Documentation of the exhibition Innen Stadt Außen, 2010
At the Martin-Gropius-Bau and various points in public space, Berlin
Video by Matthias Matz, Thilo Frank, Studio Olafur Eliasson
© 2010 Olafur Eliasson
Friday, September 17, 2010
Olafur Eliasson
Documentation of the exhibition Innen Stadt Außen, 2010
At the Martin-Gropius-Bau and various points in public space, Berlin
Video by Matthias Matz, Thilo Frank, Studio Olafur Eliasson
© 2010 Olafur Eliasson
hypothesis
This thesis presents the hypothesis that public's individual participation people in installation artworks make more efficiency than only flat displaying artworks. Earlier exhibition used to be showing one artist' art work in the public. However, the development of new media and the technology make it possible to include people's lives and public's movement in their part of artworks.
Peope would be have more emotional closeness, and those emotional relationship would be key of keeping people pay attention to public art.
Peope would be have more emotional closeness, and those emotional relationship would be key of keeping people pay attention to public art.
Olafur Eliasson another example
Beauty
1993
Take your time: Olafur Eliasson
San Francisco Museum of Modern Art, 2007
I saw this installation in SFMA and I remember that there are several wood piece on the floor when people steped up the wood, the screen shows the wave of water.
When I entered the room actually there was nothing on the screen which installed one side of room. I really like the moment when I made several waves.
go to his web site
purpose of public art
Public art projects may result in works that are:
Functional: where the primary purpose of the art or design element is utilitarian such as seating, lighting, furniture, bollards, signage, rubbish bin surrounds, window treatments, reception areas, door handles and carpets, for example.
Decorative: where the primary purpose is to aesthetically enhance an environment or structure. For example, outcomes may be rainwater heads, furniture, paving elements, and lighting. They may also be functional, iconic, integrated, or site specific.
Iconic: a stand alone or significant work, where the artist's approach is largely independent of other considerations. An 'art-for-art's-sake' approach. Examples of iconic works include sculpture, water features, lighting or multi media. The response is often site-specific.
Integrated: works that are fully incorporated within the design of the built or natural environment. Integrated works may include floor and window design, lighting, landscaping and associated elements. Integrated works may also be decorative and/or functional.
Site specific: designed specifically for, and responsive to, a particular site. Could apply to all listed categories. Work responds to the site through scale, material, form, and concept.
Interpretive: where the primary purpose is to describe, educate and comment on issues, events or situations. They may be functional, decorative, iconic, and site-specific. Examples include signage, pavement inlays, sculpture, seating, landscaping, murals, text based work.
Commemorative: where the primary purpose is to acknowledge and recall an event, activity, or person, important to the local community and its visitors. Commemorative artworks may be sculpture, murals, pavement details, and gardens.
Temporary: where the work is not intended to be permanent. A piece or event may be momentary or remain for a fixed time. Wide-ranging outcomes are possible and include performance, garden planting, text, installations and multi media.
What can be achieved through public art?
Public art can assist commissioning agencies to address their broader policies and strategies as they relate to the community, social development, the environment and planning.
Functional: where the primary purpose of the art or design element is utilitarian such as seating, lighting, furniture, bollards, signage, rubbish bin surrounds, window treatments, reception areas, door handles and carpets, for example.
Decorative: where the primary purpose is to aesthetically enhance an environment or structure. For example, outcomes may be rainwater heads, furniture, paving elements, and lighting. They may also be functional, iconic, integrated, or site specific.
Iconic: a stand alone or significant work, where the artist's approach is largely independent of other considerations. An 'art-for-art's-sake' approach. Examples of iconic works include sculpture, water features, lighting or multi media. The response is often site-specific.
Integrated: works that are fully incorporated within the design of the built or natural environment. Integrated works may include floor and window design, lighting, landscaping and associated elements. Integrated works may also be decorative and/or functional.
Site specific: designed specifically for, and responsive to, a particular site. Could apply to all listed categories. Work responds to the site through scale, material, form, and concept.
Interpretive: where the primary purpose is to describe, educate and comment on issues, events or situations. They may be functional, decorative, iconic, and site-specific. Examples include signage, pavement inlays, sculpture, seating, landscaping, murals, text based work.
Commemorative: where the primary purpose is to acknowledge and recall an event, activity, or person, important to the local community and its visitors. Commemorative artworks may be sculpture, murals, pavement details, and gardens.
