hearts Desire, etc., rather than the conventional atlas which shows places of importance. The map Lost in the exhibition is a variation on this theme, showing all the “lost” places in North America. Until quite recently maps and atlases were produced by hand. Within the last few years new atlases have been produced using digital technology. It is the combination of this technology, the place-name information on the Internet and my idea that has made my project possible.”
from source 'Six Artists Who Use Maps in Their Work'
More Research
Hamish Fulton
Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'.
Fulton first came to prominence in the late 1960s as one of a number of artists - including Richard Long and Gilbert & George - who were exploring new forms of sculpture and landscape art. A central characteristic of their practice was a direct physical engagement with landscape. Fulton's time as a student at St Martin's College of Art in London (1966-68) and his journeys in South Dakota and Montana in 1969, encouraged him to think that art could be 'how you view life', and not tied necessarily to the production of objects. He began to make short walks, and then to make photographic works about the experience of walking.
At this time, and subsequently, his practice was influenced by an unusually broad set of interests including the subject of the environment and the culture of American Indians. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
source
Francis Alys
Biography
b. 1959, Antwerp, Belgium
Francis Alÿs was born in 1959 in Antwerp, Belgium. He attended the Institut Supérieur d'Architecture Saint-Luc in Tournai, Belgium, from 1978 to 1983 and the Instituto Universitario di Architettura in Venice from 1983 to 1986, where he received a master's degree in urbanism with a thesis on the presence of animals in medieval and Renaissance-era European cities. After graduation, he moved to Mexico City, where he worked in the workshop of the weaver Jacobo Islas Mendoza in collaboration with Felipe Sanabria. The abundant presence of street animals in that city inspired the early work The Collector (1991–92), in which the artist "walked" a magnetized sculptural model of an animal through the city, extracting random metal detritus from the street. The sculpture, along with photographic documentation of its use, was exhibited in Alÿs's second solo exhibition, at the Galería Arte Contemporáneo in Mexico City in 1992.
Many of Alÿs's subsequent works examined the act of walking through an urban environment. The Leak (1995) consisted of a walk through Ghent with a punctured can of paint, which left a trail behind him. In Paradox of Praxis (1997), he pushed a block of ice through Mexico City until it had completely melted away. His work also developed a political edge; in Patriotic Tales (1997), he led a flock of sheep into the Zocalo, the central square of Mexico City, in reference to the bureaucrats who authored the suppression of a protest there in 1968. For the photographic series Sleepers (1999), he took photographs of animals and homeless people sleeping on the street. In his recent project When Faith Moves Mountains (2002), which was exhibited at the Bienal Iberoamericana de Lima in 2002, his focus shifted from the urban experience to notions of collective myth making: five hundred volunteers used shovels to move a sand dune four inches from its original location.
Alÿs has had solo exhibitions at the Museo de Arte Moderno in Mexico City (1997), Musée Picasso in Antibes (2001), Wadsworth Atheneum in Hartford, Connecticut (2002), and the Museum of Modern Art in New York (Projects 76, 2002), among other venues. In 1999, he produced a web project for the Dia Center for the Arts in New York. His work has also appeared in the Bienal de La Habana (1994), Bienal de Arte Tridimensional in Mexico City (1997), Bienal Barro de Am�rica in Caracas (1998), Melbourne International Biennial (1999), Mexico City: An Exhibition about the Exchange Rate of Bodies and Values at P.S. 1 in New York (2002), and Moving Pictures at the Guggenheim Museum Bilbao (2003). Alÿs was a finalist for the Guggenheim Museum's 2002 Hugo Boss Prize. He continues to live and work in Mexico City.
source
Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'.
Fulton first came to prominence in the late 1960s as one of a number of artists - including Richard Long and Gilbert & George - who were exploring new forms of sculpture and landscape art. A central characteristic of their practice was a direct physical engagement with landscape. Fulton's time as a student at St Martin's College of Art in London (1966-68) and his journeys in South Dakota and Montana in 1969, encouraged him to think that art could be 'how you view life', and not tied necessarily to the production of objects. He began to make short walks, and then to make photographic works about the experience of walking.
At this time, and subsequently, his practice was influenced by an unusually broad set of interests including the subject of the environment and the culture of American Indians. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
source
Francis Alys
Biography
b. 1959, Antwerp, Belgium
Francis Alÿs was born in 1959 in Antwerp, Belgium. He attended the Institut Supérieur d'Architecture Saint-Luc in Tournai, Belgium, from 1978 to 1983 and the Instituto Universitario di Architettura in Venice from 1983 to 1986, where he received a master's degree in urbanism with a thesis on the presence of animals in medieval and Renaissance-era European cities. After graduation, he moved to Mexico City, where he worked in the workshop of the weaver Jacobo Islas Mendoza in collaboration with Felipe Sanabria. The abundant presence of street animals in that city inspired the early work The Collector (1991–92), in which the artist "walked" a magnetized sculptural model of an animal through the city, extracting random metal detritus from the street. The sculpture, along with photographic documentation of its use, was exhibited in Alÿs's second solo exhibition, at the Galería Arte Contemporáneo in Mexico City in 1992.
