Art intervention is an interaction with a previously existing artwork, audience or venue/space. It has the auspice of conceptual art and is commonly a form of performance art. It is associated with the Viennese Actionists, the Dada movement and Neo-Dadaists. It has also been made much use of by the Stuckists to affect perceptions of other artwork which they oppose, and as a protest against an existing intervention.
Intervention can also refer to art which enters a situation outside the art world in an attempt to change the existing conditions there. For example, intervention art may attempt to change economic or political situations, or may attempt to make people aware of a condition that they previously had no knowledge of. Since these goals mean that intervention art necessarily addresses and engages with the public, some artists call their work "public interventions".
Although intervention by its very nature carries an implication of subversion, it is now accepted as a legitimate form of art and is often carried out with the endorsement of those in positions of authority over the artwork, audience or venue/space to be intervened in. However, unendorsed (i.e. illicit) interventions are common and lead to debate as to the distinction between art and vandalism.[1] By definition it is a challenge, or at the very least a comment, related to the earlier work or the theme of that work, or to the expectations of a particular audience, and more likely to fulfil that function to its full potential when it is unilateral, although in these instances, it is almost certain that it will be viewed by authorities as unwelcome, if not vandalism, and not art.


There are many art interventions which are carried out in contexts where relevant invitation and approval has been given.
[edit]Detroit MONA goes kaBOOM!, 2002
The extreme to which an authorised intervention can go and yet still meet with institutional approval was shown in 2002, when the Detroit Museum of New Art staged a show kaBoom!, with the announcement, "Over the course of the exhibition, museum visitors will be invited to smash, drop, throw and slash artworks..."[2] The show was scheduled for two months, but by the end of the first night had been totally destroyed by visitors:
"They even destroyed the pedestals and wall shelves," one museum staffer shrugged in disbelief. Fires were set in isolated galleries and a wrecking ball for one display had been removed from its chain and used instead as a bowling ball, taking out an installation as well as the corner of one wall. "In a twisted way, it was a wild success," MONA’s director Jef Bourgeau says the morning after, on a surprisingly bright note as he wades through the carnage and debris.[3] This follows the precedent of the Dadaists. At one of their shows, visitors were invited to smash the exhibits with an axe.
[edit]Hanging Old Masters backwards, 2004
A more usual authorised art intervention in an institution is done with great care to make sure that no harm comes to the existing collection. In 2004, the Old Town House in Cape Town, South Africa, hung its Michaelis Collection of 17th century Dutch Old Master paintings facing the wall. The curator Andrew Lamprecht said this exhibition, titled Flip, "would force gallery goers to reconsider their preconceptions about the art and its legacy." Knowledge of intent is integral to such a process, as it would be perceived differently if it were announced in a conservation context, rather than as an art piece. However, in this instance there was some ambiguity about the purpose of the exercise as Lamprecht, although stating, "I'm asking questions about the history", also added a more standard "educative" comment, "the reverse of the paintings revealed a wealth of detail not normally on view to the public, ranging from old attempts to preserve the canvas to notes from different collectors over the years",[4] thus lessening the confrontational impact of his actions.

An equestrian statue of Lord Napier wrapped in red tape by Eleonora Aguiari in 2004.
[edit]Lord Napier in red tape, 2004
An authorised art intervention which required considerable effort to gain the requisite permission was the wrapping in red duct tape of the equestrian statue of Lord Napier of Magdala, situated on Queens Gate in West London. This was done by Eleonora Aguiari, a Royal College of Art (RCA) student for her final show. When questioned as to whether she had considered a clandestine act, she replied, "No, not my style, I like to challenge the institutions." In order to do this she needed clearance letters from the RCA Rector, a professor, the Victoria and Albert Museum conservation department and the RCA conservation department, bronze tests, a scaffolding license, indemnity insurance, and permission from English Heritage (who own the statue), the City of Westminster, two Boroughs (Chelsea and Kensington, as their boundary bisects the length of the horse) and the present Lord Napier.
Then a layer of cling wrap and almost 80 rolls of red duct tape were applied by 4 people working for 4 days. Aguiari described it as "a Zen action up there in the middle of traffic, but alone with a beautiful statue. Every detail on the statue is perfect and slightly larger than normal," and said that "statuary that symbolizes military past, or imperialism should be covered to make the topics of the past visible." [5] Aguiari then received a phone call: "Saatchi wants to talk to you", but, on keeping the appointment, she found herself talking not to Charles Saatchi but to Michael Moszynski of the advertising firm, Saatchi & Saatchi, who thought her idea would be suitable for "a Tory advertising campaign", and wanted her to wrap an ambulance in red tape. She declined the offer.[6]
Despite her official clearance, the action caused controversy[7] through press coverage, including a Reuters press agency photo reproduced in the Daily Times of Pakistan.[8]

