Click on pages from Sculpture Magazine to enlarge and read.
Root of the Problem: This blog features some of my work in addition to visual research and articles I am reading. There will also be an occasional project with my students to look at.
Saturday, March 5, 2011
Wednesday, March 2, 2011
Friday, February 25, 2011
Sir Ken Robinson
Sir Ken Robinson (born Liverpool, 4 March 1950) is an author, speaker and international advisor on education in the arts to government, non-profits, education and arts bodies. He was Director of The Arts in Schools Project (1985–89), Professor of Arts Education at the University of Warwick (1989–2001) and was knighted in 2003 for services to education.
http://sirkenrobinson.com/skr/who
Saturday, February 19, 2011
The Exhibition: The Parallax View
Lehmann Maupin announces The Parallax View, an exhibition of significant works exploring observation as conflict, curated by Manual E. Gonzalez. On view 10 February – 19 March, 2011, the Chelsea exhibition features works by Teresita Fernández, Dan Flavin, Gego, Mary Heilmann, Eva Hesse, Robert Irwin, Agnes Martin, Robert Morris, Bruce Nauman, and Robert Smithson, all acclaimed artists who confront traditional notions of space, light and the nature of observation.
Grounded in the idea of a parallax, defined as “the apparent displacement of an observed object due to a change in the position of the observer,” this exhibition brings together stylistically disparate artists linked by the tension and romance between rigorous geometry and expressive chaos. The Parallax View explores the idea of observation as conflict: conflict between mind and object; analysis and fleeting insight; continuity and fragmentation; object and artifact; inner and outer.
The minimalist works by Dan Flavin and Robert Irwin provide narratives about light and landscape. Agnes Martin and Mary Heilmann suggest both the vastness and intimacy of nature, yet another source of conflict, but free of nostalgia or sentimentality. Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of obse
rvation as conflict. Eva Hesse and Gego take a playfully minimalist approach to liberate sculpture from its traditional restraints, and straddle the line between figuration and abstraction.
Taken as a whole, the exhibition is a complex spatial proposition on the relationship between seeing and experience, an abridged history within the shifting paradigms that ushered art towards the present century.
Grounded in the idea of a parallax, defined as “the apparent displacement of an observed object due to a change in the position of the observer,” this exhibition brings together stylistically disparate artists linked by the tension and romance between rigorous geometry and expressive chaos. The Parallax View explores the idea of observation as conflict: conflict between mind and object; analysis and fleeting insight; continuity and fragmentation; object and artifact; inner and outer.
The minimalist works by Dan Flavin and Robert Irwin provide narratives about light and landscape. Agnes Martin and Mary Heilmann suggest both the vastness and intimacy of nature, yet another source of conflict, but free of nostalgia or sentimentality. Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of obse
rvation as conflict. Eva Hesse and Gego take a playfully minimalist approach to liberate sculpture from its traditional restraints, and straddle the line between figuration and abstraction. Taken as a whole, the exhibition is a complex spatial proposition on the relationship between seeing and experience, an abridged history within the shifting paradigms that ushered art towards the present century.
TERESITA FERNÁNDEZ Untitled Installation view at Lehmann Maupin, New York, 1997 wood, scrim, mirror, pencil 120 x 120 x 9 inches 304.8 x 304.8 x 22.9 cm LM5225
Tuesday, February 8, 2011
Artist: Nancy Grossman
Road to Life
Artwork Details
Dimensions:
I. 17 7/8 x 25 in. (45.4 x 63.5 cm); S. 19 3/4 x 26 1/8 in. (50.2 x 66.4 cm)
Medium: Lithograph
Creation Date: 1975
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