Many of Alÿs's subsequent works examined the act of walking through an urban environment. The Leak (1995) consisted of a walk through Ghent with a punctured can of paint, which left a trail behind him. In Paradox of Praxis (1997), he pushed a block of ice through Mexico City until it had completely melted away. His work also developed a political edge; in Patriotic Tales (1997), he led a flock of sheep into the Zocalo, the central square of Mexico City, in reference to the bureaucrats who authored the suppression of a protest there in 1968. For the photographic series Sleepers (1999), he took photographs of animals and homeless people sleeping on the street. In his recent project When Faith Moves Mountains (2002), which was exhibited at the Bienal Iberoamericana de Lima in 2002, his focus shifted from the urban experience to notions of collective myth making: five hundred volunteers used shovels to move a sand dune four inches from its original location.
Alÿs has had solo exhibitions at the Museo de Arte Moderno in Mexico City (1997), Musée Picasso in Antibes (2001), Wadsworth Atheneum in Hartford, Connecticut (2002), and the Museum of Modern Art in New York (Projects 76, 2002), among other venues. In 1999, he produced a web project for the Dia Center for the Arts in New York. His work has also appeared in the Bienal de La Habana (1994), Bienal de Arte Tridimensional in Mexico City (1997), Bienal Barro de Am�rica in Caracas (1998), Melbourne International Biennial (1999), Mexico City: An Exhibition about the Exchange Rate of Bodies and Values at P.S. 1 in New York (2002), and Moving Pictures at the Guggenheim Museum Bilbao (2003). Alÿs was a finalist for the Guggenheim Museum's 2002 Hugo Boss Prize. He continues to live and work in Mexico City.
source
Sunday, February 17, 2008
Saturday 16th of February, 2008
08:50 - leave Kilcoole
09:08 - arrive Bray DART Station (car)
09:50 - arrive at Pearse (DART)
10:03 - arrive at Clarendon Medical (via Nassau St., Grafton St.)
14:01 - leave Clarendon Medical
14:07 - arrive at Avoca
14:10 - leave Avoca
14:15 - arrive at St. Stephen's Green Park
14:35 - leave St. Stephen's Green park
14:39 - arrive at Clarendon Medical
18:00 - leave Clarendon Medical
18:14 - arrive at IFI (via George's St. Arcade)
18:14 - leave IFI
18:30 - arrive at Spar opposite Jervis (via Millenium bridge, following LUAS line)
18:37 - leave Spar
18:40 - arrive at Spar near LUAS line
18:44 - leave Spar
19:01 - arrive at Broadstone
09:08 - arrive Bray DART Station (car)
09:50 - arrive at Pearse (DART)
10:03 - arrive at Clarendon Medical (via Nassau St., Grafton St.)
14:01 - leave Clarendon Medical
14:07 - arrive at Avoca
14:10 - leave Avoca
14:15 - arrive at St. Stephen's Green Park
14:35 - leave St. Stephen's Green park
14:39 - arrive at Clarendon Medical
18:00 - leave Clarendon Medical
18:14 - arrive at IFI (via George's St. Arcade)
18:14 - leave IFI
18:30 - arrive at Spar opposite Jervis (via Millenium bridge, following LUAS line)
18:37 - leave Spar
18:40 - arrive at Spar near LUAS line
18:44 - leave Spar
19:01 - arrive at Broadstone
Friday, February 15, 2008
Thursday 14th of February, 2008
10:41 - leave Broadstone
11:00 - arrive at the Clock (through NCAD back entrance)
12:37 - leave the Clock
12:38 - arrive at NCAD (through front entrance)
16:15 - leave NCAD
16:17 - arrive at Spar Thomas St. (next to Lidl)
16:20 - arrive at the Clock
21:40 - leave the Clock
22:00 - arrive at McGruders
22:30 - leave McGruders
22:50 - arrive at the IFI (diversion down Cow Lane, past Cultivate, through Meeting House Square)
01:30 - leave the IFI
01:40 - arrive at Broadstone
11:00 - arrive at the Clock (through NCAD back entrance)
12:37 - leave the Clock
12:38 - arrive at NCAD (through front entrance)
16:15 - leave NCAD
16:17 - arrive at Spar Thomas St. (next to Lidl)
16:20 - arrive at the Clock
21:40 - leave the Clock
22:00 - arrive at McGruders
22:30 - leave McGruders
22:50 - arrive at the IFI (diversion down Cow Lane, past Cultivate, through Meeting House Square)
01:30 - leave the IFI
01:40 - arrive at Broadstone
Wednesday, February 13, 2008
Tuesday 12th of February, 2008
09:38 - leave Broadstone (down Constitution Hill)
10:00 - arrive at NCAD (media; through the back entrance)
11:08 - leave NCAD (through the front entrance)
11:10 - arrive at the Clock apartment
11:50 - leave the Clock apartment
11:52 - arrive at NCAD (media; through the front entrance)
16:40 - leave NCAD (through the back entrance)
17:00 - arrive at Broadstone
19:30 - leave Broadstone (take 19 at 19:47)
20:03 - arrive at Carmelite Centre on George's St.
