Student Pages
Anne Ellegood / Sculpture's Ever-Expanding Field
Can something which cannot be physically touched be sculpture? Can time be sculpture?
• James Turrell - Backside of the Moon
• James Turrell - Open Field
Vivian Sky Rehberg / Revisiting the Expanded Field
With time- and light-based work such as Anthony McCall’s “Line Describing a Cone,” is it still sculpture if nobody experiences it? (As in, is it sound if nobody hears it?)
Joseph Beuys “For me the formation of the thought is already a sculpture.”
• Warner Bros. "The Hole Idea"
Rosalind E. Krauss / Medium
What is the distinction between rule-based art (e.g. "26 Gas Stations") and process art?
• Kusama Yayoi - Narcissus Garden 1966
Readings for SEPTEMBER 19, 2019
Lucy Lippard & John Chandler / The Dematerialisation of Art
• Brother Nut - Beijing air pollution turned into a brick
Phyllida Barlow / The Hatred of the Object
Isn’t the vitrine just a contemporary counterpart of the pedestal?
• Damien Hirst - Away from the Flock
Dieter Roelstraete / Unbearable Lightness of Art
Are there any major contemporary artists who work without assistants/assistance? Who?
• Ai Wei Wei - Sunflower Seeds
SONIA CHOW
Readings for SEPTEMBER 26, 2019
James E. Young / The Counter-Monument: Memory against Itself in Germany Today
Coraline Levine / The paradox of public art: Democratic space, the avant-garde, and Richard Serra's "Tilted Arc"
Readings for SEPTEMBER 12, 2019
Readings for OCTOBER 3, 2019 (Kim away, Thierry Delva presentation)
Manuela Ammer / The Pedestal Problem, Sculpture Unlimited
Barbara Hepworth - installation at Tate 1968
Joshua Simon / Neo-Materialism, Part Two: The Unreadymade
Readings for OCTOBER 10, 2019 (Guest artist: Steve Higgins)
Jeanne Randolph / The Gift of Paranoia (from the exhibition catalogue
"Steve Higgins, All Things Considered: Thoughts About Cities and History, War and Peace")
Miwon Kwon / One Place after Another: Notes on Site Specificity
ICEHOTEL Jukkasjärvi (Sweden)
It's hard to get more site-specific than this. The material used in the structure of the buildings and the art suites themselves are harvested from the immediate environment. The ice is cut from the Torne River in spring, stored over the summer and fall and used by the artists in the winter. In the spring, the buildings and rooms melt and return to the river and the cycle is repeated. The arched structures and snice for carving are made with snow cannons using water from the river. The process as described by Icehotel:
"To be able to cast the building, “snice” is produced – a mixture of snow and ice made of water from the river. The snice is sprayed onto molds, which are removed once the structure has consolidated. It’s then finally time to continue the creative process inside the meter-thick walls. The aim is to use water from the Torne River as far as possible. The rooms are constructed in a classic, catenary arch shape, which is self-supporting and incredibly strong. Room after room is filled with snow and ice in the right amounts, so when the artists arrive they can get started and immediately turn their sketches into reality. Six weeks later it’s finished – with the work of many hands the river has changed shape and been transformed into art."
The Whole Question of Plinths in Barbara Hepworth's 1968 Retrospective at the Tate 1968
Wim Delvoye - untitled (hand carved car tire, 2013)
+Brauer
Tim Noble & Sue Webster - Self-imposed misery
Readings for OCTOBER 17, 2019 (Guest artist: Layne Hinton)
Claire Bishop / The Social Turn: Collaboration & Its Discontents
What about protest art? (HONG KONG 2014)
HONG KONG 2019
[ RESPONSE TO READINGS SUBMITTED VIA EMAIL ]
E.J. (NED) PRATT
Ethel Mulvany and the Changi Jail Prisoners of War / POW Cookbook
Readings for DECEMBER 5, 2019 (LAND ART / ENVIRONMENTAL ART)
Susanne Darabas / A Short History of Environmental Art
Kristine Stiles and Peter Selz / Theories and Documents of Contemporary Art
Walter de Maria calls land art "meaningless work" while Andy Goldsworthy considers it to be important, as "a question of life." Given that established artists themselves do not agree on its worth, how can an emerging artist find / convince / move people to understand the
value of ephemeral art? Where is the market for this? Is it ok to co-opt a location in a public park or on government land without asking permission?
Maya Lin - Storm King Wavefield
