Posts tagged Conceptual Art

“We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition.” [rest of statement here — free .pdf article] Robert & Shana ParkeHarrison, The Book of Life: Da Vinci’s Wings, 2004

“We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition.” [rest of statement here — free .pdf article]

Robert & Shana ParkeHarrison, The Book of Life: Da Vinci’s Wings, 2004

“It is singular how soon we lose the impression of what ceases to be constantly before us. A year impairs, a luster obliterates. There is little distinct left without an effort of memory, then indeed the lights are rekindled for a moment—but who can be sure that the Imagination is not the torch-bearer?” — Lord Byron, Ravenna Journal, 1821-22 A project involving students and the residents of an old people’s home in Italy. (more info. here and a free .pdf) Memoria Sotto Vetro, Untitled, Molten glass, Sandblasting [for a friend]

“It is singular how soon we lose the impression of what ceases to be constantly before us. A year impairs, a luster obliterates. There is little distinct left without an effort of memory, then indeed the lights are rekindled for a moment—but who can be sure that the Imagination is not the torch-bearer?” — Lord Byron, Ravenna Journal, 1821-22

A project involving students and the residents of an old people’s home in Italy.

(more info. here and a free .pdf)

Memoria Sotto Vetro, Untitled, Molten glass, Sandblasting [for a friend]

“Over the course of the exhibition, attendants mark Museum visitors’ heights, first names, and date of the measurement on the gallery walls. Beginning as an empty white space, over time the gallery gradually accumulates the traces of thousands of people.” [more —more info. here]

Roman Ondák, Measuring the Universe, 2007

“The artist who paints the emotions creates an enclosed world… the picture… which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.” — Pierre Bonnard Erwin Keustermans, Former Le Couleur: Pierre Bonnard, Outlining the shapes

“The artist who paints the emotions creates an enclosed world… the picture… which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.” — Pierre Bonnard

Erwin Keustermans, Former Le Couleur: Pierre Bonnard, Outlining the shapes

“I examine the subjects of narrative, person, place or event through the perspective of larger religious thought, history and ritual, not solely through institutional interpretations. It is the more profound sense of Mystery that I seek to articulate and uncover in my work. When I conflate the lives and stories of others to my own personal events it is to define the common ways our lives overlap or converge in the sacred sense.” Linda Ekstrom, “Tale,” Bible, thread, and ribbon, 2002 [+; her statement here]

“I examine the subjects of narrative, person, place or event through the perspective of larger religious thought, history and ritual, not solely through institutional interpretations. It is the more profound sense of Mystery that I seek to articulate and uncover in my work. When I conflate the lives and stories of others to my own personal events it is to define the common ways our lives overlap or converge in the sacred sense.”

Linda Ekstrom, “Tale,” Bible, thread, and ribbon, 2002 [+; her statement here]

“Like most land art, the Spiral Jetty is a part of its landscape and its affected by the elements: It exists to eventually erode under natural conditions. Since its creation, the jetty has been completely covered and uncovered by water several times, being dependent on fluctuating water levels.” [some information about “spiral jetty” series here; his films] Robert Smithson, Spiral Jetty, Great Salt Lake, Utah; Photos by Stu Jenks

“Like most land art, the Spiral Jetty is a part of its landscape and its affected by the elements: It exists to eventually erode under natural conditions. Since its creation, the jetty has been completely covered and uncovered by water several times, being dependent on fluctuating water levels.”

[some information about “spiral jetty” series here; his films]

Robert Smithson, Spiral Jetty, Great Salt Lake, Utah; Photos by Stu Jenks