21:00 - leave Carmelite Centre (take 19 at 21:05)
21:20 - arrve at Broadstone
times are generally approximate and relative to the time displayed on my phone.
10:00 - arrive at NCAD (media; through the back entrance)
11:08 - leave NCAD (through the front entrance)
11:10 - arrive at the Clock apartment
11:50 - leave the Clock apartment
11:52 - arrive at NCAD (media; through the front entrance)
16:40 - leave NCAD (through the back entrance)
17:00 - arrive at Broadstone
19:30 - leave Broadstone (take 19 at 19:47)
20:03 - arrive at Carmelite Centre on George's St.
21:00 - leave Carmelite Centre (take 19 at 21:05)
21:20 - arrve at Broadstone
times are generally approximate and relative to the time displayed on my phone.
Tuesday, February 12, 2008
The Everyday: Project Overview and Ideas
Project Description
During this project you will be asked to create a work or series of works which interrogate an aspect of the everyday. The everyday could be seen to encompass many aspects of contemporary life, including everyday routines, transport, exchange interaction, and popular culture.
Idea 1
For one part of my project, I'd like to film/photograph buildings at closing time. I got the idea for this when working on the self-directed photography project; the image of a lit window at night highlighted what goes on behind the glass more so than a window during the day would. The recording of the images would be as unintrusive as possible, so that it becomes a documentative narrative rather than an illicited one. However, when filming, I want to have a static camera position so that the image of a building front becomes the stage of the story. I want to film the NCAD design building at closing time, mainly because of ease and its likeness to actual office buildings. I'll be photographing other buildings throughout the city (around the IFSC, the AIB bank on Baggot St., office buildings along the Quays) at night time as well.
Initial Research
Videos inspired by Andy Warhol's piece, 'Empire'
Gursky
http://nymag.com/arts/art/reviews/andreasgursky070521_560.jpg
http://www.notifbutwhen.com/2/Gursky.jpg
http://cache.gridskipper.com/assets/resources/2007/03/AndreasGursky.jpg
Idea 2
Looking at the idea of the routine in everyday life, from tomorrow onwards I'll be posting up my whereabouts at (approximate) times throughout the day. I'll be documenting my day through the locations I visit. The final product will be a geographical diary which I can represent on a map, with a different coloured 'timeline' for each day dotting out my daily journeys.
Initial Research
Hans Haacke- MOMA Poll; Gallery Goers’ Birth Place and Residence Profile
http://transform.eipcp.net/correspondence/1168433356
http://www.frieze.com/issue/review/hans_haacke/
During this project you will be asked to create a work or series of works which interrogate an aspect of the everyday. The everyday could be seen to encompass many aspects of contemporary life, including everyday routines, transport, exchange interaction, and popular culture.
Idea 1
For one part of my project, I'd like to film/photograph buildings at closing time. I got the idea for this when working on the self-directed photography project; the image of a lit window at night highlighted what goes on behind the glass more so than a window during the day would. The recording of the images would be as unintrusive as possible, so that it becomes a documentative narrative rather than an illicited one. However, when filming, I want to have a static camera position so that the image of a building front becomes the stage of the story. I want to film the NCAD design building at closing time, mainly because of ease and its likeness to actual office buildings. I'll be photographing other buildings throughout the city (around the IFSC, the AIB bank on Baggot St., office buildings along the Quays) at night time as well.
Initial Research
Videos inspired by Andy Warhol's piece, 'Empire'
Gursky
http://nymag.com/arts/art/reviews/andreasgursky070521_560.jpg
http://www.notifbutwhen.com/2/Gursky.jpg
http://cache.gridskipper.com/assets/resources/2007/03/AndreasGursky.jpg
Idea 2
Looking at the idea of the routine in everyday life, from tomorrow onwards I'll be posting up my whereabouts at (approximate) times throughout the day. I'll be documenting my day through the locations I visit. The final product will be a geographical diary which I can represent on a map, with a different coloured 'timeline' for each day dotting out my daily journeys.
Initial Research
Hans Haacke- MOMA Poll; Gallery Goers’ Birth Place and Residence Profile
http://transform.eipcp.net/correspondence/1168433356
http://www.frieze.com/issue/review/hans_haacke/
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