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    A Sprawling Installation Explores the Power of Protest as It Floats Above a MASS MoCA Gallery

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    Art

    #activism
    #boats
    #installation
    #protest
    #rocks

    April 15, 2021
    Grace Ebert

    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong. All images courtesy of MASS MoCA, shared with permission
    Rocky debris, vintage photographs, and a wooden ship colliding with its own hull are suspended above a 100-yard gallery at MASS MoCA for “In the Light of a Shadow.” The work of Los Angeles-born artist Glenn Kaino (previously), the monumental installation generates a sprawling environment filled with thousands of floating elements that speak to the vast impact of protest and collective movements.
    Lined with an aisle of light and constantly moving shadows, the hovering artworks fuse memories of past injustices and a brighter, hopeful path forward in an immersive experience. Specifically, Kaino uses “In the Light of a Shadow” as a response to the horrific events of Bloody Sunday in both Selma, Alabama, and Derry, Northern Ireland. He models the wrecked ship after the Shadow V, a modest boat Lord Mountbatten often used for fishing, that the Irish Republican Army bombed in 1979 to assassinate the member of the royal family.
    The towering display is also paired with a metal sculpture comprised of tuned bars that emit the melody from U2’s protest anthem “Sunday Bloody Sunday” when pinged in succession. A collaborative video with singer and activist Deon Jones, who police nearly blinded after shooting with a rubber bullet for protesting George Floyd’s murder, plays nearby, drawing together the historic tragedies with those happening today.
    “In the Light of a Shadow” is on view through September 5. Find more of Kaino’s works, which span installation and sculpture to film, on his site.

    “In the Light of a Shadow” (2021), installation view. Photo by Will McLaughlin
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong
    “In the Light of a Shadow” (2021), installation view. Photo by Tony Luong

    #activism
    #boats
    #installation
    #protest
    #rocks

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      Cosmic Nature: A Spectacular Polka Dot-Filled Exhibition by Yayoi Kusama Sprawls Across New York Botanical Garden

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      Art

      #flowers
      #installation
      #mirrors
      #pumpkins
      #sculpture
      #yayoi kusama

      April 9, 2021
      Grace Ebert

      [embedded content]
      Now inhabiting the verdant, 250-acre campus of the New York Botanical Garden are oversized flowers sprouting in seasonal arrangements, a glowing pumpkin-packed infinity room, and a sea of 1,400 reflective spheres by Yayoi Kusama (previously). Teeming with squiggly sculptures, site-specific installations, and smaller pieces covered in the Japanese artist’s iconic polka dots, Cosmic Nature is an expansive exhibition celebrating decades of Kusama’s bold, joyful body of work.
      Four new pieces are debuting during the immersive show, like the tentacled creature that marks the entrance to the grounds. Others include a 16-foot-tall dancing pumpkin, an obliteration greenhouse, and a new infinity room that reflects the lush greenery of the outdoor environment. Coupled with a variety of smaller acrylic paintings, fabric sculptures, and drawings on paper—the earliest of which dates back to 1945— the most recent works establish a broad visual trajectory of Kusama’s fixation on the natural world and never-ending penchant for polka dots.
      While many of the playful blooms connect to larger themes about the human relationship to the environment, some pieces are distinctly personal, including “Flower Obsession,” which invites visitors into a space that mimics the artists’ own greenhouse. “Our earth is only one polka dot among a million stars in the cosmos…when we obliterate nature and our bodies with polka dots, we become part of the unity of our environment,” the prolific artist notably said.
      Cosmic Nature opens this weekend at the Bronx venue and runs through October 31. (via Hyperallergic)

      “I Want to Fly to the Universe” (2020), the New York Botanical Garden, urethane paint on aluminum, 157 3/8 x 169 3/8 x 140 1/8 inches. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner. All images via New York Botanical Garden
      “Dancing Pumpkin” (2020), view at the New York Botanical Garden, urethane paint on bronze, 196 7/8 x 116 7/8 x 117 ¼ inches. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner
      “Narcissus Garden” (1966/2021), view at The New York Botanical Garden, 1,400 stainless steel spheres, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts
      “Ascension of Polka Dots on the Trees” (2002/2021), view at the New York Botanical Garden, printed polyester fabric, bungees, and aluminum staples installed on existing trees, site-specific installation, dimensions variable. Collection of the artist
      “My Soul Blooms Forever” (2019), view at the New York Botanical Garden, urethane paint on stainless steel, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner
      “Pumpkins Screaming About Love Beyond Infinity” (2017), mirrors, acrylic, glass, LEDs, and wood panels, 59 x 59 x 83 ½ inches. Collection of the artist, courtesy of Ota Fine Arts
      “Hymn of Life—Tulips” (2007), mixed media, installation dimensions variable, courtesy of the City of Beverly Hills
      “Life” (2015), view at the New York Botanical Garden, fiberglass-reinforced plastic, tiles, and resin, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner

