And coming on January 4, a new photo meme called Signs Signs, hosted by Lesley, to which I will be linking.
The Geometry of Light
What is the red thing behind the door in the photo above, you ask?
Orly Genger (b. 1979, New York)
Big Boss, 2009–2010
Created with 100 miles of knotted rope Orly Genger’s installation commands the space
with a towering wall that bursts through the architecture and falls into a riotous spill
of material. Forcing viewers to rethink their path, the distinct elements articulate
the structural potential and strength of the rope as well as its softer side. Genger’s
work often grapples with a male-dominated history of sculpture and with the legacy
of artists such as Tony Smith and Richard Serra. Hand-working her industrial material
in an adapted crochet stitch, Genger introduces a traditionally female-identified
craft process into an artistic idiom associated with a certain muscular bravado. Yet
Genger’s own process — which has her wrestling with large amounts of the heavy
material — is overtly physical. (Images of body-builders are pinned to Genger’s studio
wall). The “Big Boss” of the title might refer to the labor the rope demands of Genger,
or perhaps to her mastery over the material. Painting the rope a vivid red, the artist
matches the material’s presence with an equally forceful color.
Wade Kavanaugh and Stephen B. Nguyen
(b. 1979, Portland, Maine, and b. 1976, Little Falls, Minnesota) White Stag
Wade Kavanaugh and Stephen B. Nguyen have been working with paper since their
first collaboration in 2005. The versatility of the material — which can be flat or
volumetric, smooth or textured, buoyant or heavy — allow the artists a wide range of
possibilities for their large-scale installations which they describe as “investigations
of the uncertain territory between imagined and physical space.” At MASS MoCA the
duo has responded to the museum’s industrial, brick architecture with its imagined
opposite: a fantastical, old growth forest fashioned from twisted, crumpled, and
draped rolls of paper. The ghostly image of the decaying natural landscape, however,
mirrors in some way the fading industrial landscape embodied by the museum’s
repurposed factory spaces. Spanning two floors, the installation appears to grow from
one gallery to the next, joining the separate spaces and providing viewers a different
perspective on the labyrinthine building.
a little spoof to make you smile. What exactly was it my true love gave to me on the sixth day? ;-)
the original in case you haven't heard of it, which of course you have...but just in case you forgot...not everyone knows everything...I for one, cannot tell a Chevy from a Ford, unless my nose is right up against the letters. But then again, that could be because I am by now quite blind, except to beauty, for which I have a constant craving. :-)
I couldn't think of an artist, off the top of my head, whose name; first or last, starts with X. So I did a google search and came up with an artist I'd never heard of before. Thanks ABC Wednesday! And what a bunch of nice people they are!
I believe that the images and writing posted here fall under the "fair use" section of the U.S. copyright law http://www.copyright.gov/title17/92chap1.html#107, as they are intended for educational purposes and are not in a medium that is of commercial nature.