Sheli Lehadpasa (Mine for printing) - Tamar Lederberg
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Sheli Lehadpasa (Mine for printing)
Art constitutes a tool for contending with difficult psychological situations. A situation of loss and pain generates creative forces. An illness triggered fervent creativity in my mother. The trauma following her il
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Sheli Lehadpasa (Mine for printing)
Art constitutes a tool for contending with difficult psychological situations. A situation of loss and pain generates creative forces. An illness triggered fervent creativity in my mother. The trauma following her il
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Designed for the White Center YWCA Resource Center, White Center, WA, this wall was intended to reference the growing and diverse community who are patrons of the center. Botanical forms are universally recognized in cultures around the world....
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Designed for the White Center YWCA Resource Center, White Center, WA, this wall was intended to reference the growing and diverse community who are patrons of the center. Botanical forms are universally recognized in cultures around the world....
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Ann Daly
adaly@aya.yale.edu
BUILDING DRAWING III: “NO-PLACE SPACE”
A house or room, housed elsewhere. A large room or rectangular structure set within another space, so that one can see the outside of it and move into its interior. A more ambit
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Ann Daly
adaly@aya.yale.edu
BUILDING DRAWING III: “NO-PLACE SPACE”
A house or room, housed elsewhere. A large room or rectangular structure set within another space, so that one can see the outside of it and move into its interior. A more ambit
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On cherche à la lumière ce que l'on a perdu dans le noir - Nadine Lère
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Mon projet est de construire et d’installer un dispositif éclairant, une source de lumière propre à voir. Le dispositif, un espace pénétrable, prend la fonction de point d’attraction, comme un phare. Il se veut être un point de repère, de rasse
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Mon projet est de construire et d’installer un dispositif éclairant, une source de lumière propre à voir. Le dispositif, un espace pénétrable, prend la fonction de point d’attraction, comme un phare. Il se veut être un point de repère, de rasse
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Where Does It Itch? is a project involving 100 of my framed collage works aligned in grid or horizon on a wall. Originally slated for Ogilvy Mather Direct as a proposal, it was abandoned. This PDF is that original proposal.
Matthew Rose is an Americ
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Where Does It Itch? is a project involving 100 of my framed collage works aligned in grid or horizon on a wall. Originally slated for Ogilvy Mather Direct as a proposal, it was abandoned. This PDF is that original proposal.
Matthew Rose is an Americ
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The Gutenbird
The Gutenbird is an unrealized suspended artwork intended for a public library. On one level it celebrates the handmade and well crafted and on another level implies the innovative and significant achievements of the first printing press
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The Gutenbird
The Gutenbird is an unrealized suspended artwork intended for a public library. On one level it celebrates the handmade and well crafted and on another level implies the innovative and significant achievements of the first printing press
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THE KRACK PROJECT by DI VOZZO S.A.S
The < Krack project > is a public art installation ( 220 s.m) which was conceived to compete with the Imperialist system on the production processes of realities.
I designed this project so as to mobilize the
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THE KRACK PROJECT by DI VOZZO S.A.S
The < Krack project > is a public art installation ( 220 s.m) which was conceived to compete with the Imperialist system on the production processes of realities.
I designed this project so as to mobilize the
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Conduit is many things: a recycling project, a purification ritual, a reclamation, a gift.
One of the communities we aim to reach is the one that the gallery-going public habitually overlooks in Chelsea – the network of auto body shops and gas stati
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Conduit is many things: a recycling project, a purification ritual, a reclamation, a gift.
One of the communities we aim to reach is the one that the gallery-going public habitually overlooks in Chelsea – the network of auto body shops and gas stati
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Ich wache auf Eine Junge Frau liegt neben mir. Das licht fällt auf ihren blassen körper. Sie at mit nicht. Ich warme sie. sie sieht wunderschön und glucklich aus.
