ASP Place In Cont AM Art

Place and Space in Contemporary U.S. Art

Context,Site‐Specificity,Installa4on,

Tara Donovan

Historical Precedents

Hudson River School mid 1800s

Christo and Jeanne-Claude (1983) Biscayne Bay, Miami

Christo and Jeanne-Claude (1969) Wrapped Coast, Australia (one million sq feet of fabric)

SpiralJe7ybyRobertSmithson(1970)

Place as Inspiration

Paul Strand

Diane Arbus

Buffalo Bill’s Wild West Show

“Gone with the Wind”

Miami’s South Beach Deco District

Western Washington State

h7p://video.pbs.org/program/1217143847/#pageYoucouldwatchthisen4revideoseriesonlineandbeSOsmart!

h7p://video.pbs.org/video/1230660017/

Installation

Ant Farm

Ant Farm (1974) Cadillac Ranch located in Amarillo Texas

ThepieceisastatementabouttheparadoxicalsimultaneousAmericanfascina4onswithbotha"senseofplace"—androadsidea7rac4ons,suchasTheRanchitself—andthemobilityandfreedomoftheautomobile

Tara Donovan

Tara Donovan (2003) Haze (42ft wall of over two million drinking straws)

Tara Donovan (2003) Haze (42ft wall of over two million drinking straws)

Tara Donovan (2003) Untitled (3 million cups)

Tara Donovan (2003) Untitled

Tara Donovan (2003) Untitled

Tara Donovan

Tara Donovan (2002) Colony (pencils and glue)

Tara Donovan (2002) Nebulous (scotch tape)

Tara Donovan (2002) Nebulous (scotch tape)

Tara Donovan (2003) Installation at ACE Gallery http://www.acegallery.net/

Sarah Sze

Sarah Sze

Sarah Sze (1999) Everything the Rises Will Converge

Sarah Sze

Sarah Sze

Sarah Sze (2003) Tilted Planet



Paul Chan

www.na8onalphilis8ne.com

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Paul Chan

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Angiola Churchill

Public Art

Peter Coffin

•  OCTOBER 1, 2009 – NEW YORK: Public Art Fund is pleased to present the first major outdoor exhibition in New York of artist Peter Coffin. Populating City Hall Park with 13 monumental silhouettes of iconic sculptures, Coffin’s Untitled (Sculpture Silhouettes) takes the viewer on a journey through the history of sculpture in space and time. Variations on Auguste Rodin’s The Thinker, an Easter Island moai, Louise Bourgeois’ Untitled (With Hand), one of Sol LeWitt’s Incomplete Open Cubes, and Pablo Picasso’s She Goat, among others, hover like apparitions throughout the Park. Ranging in size from eight to ten feet tall, their commanding sculptural presence is somewhat of an illusion; each work is only one inch thick. The sculptures slip in and out of view, similar to the way in which memories slip in and out of one’s mind. The decision to hold the vision in place or let it fade is left to the viewer.

Antony Gormley

Antony Gormley at Madison Park, NYC






Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Miranda July

Site-Specificity

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Jeffrey Mongrain

Roof at Met

Roxy Paine on the Rooftop of the Metropolitan Museum 2009









Liza Lou

•  1. Liza Lou’s portraits of presidents George Washington through William Clinton are created entirely out of beads and bordered in wide bands of gold beads to look like framed black and white photographs. To Lou, the “zillions of beads” used in the portraits symbolize “grand campaign promises of a sparkling future for America and the fulfillment of the American dream.” But there’s a fun side to the portraits, too, as Lou remarks, “It’s humorous to see men in beads. Herbert Hoover is not someone you associate with glitter.”

•  2. A former student of the San Francisco Art Institute, Lou describes her transformation from painter to beader: “I began as a painter and I walked into a bead store and it was just like a flash in my mind. I just thought, ‘My God, that’s the most amazing paint I’ve ever seen.’” She was “hated” for her use of beads and “mortified” her teachers and classmates, but her $500,000 “genius grant” from the MacArthur Foundation in 2002 helped silence some of those who believed her work wasn’t real art.

•  3. The glass beads used in Lou’s work are all from the Czech Republic; she explains that Czech beads “are really the most wonderful beads on earth.” Though she originally bought them in small packets, she now buys so many at a time they’re delivered by truck and unloaded with forklifts. Her 1999 sculpture “Back Yard,” a full-sized (600 square feet) suburban lawn, is comprised of more than 30 million glass beads, many of which are in the 250,000 individually beaded blades of grass that make up the lawn.

•  More: http://www.guardian.co.uk/culture/2006/mar/21/1

Home as Art

The Flower ManHouston

The Beer Can HouseHouston

John Milkovitsch Former Railroad Worker

39.000 beer cans 18 Years to construct

Beer pull tabs as wind chimes Detail of mailbox

“John thought beer cured everything”

explained wife Mary after the creator, John Milkovitch, died.

The Orange ShowHouston

h7p://www.youtube.com/watch?v=mDZRlI1dy]

Houston (as eccentric place)

art car parade

HoustonArtCarParade2001










Houston Art Car Parade 2001!





Documents

ASP Place In Cont AM Art