      #flowers
      #installation
      #mirrors
      #pumpkins
      #sculpture
      #yayoi kusama

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      A Circle of Light Beams Undulates in an Interactive Kinetic Installation by Scale Collective

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      Art

      #installation
      #interactive
      #kinetic
      #light

      April 7, 2021
      Grace Ebert

      
      An undulating kinetic artwork by Scale Collective blends organic movement and architectural forms in a mesmerizing installation. Created for the Constellations Festival in Metz, France, “Flux” is comprised of 48 beams of light that stretch 1.5-meters-long and are spaced 40 centimeters apart. Each is connected to a single mechanism that’s motorized and controlled by viewers through an interface, allowing for a synchronized performance of twisting and coiling patterns. “The formal multiplication of these lines coupled with micro variations of phases, time delays, speeds, and amplitudes allows us to sculpt an object 20 meters long, alive and evolving with a cyclical back and forth movement,” the French collective says. See more of the group’s dynamic projects on its site, Vimeo, and Instagram. (via Core 77)

      All images via Scale Collective

      #installation
      #interactive
      #kinetic
      #light

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      100,000 Cherry Blossoms Made of Salt Scatter Across the Floor of Setouchi City Art Museum

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      Art

      #cherry blossoms
      #installation
      #salt

      March 29, 2021
      Grace Ebert

      Installation view of “Sakura Shibefuru” (2021), salt, at Setouchi City Art Museum. All images © Motoi Yamamoto, shared with permission
      Sprawling across a bright red floor at Setouchi City Art Museum is Motoi Yamamoto’s sweeping installation of 100,000 cherry blossoms. Using a small, petal stencil and poured salt, the Kanazawa-based artist meticulously laid a mass of mineral-based buds during the course of 55 hours and nine days. Constructed radially, “Sakura Shibefuru,” or “Falling Cherry Petals” mimics the natural patterns formed around trees after the blossoms drop and end their life cycle each spring, a process Yamamoto (previously) says informed much of the work:
      When the red-purple buds fall, for many people, this is also the time when they lose interest due to the flower season being over. However, this time can also be seen as a small nudge to think about the coming fresh greens of spring and midsummer…While thinking about the future of the buds, I created petals that had just fallen, piling the petals while contemplating the trees that produced these beautiful flowers with their thick trunks, supple branches, and powerful roots.
      Paired with the crystalline blossoms are two of Yamamoto’s sculptural works from 1995, which the artist considers the origin of his practice and which he created following his sister’s death from a brain tumor. “This was an attempt to engrave into my heart the moment when an important life ceased to exist,” he says. Creating painstaking salt-based pieces like “Sakura Shibefuru”—which Yamamoto shares is, in part, a response to his wife’s death a few years ago—is meditative and a way to work through grief and retain memories.
      “Sakura Shibefuru” is on view in Setouchi until May 5, and the artist currently is working on a large-scale project for Suzu’s Oku-Noto Triennale 2020+, which will be installed this fall in a former kindergarten building. Until then, watch Yamamoto’s works take shape on Instagram and YouTube, and shop originals, prints, and books in his store. (via designboom)

      #cherry blossoms
      #installation
      #salt

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      Kinetic Flowers Grow from a Deteriorated Landscape in an Otherworldly Installation by Casey Curran

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      Art

      #flowers
      #installation
      #kinetic sculpture
      #video

      March 26, 2021
      Grace Ebert

      [embedded content]
      In Parable of Gravity, artist Casey Curran (previously) assembles a vast garden of delicate kinetic blossoms amidst an expanse of deterioration. The sweeping landscape, which is on view at Seattle’s MadArt through April 17, positions Curran’s pulsing plant forms atop 20 towers of wooden scaffolding that line the gallery space. Coated in a thick layer of mud, the tallest structures scale eight feet at the outer edge of the installation, where a human-like figure appears to hover in the air. The anonymous body is covered in the flowers, which are made from laser-cut polyester drawing papers and powered by cranks and small motors.
      Through the maze of garden plots at the other end of the space hangs a hollow, aluminum asteroid—which is modeled after 951 Gaspra, the first rocky mass humans were able to observe in detail thanks to a 1991 viewing by the Galileo spacecraft. Titled “Anchor of Janus,” the imposing sculpture references both the Roman god and the intricate motifs on Gothic cathedrals and provides a foreboding, catastrophic lens to the otherwise burgeoning garden.
      In a statement, Curran explains the confluence of the manufactured and organic themes:
      This mythological, architectural, and astronomical convergence considers not only the scientific and spiritual aspects of our connection to the natural world, but also our cultural legacy and the ways in which past technological advancements continue to impact our lives and experiences today. Further, the reference to Janus recognizes the dual nature of human progress, with all of the positive and negative implications it carries.
      Watch the video above to watch the installation take shape, and follow Curran on Instagram and Vimeo to stay up-to-date with his latest projects.