Temporary: where the work is not intended to be permanent. A piece or event may be momentary or remain for a fixed time. Wide-ranging outcomes are possible and include performance, garden planting, text, installations and multi media.
What can be achieved through public art?
Public art can assist commissioning agencies to address their broader policies and strategies as they relate to the community, social development, the environment and planning.
Friday, September 10, 2010
individuality in painting
The video fleetingly featured a notorious painting of the Moors murderer by artist Marcus Harvey, which shows her face made up of thousands of children's handprints.
'The Centre was commonly known as the She Wing until it closed in 2004.
'Some of Britain's most notorious Category A inmates were held in the female centre including the murderers Myra Hindley and Rosemary West.'
But children's charities say the artwork is 'extremely distasteful' and should not be on public display.
Myra Hindley: The display of the serial killer's artwork has caused outrage among children's charities
The pig pot was made in the women's wing of HMP Durham in 1996 as part of Hindley's recreation programme and bought by a former governor of the prison.
He then donated the piece to the museum that is dedicated to prisoner art and artefacts in 2005 after his wife protested about having it in the house.
Curator Bev Baker said: 'We don't want to sensationalise or glamorise this. He bought it and donated it to us, to the relief of his wife who had hated it. I don't know if it was because she thought it was ugly or because of its associations, but she was glad to see the back of it.'
Children's charity founder Dr Michele Elliott said: 'Anything that glorifies Hindley is extremely distasteful. The museum is just doing this to get publicity and anything that gets publicity off the back of dead children is despicable.'
The museum was set up 15 years ago and inherited a large collection of prisoner's artwork from the Home Office.
Other exhibits at the museum include a shirt worn by one of the Kray twins, a trap door and noose from Wandsworth Prison and a list of executions including that of Derek Bentley, Oscar Wilde's door from his Reading jail cell and handkerchiefs carrying sectarian images made by the IRA inmates of the Maze.
Tim Desmond, chief executive of the museum, said: 'The Home Office were very discreet about the identity of the artists and when we took over the collection we followed that.
'We didn't want to draw attention to it as it might sensationalise the exhibition. It's there for everybody to see.
'We're displaying the history of crime and punishment, so it was not put out in a provocative sense.'
In April, the Royal Festival Hall removed a sculpture of an entire choir and orchestra created in meticulous miniature detail by folding, cutting and tearing the score of Beethoven's Ninth Symphony after it was revealed the artist was double rapist and child-killer Colin Pitchfork.
Hindley and Ian Brady murdered five children in the 1960s before burying their bodies on Saddleworth Moor near Oldham. Hindley died in 2002.
Last year, London tourist chiefs showed a promotional video featuring a picture of Myra Hindley during their post-Beijing Games party. The video fleetingly featured a notorious painting of the Moors murderer by artist Marcus Harvey, which shows her face made up of thousands of children's handprints.
It was shown to hundreds of dignitaries - including London mayor Boris Johnson and Gordon Brown - by Visit London, which is responsible for promoting London and the 2012 Games.
A Visit London spokesman said the three-minute video was three or four years old and featured a split-second reference to the Tate Gallery, which at the time had the Hindley painting on show.
Read more: http://www.dailymail.co.uk/news/article-1195749/Childrens-charities-outraged-artwork-serial-killer-Myra-Hindley-displayed-museum.html#ixzz0z9pQM0e2
individuality in media art
The Crown Fountain
Designed by Spanish artist Jaume Plensa and inspired by the people of Chicago, The Crown Fountain is a major addition to the city's world-renowned public art collection.
The fountain consists of two 50-foot glass block towers at each end of a shallow reflecting pool. The towers project video images from a broad social spectrum of Chicago citizens, a reference to the traditional use of gargoyles in fountains, where faces of mythological beings were sculpted with open mouths to allow water, a symbol of life, to flow out. Plensa adapted this practice by having faces of Chicago citizens projected on LED screens and having water flow through a water outlet in the screen to give the illusion of water spouting from their mouths. The collection of faces, Plensa's tribute to Chicagoans, was taken from a cross-section of 1,000 residents.
The fountain, which anchors the southwest corner of Millennium Park at Michigan Avenue and Monroe Streets, is a favorite of both children and families. The water is on from mid-spring through mid-fall each year (weather permitting,) while the images remain on year-round.
A fountain is the memory of nature, this marvelous sound of a little river in the mountains translated to the city. For me, a fountain doesn't mean a big jet of water. It means humidity, the origin of life.
-Jaume Plensa
link
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