Displaying items by tag: installation

Photographer Louise Lawler will be the next artist to fill the billboard located at the base of the High Line -- New York’s elevated, linear park. The image, which depicts a room at Sotheby’s that contains works by Minimalist and Conceptual art icons Frank Stella, Sol Lewitt, and Donald Judd, is the 15th installation in the High Line’s billboard series. Other artists who have participated in the public art project include the Conceptual artist John Baldessari, photographer Robert Adams, and the British artist David Shrigley.

In the early 1970s, Lawler began looking critically at the ways in which art was displayed outside of the artist’s studio. She began photographing other artists’ works on view in collectors’ homes, in storage spaces, and on view at auction houses, challenging the viewer to think about the context in which works of art are displayed and documented.

Life with Picasso was never easy, it seems, and neither was the €52 million renovation of Paris's Picasso Museum. After five years of delays and difficulties, culminating in a public quarrel and the firing of its president in May, the museum's reopening is finally set for the artist's birthday, Oct. 25. The public will get a preview of the new interiors, before the artworks are installed, on Sept 20-21. The renovation has doubled the public space, modernized outdated facilities and added a new entrance, a multimedia auditorium and a Cubist garden with geometric topiary trees.

The museum's 17th-century hôtel particulier was built in 1659 by Pierre Aubert, a financier and adviser to Louis XIV. He was also the salt tax collector, and his extravagant mansion was quickly nicknamed Hôtel Salé (salty). The majestic staircase, based on a plan by Michelangelo, is the centerpiece, with delicate ironwork banisters and a sumptuous array of sculpted garlands, cherubs and divinities.

The artist Chris Burden has never shied away from the shocking or obsessive, whether being nailed to a Volkswagen or crafting miniature landscapes with thousands of plastic figures.

But his latest work, a $2 million installation for the Rose Art Museum at Brandeis University, merely requires the flick of a switch to come to life.

“Light of Reason” features 24 Victorian-era lampposts lined up in three rows. Concrete benches will be poured around their bases. The piece is so inoffensive that some might wonder whether it is art at all. Rose director Chris Bedford calls “Light of Reason” a “social sculpture.”

A rare opportunity to see Andy Warhol's Shadows installation at Museum of Contemporary Art, Los Angeles (MOCA) from September 20, 2014 – February 2, 2015 has been announced for autumn. The exhibition marks the first West Coast presentation of Shadows (1978-79), a monumental painting in 102 parts. Andy Warhol: Shadows is organized by Dia Art Foundation and coordinated by MOCA Senior Curator Bennett Simpson.
 
Conceived as one work in multiple parts, Warhol’s exceptional series of variously silkscreened and hand painted canvases features two different compositions, ranging in hue from an electric green to a somber brown. Culled from photographs of shadows taken in The Factory, the artist’s New York City Studio, the Shadowspaintings alternate between positive and negative imprints. With few exceptions, “the peak” or black positive always appears on a colored ground, while “the cap,” a smaller, colored form, hovers before a black background.

Not much surprises people outside King's Cross station in London, where the new square is usually a seething mob of anxious commuters, loungers dozing off hangovers on the hard stone benches and lost foreign students.

But when what looked like the white filmy curtains of a giant shower cubicle fell and revealed a huge bronze sculpture by Henry Moore, people stopped in their tracks to stare.

"It's … yeah … different," said Raymond Van Aubel and Michell Chew, holidaymakers from Holland and Indonesia, struggling for the courteous response. "Big. We were stunned, actually."

The 7-foot-tall sculpture of two feet at Chicago’s Oak Street Beach has legs.

That is, it’s expected to move to other locations around the city as long as the Art Institute of Chicago is hosting an exhibit inspired by René Magritte, the Belgian surrealist artist. The beach installation is a larger-than-life marketing campaign to bring attention to the Magritte exhibit at the Art Institute.

The feet, each of which is 800 pounds and made of plywood and carved foam with a urethane hard coat, were installed at Oak Street Beach.

This Sunday, August 10, the Watermill Center will open its grounds to the public for a chance to see the installations and performances of the 21st annual Watermill Center Summer Benefit, “One Thousand Nights and One Night: Sleepless Nights of Sheherazade,” in addition to some pieces not seen at July’s benefit. Discover Watermill Day will feature 27 site-specific artworks and performances, including Robert Wilson’s 23 video works, “Portraits of Lady Gaga,” on view at the institution through September 14.

“Portraits of Lady Gaga,” curated at the Watermill by Noah Khoshbin, was first shown as part of Wilson’s “Living Rooms” exhibition at the Louvre in Paris last winter. 

Tucked beneath the trees in the center of MetroTech Commons in Brooklyn is L.A.-based artist Sam Falls’s “Untitled (Maze),” a sprawling architectural plan of a sculpture that invites spectators to step inside its walls. It’s part of his “Light Over Time,” a series of works commissioned by the Public Art Fund. Falls, known for boundary-pushing paintings that incorporate sunlight, rain, and other elements into their production process, has built some of those same climatological concerns into this new public work. The sides of each aluminum panel are painted differently, with one surface lacking a protective UV finish; this means that, over the sculpture’s lifespan, the way the light hits the piece will cause it to change and break down in subtle ways. (Just don’t hold your breath — a good five years of light exposure are needed before the process begins, Falls said.)

The Peabody Essex Museum (PEM) is exhibiting a new installation drawn from the museum’s Native American art collection — the oldest, most comprehensive ongoing collection of its kind in the Western hemisphere.

Raven’s Many Gifts: Native Art of the Northwest Coast celebrates the rich artistic legacy of Native artists along the Pacific Northwest Coast while exploring dynamic relationships among humans, animals, ancestors and supernatural beings. Featuring nearly 30 works from the 19th century to present day, the installation includes superlative examples of works on paper, wood carvings, textiles, films, music and jewelry. Raven’s Many Gifts is on view through mid-2015.

Kara Walker’s sugar-covered sphinx drew more than 130,000 viewers during its two-month run at the Domino sugar factory, with an average attendance of 5,000 a day on the weekends it was open, according to Creative Time, the public-art organization that commissioned the work.

Attendance surged to 10,000 a day on Saturday and Sunday, the last two days that the artwork, titled “A Subtlety,” was on display.