      Full installation view: “Kinetic Towers” and “Anchor of Janus,” Dur-alar, MDF, aluminum, dirt, paper, and glue. Photo by James Harnois. All images © Casey Curran, shared with permission

      “We Spoke Like This to Remember.” Photo by Adrian Garcia Rodriguez 
      Detail of “Anchor of Janus.” Photo by James Harnois
      Full installation view: “Kinetic Towers” and “Anchor of Janus,” Dur-alar, MDF, aluminum, dirt, paper, and glue. Photo by James Harnois
      Detail of “We Spoke Like This to Remember”
      “Kinetic Towers” and “We Spoke Like This to Remember.” Photo by James Harnois
      Photo by James Harnois
      Visitors walking through the kinetic towers. Photo by Adrian Garcia Rodriguez
      Curran installs “We Spoke Like This to Remember”

      #flowers
      #installation
      #kinetic sculpture
      #video

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      The Wound: JR’s New Anamorphic Artwork Appears to Carve Out the Facade of Florence’s Palazzo Strozzi

      by

      
      Art

      #anamorphosis
      #black and white
      #installation
      #public art
      #street art
      #trompe l’oeil

      March 23, 2021
      Grace Ebert

      “La Ferita” (2021), 28 x 33 meters, Palazzo Strozzi, Florence. Image courtesy of Fondazione Palazzo Strozzi, shared with permission
      French artist JR unveiled an imposing artwork at Palazzo Strozzi in Florence last week that mimics a massive gash in the institution’s Renaissance-era facade. Spanning 28 x 33 meters, “La Ferita,” or “The Wound,” is an anamorphic collage that appears to reveal the iconic artworks housed inside the building, in addition to a stately courtyard colonnade, exhibition hall, and library. Exposing different parts of the interior as the viewer shifts position, the artwork is in response to the lack of accessibility at cultural institutions since the onset of the COVID-19 pandemic.
      Completed alongside a team of 11 in two months, the site-specific piece was constructed 30 centimeters in front of the 15th Century ashlar facade with a metal structure and 80 panels of Dibond aluminum. It features JR’s signature photographic style—similar projects were installed at Williamsburg’s Domino Park, the Louvre, and the U.S./Mexico border—and includes a mix of real and imagined elements, including black-and-white renderings of Botticelli’s “Primavera” and “Birth of Venus” and Giambologna’s “The Rape of the Sabine Women,” in addition to prominent spaces like the Istituto Nazionale di Studi sul Rinascimento.
      “The Wound” is layered further with references to art history, from its use of the trompe l’oeil technique that grew in popularity in the 1500s to its evocation of ruinism, an 18th Century style that portrayed ancient architecture “as testimonials to a glorious past in a dramatic reflection on the fate of mankind,” a release says, noting that Palazzo Strozzi will not be preserving the piece beyond its initial construction.
      Follow JR’s monumental works on Instagram, and shop lithographs and books chronicling his projects on his site.

      #anamorphosis
      #black and white
      #installation
      #public art
      #street art
      #trompe l’oeil

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      A Monumental Bas-Relief Sculpture by Nick Cave Connects Senegalese and U.S. Cultures in a Web of Beadwork

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      Art

      #bas-relief
      #beads
      #installation
      #sculpture
      #sequins
      #site-specific
      #video

      March 22, 2021
      Grace Ebert

      All images © Nick Cave, by Michael JN Bowles, shared with permission
      Innumerable pony beads, pipe cleaners, sequins, and objects gathered from two continents overlay a web of rainbow mesh that’s suspended in the U.S. Embassy atrium in Dakar. Installed in 2012, the expansive work by Chicago-based artist Nick Cave (previously) is composed of amorphous swells and circular patches of multicolor netting that stretch 20 x 25 feet. Physically connecting pieces of both U.S. and Senegalese culture, the webbed, bas-relief sculpture symbolically stands as “a unifier that brings people together,” Cave says in an interview.
      Virginia Shore and Robert Soppelsa curated the project for Art in Embassies, a program led by the U.S. Department of State that fosters cross-cultural exchange through visual arts and spans more than 200 venues in 189 countries. “When you think about Art in Embassies and cultural diplomacy, what is interesting for me, as an artist, is, how can I facilitate that within the work that is developed? Yes, I will create the piece for the embassy, but I was also interested in ways to integrate the artists that live and work here,” he says.
      Cave developed the structural portion of the work in his Chicago studio, and after meeting Sengalese artists, scholars, and students, he utilized pieces from three locals—Seni M’Baye, Loman Pawlitschek, and Daouda N’Diaye—once on site. The resulting installation, which weighs nearly 500 pounds, took Cave and ten assistants more than three months to complete.
      Watch the interview below for more on the process behind the monumental project, and follow Cave’s work on Instagram.