Rhydt 1995
Ein toter Mensch liegt auf dem Boden. Licht fällt auf den blassen Körp
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Ich wache auf Eine Junge Frau liegt neben mir. Das licht fällt auf ihren blassen körper. Sie at mit nicht. Ich warme sie. sie sieht wunderschön und glucklich aus.
Rhydt 1995
Ein toter Mensch liegt auf dem Boden. Licht fällt auf den blassen Körp
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NESTED VOIDS: LA GROTTE DU MAS D’AZIL - Bradley Pitts
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Unrealized Proposal for NESTED VOIDS: LA GROTTE DU MAS D’AZIL
Bradley Pitts, 2010
The cave of Le Mas-d'Azil (la grotte du Mas d'Azil), FR, was one of the first prehistoric caves to yield evidence of human habitation. Its main feature is a 500-met
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Unrealized Proposal for NESTED VOIDS: LA GROTTE DU MAS D’AZIL
Bradley Pitts, 2010
The cave of Le Mas-d'Azil (la grotte du Mas d'Azil), FR, was one of the first prehistoric caves to yield evidence of human habitation. Its main feature is a 500-met
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The idea stem from Lis’81 – The International Drawing Biennale of Lisbon, which was expected to take place at the National Gallery of Modern Art of Belém, but ended up consumed in a fire, during its installation, the only thing left is the catalogue.
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The idea stem from Lis’81 – The International Drawing Biennale of Lisbon, which was expected to take place at the National Gallery of Modern Art of Belém, but ended up consumed in a fire, during its installation, the only thing left is the catalogue.
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Interactive-Installation
1) At the height of at least 5th or 6th floor of a public art space (museum or foundation) it will be installed a door opening on the void. The door must be red and in wood, liek the door leading to a room in a house. Actuall
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Interactive-Installation
1) At the height of at least 5th or 6th floor of a public art space (museum or foundation) it will be installed a door opening on the void. The door must be red and in wood, liek the door leading to a room in a house. Actuall
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NO SUCCESS LIKE FAILURE
“She knows there's no success like failure
And that failure's no success at all.”
(Bob Dylan, “Love Minus Zero/ No Limit” 1965)
The work consists of two parts. One is a scaffolding construction holding approximately
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NO SUCCESS LIKE FAILURE
“She knows there's no success like failure
And that failure's no success at all.”
(Bob Dylan, “Love Minus Zero/ No Limit” 1965)
The work consists of two parts. One is a scaffolding construction holding approximately
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Idee
Der Perimeter des St. Johanns-Platz wird während einem Jahr exakt mit einer zweieinhalb Meter hohen Wand eingefasst. Sie schliesst das ganze Gelände ein, mit Rasen, Wegen und Parkbänken.
Die kleine Rasenfläche wird durch die Wand als Volu
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Idee
Der Perimeter des St. Johanns-Platz wird während einem Jahr exakt mit einer zweieinhalb Meter hohen Wand eingefasst. Sie schliesst das ganze Gelände ein, mit Rasen, Wegen und Parkbänken.
Die kleine Rasenfläche wird durch die Wand als Volu
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"When I was at art school, everyone else would make art and find the best parts and then try to cover up everything else so that was all you saw. I was fascinated by the part that didn't appear to be working and I'd keep working on that part until it took
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"When I was at art school, everyone else would make art and find the best parts and then try to cover up everything else so that was all you saw. I was fascinated by the part that didn't appear to be working and I'd keep working on that part until it took
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Pots.
A site specific proposal, for a non permanent installation.
A neutral, interior space considered as a “Pot”.
Inside this space I build a large scale model, an abstract structure. It consists of carton boxes - rectangular and cubic ones, of
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Pots.
A site specific proposal, for a non permanent installation.
A neutral, interior space considered as a “Pot”.
Inside this space I build a large scale model, an abstract structure. It consists of carton boxes - rectangular and cubic ones, of
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Inside a Tesseract is a project for a polyptych of six installations placed inside the structure of an imaginary folding/unfolding cube. The content of the six installations will correlate to each other organically, by the composition of essential element
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Inside a Tesseract is a project for a polyptych of six installations placed inside the structure of an imaginary folding/unfolding cube. The content of the six installations will correlate to each other organically, by the composition of essential element
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Cloisters' was an unrealised artwork submitted in relation to the Transformations project at the Lowry centre in Manchester.
My proposal is to create a site-specific installation within the promenade gallery. Drawing on the walkway aspect of the space,
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Cloisters' was an unrealised artwork submitted in relation to the Transformations project at the Lowry centre in Manchester.
My proposal is to create a site-specific installation within the promenade gallery. Drawing on the walkway aspect of the space,
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wall installation
variable dimensions
water pain on wall and oil on paper transfered on wooden tables (26 x 19 cm each element)
The project consists of a large installation that runs on the walls, creating a visually stunning work of able to relate g
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wall installation
variable dimensions
water pain on wall and oil on paper transfered on wooden tables (26 x 19 cm each element)
The project consists of a large installation that runs on the walls, creating a visually stunning work of able to relate g
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B/M/E: time reconfigured onsite & online 2002-2032 - Robert Lawrence
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B/M/E: time reconfigured onsite & online 2002-2032
Beginning/Middle/End is a 30 year series of site-specific installations/performances/interventions, with augmenting web components. Choreographing threads of multiple strategies through physical and vir
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B/M/E: time reconfigured onsite & online 2002-2032
Beginning/Middle/End is a 30 year series of site-specific installations/performances/interventions, with augmenting web components. Choreographing threads of multiple strategies through physical and vir
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“A Lighthouse” is an installation consisting of three main parts: 1. Three walls (each wall app. 15’ long/20’ high) completely wallpapered with cut outs of many different designs of gold holographic films; 2. The floor space in between the walls c
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“A Lighthouse” is an installation consisting of three main parts: 1. Three walls (each wall app. 15’ long/20’ high) completely wallpapered with cut outs of many different designs of gold holographic films; 2. The floor space in between the walls c
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LOVE IS IN THE AIR - Zilvinas Kempinas + Architect Bettina Zerza
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LOVE IS IN THE AIR
Im Jahr 1960 beschrieb Neil Armstrong, der erste Mensch auf dem Mond, aus dem Fenster seines Raumschiffs die Erde als „eine große blaue Murmel“.
Ort
Die Fluggastbrücke ist ein O
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LOVE IS IN THE AIR
Im Jahr 1960 beschrieb Neil Armstrong, der erste Mensch auf dem Mond, aus dem Fenster seines Raumschiffs die Erde als „eine große blaue Murmel“.
Ort
Die Fluggastbrücke ist ein O
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‘SWIMMING POOL’
AN UNREALISED PROJECT BY FERHAT OZGUR
PARIS 2012
The unrealised project entitled ‘Swimming Pool’ has been designed as a project which
aims to blur the border between art and life. Here the aim of the project is to add new
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‘SWIMMING POOL’
AN UNREALISED PROJECT BY FERHAT OZGUR
PARIS 2012
The unrealised project entitled ‘Swimming Pool’ has been designed as a project which
aims to blur the border between art and life. Here the aim of the project is to add new
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Observatory for the Study of Metropolitan Man - Bastiaan Arler
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The project consists of a temporary structure made of easily available scaffolding that can be installed in any city square. It is open to the public and thus allows people to observe and to be observed in two distinct moments. The project has never been
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The project consists of a temporary structure made of easily available scaffolding that can be installed in any city square. It is open to the public and thus allows people to observe and to be observed in two distinct moments. The project has never been
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In July 1981, and again in February 1989, we proposed to friends of ours and other artists and to everyone it may concern-through texts in the magazines “Sin kai Plin” and “To Bitoni”, to found a football team.
We made this proposal because of
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In July 1981, and again in February 1989, we proposed to friends of ours and other artists and to everyone it may concern-through texts in the magazines “Sin kai Plin” and “To Bitoni”, to found a football team.
We made this proposal because of
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