      [embedded content]

      #bas-relief
      #beads
      #installation
      #sculpture
      #sequins
      #site-specific
      #video

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      Colorful Tufts of Tulle Float Down the California Coastline in New Photographs by Thomas Jackson

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      Art
      Photography

      #installation
      #textiles

      March 16, 2021
      Grace Ebert

      All images © Thomas Jackson, shared with permission
      2020 was a year of many realizations, but for Thomas Jackson (previously), the most profound was “proof of the adage that creativity thrives under constraints.” Known for suspending swarms of everyday objects on the rocky shores of the Isle of Man or desert locales across the southwest U.S., the photographer shifted his practice as lockdowns spread and limited his ability to travel beyond nearby landscapes.
      The resulting series reflects these restrictions and focuses on a single location and adaptable material: swaths of colorful nylon float above the beaches and down the California coastline, creating compositions that juxtapose the natural environment with the bright, manufactured materials. “I chose tulle for its mutability—depending on how it’s arranged and how the wind catches it, it can morph from a solid to a liquid, to fire to billowing smoke,” Jackson says.
      Shot on 4×5 film with little to no editing, the photographs convey a pared-down approach. Rather than hire people to help him install the sculptural objects in exact positions, Jackson utilized driftwood to prop up the lightweight textiles and the wind to infuse the fabric with movement. He explains:
      On every shoot, Northern California’s offshore breezes were my collaborator, the force that transformed my installations from lifeless fabric to living things. As collaborations go it was a tumultuous one—of the twenty or so pieces I built and photographed last year, thirteen were failures—but along the way, I learned a thing or two about the importance of staying on nature’s good side. When I built pieces that obstructed or defied the wind in any way, I’d go home unhappy, but when my constructions respected and responded to the wind, interesting things would occur!
      Jackson shares a wide array of his work that mimics the amorphous, self-organizing patterns of birds, insects, and other animals, along with behind-the-scenes shots and footage of his process, on Instagram.

      #installation
      #textiles

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      Two Imposing Cubes Covered in Yellow Plastic by Artist Serge Attukwei Clottey Respond to Global Water Insecurity

      by

      
      Art

      #climate change
      #colonialism
      #installation
      #plastic
      #water

      March 16, 2021
      Grace Ebert

      “The Wishing Well” (2021) in Coachella Valley. All images © Serge Attukwei Clottey, courtesy of Desert X, by Lance Gerber, shared with permission
      A mottled patchwork of plastic cloaks two cubes that tower over the desert landscape of Coachella Valley. Titled “The Wishing Well,” the bright pair are the work of Ghanaian artist Serge Attukwei Clottey, who created the nine-foot pieces from scraps of Kufuor gallons, or jerrycans, in response to shared struggles with water insecurity that ripple across the world. Resembling a yellow brick road, a paved walkway connects the two woven structures that stand in contrast to the surrounding environment, which faces continual struggles with access to the natural resource.
      Clottey’s use of the material is tied to a larger critique of colonialism’s enduring legacy and the ways it continues to affect populations around the world, particularly in relation to the climate crisis. Originally,  European colonialists brought Kufuor gallons to Ghana to transport cooking oil. Today, the plastic vessels are ubiquitous and used to haul potable water. “As repurposed relics of the colonial project, they serve as a constant reminder of the legacies of empire and of global movements for environmental justice,” says a statement about the work that’s part of Desert X, a biennial bringing site-specific installations to Southern California.
      “The Wishing Well” is one facet of Clottey’s larger Afrogallonism project, which he describes as “an artistic concept to explore the relationship between the prevalence of the yellow oil gallons in regards to consumption and necessity in the life of the modern African.” The Accra-based artist works in a variety of mediums spanning installation, sculpture, and performance that deal with the broader influence of colonialism in Africa. You can see a larger collection of his pieces on Artsy and Instagram.

      #climate change
      #colonialism
      #installation
      #plastic
      #water

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