Some artists challenge the orthodoxy by not seeking, or perhaps not being able to obtain, permission, but carry out their intention anyway, contravening regulations—with official reactions of differing degrees of severity.
[edit]The black sheep, 1994
In 1994, Damien Hirst curated the show, Some Went Mad, Some Ran Away, at the Serpentine Gallery in London, where he exhibited Away from the Flock (a sheep in a tank). An artist poured black ink into it, and was subsequently prosecuted, at Hirst's wish. The artist's defence was that he thought Hirst would benefit from the publicity and one critic (Tony Parsons) said the artist's action proved that what Damien Hirst does is art. The exhibit was restored at a cost of £1000.
[edit]Two men jump naked into Tracey's bed, 1999
Main article: Yuan Chai and Jian Jun Xi
A notable case of an unauthorised intervention—which did no damage, yet was still liable for prosecution—occurred at 12.58 p.m. on October 25, 1999, when two artists, Yuan Chai and Jian Jun Xi, jumped on Tracey Emin's installation My Bed, in the Turner Prize at Tate Britain, wearing only underwear. They called their performance Two Naked Men Jump Into Tracey's Bed. They were arrested for their action, but no charges were pressed. Chai had written, among other things, the words "ANTI STUCKISM" on his bare back. They said they were "improving" Emin's work, because they thought it had not gone far enough, and opposed the Stuckists, who are anti-performance art.[9]
[edit]Banksy, c.2000

Photo of "Banksy" art in Brick Lane, East End. 2004.
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Main article: Banksy
"Banksy" is the operating name of one of the best-known interventionists in the UK. He has carried out many graffiti stencillings, usually with a specific message or comment. He has also infiltrated his own artwork into museums, where they have remained for varying amounts of time before being removed. In May 2005, for example, he hung his own version of a primitive cave painting, showing a human hunting with a shopping trolley, in the British Museum. His work is now a desirable art commodity.
[edit]Lennie Lee, c.2005
In February 2005 Jewish artist, Lennie Lee, was censored for exhibiting a piece called "Judensau" (Jew pig) in Treptow Town Hall gallery, Berlin. The intervention was organized by the other artists working in the show who claimed (incorrectly) Lee was one of them. Lee's work was designed to put the institution in a difficult position. If they left it on the wall they would be accused of anti-semitism by their opponents. On the other hand, if they took the work down, they would be censoring the work of a Jewish artist dealing with antisemitic stereotypes.
The authorities were forced to take the piece down. The piece attracted considerable attention from the media. Lee offered to remove his "Judensau" on condition that a 14th century sculpture of a "Judensau" was removed from the side of Martin Luther's church in Wittenberg. Martin Luther, in addition to founding the Lutheran church, was a well-known antisemite. His book On the Jews and Their Lies had an influence on Nazi ideas.[10][11]
[edit]Taking a hammer to a urinal, 2006
On January 4, 2006, while on display in the Dada show in the Pompidou Centre in Paris, Marcel Duchamp's Fountain was attacked with a hammer by Pierre Pinoncelli, a 77 year old French performance artist, causing a slight chip. Pinoncelli, who was arrested, said the attack was a work of performance art that Marcel Duchamp himself would have appreciated.[12] This may be true, as on one occasion visitors to a Dada show were invited to smash up the exhibits with an axe. Previously in 1993, Pinoncelli urinated into the piece while it was on display in Nîmes, in southern France. Both of Pinoncelli's performances derive from neo-Dadaists' and Viennese Actionists' intervention or manoeuvre.
The Fountain attacked by Pinoncelli was actually number 5 of 8 recreated by Duchamp at a much later date, after the original one was lost. Another is on display in the Indiana University Art Museum, and there is one also in Tate Modern, where in 2000 it too was the target of a urination performance (unsuccessful according to the gallery) by Yuan Chai and Jian Jun Xi.
[edit]Pencils removed from Damien Hirst's Pharmacy, 2009
Artist Cartrain removed a packet of Faber Castell 1990 Mongol 482 series pencils from Damien Hirst's installation at his restaurant Pharmacy. This followed Hirst's action against Cartrain for using copies of Hirst's work. Cartrain stated:
For the safe return of Damien Hirsts pencils I would like my artworks back that Dacs and Hirst took off me in November. Its not a large demand he can have his pencils back when I get my artwork back. Dacs are now not taking any notice of my emails and I have asked nicely more than five times to try and resolve this matter. Hirst has until the end of this month to resolve this or on 31st of July the pencils will be sharpened. He has been warned.[13]

Photo of "Landmine Trail" by Will St Leger in Merrion Square, Dublin. 2007.
[edit]Illicit confronts the approved

Although the legal technicalities are straightforward, when an unauthorised intervention intervenes in an officially-sanctioned one, the moral issues may be far less straightforward, especially when the legal act meets with widespread public disapproval (even to the point of considering it vandalism), while the illicit reaction to it satisfies a public sense of justice.
[edit]String up the perpetrator, 2003
In spring 2003, artist Cornelia Parker intervened in Auguste Rodin’s sculpture The Kiss (1886) in Tate Britain by wrapping it in a mile of string.[14] This was a historical reference to Marcel Duchamp's use of the same length of string to create a web inside a gallery. Although the intervention had been endorsed by the gallery, many people felt it offensive to the original artwork and an act of vandalism rather than art. This reaction then prompted a further, unauthorised, intervention, in which Parker's string was cut by Stuckist Piers Butler, while couples stood around engaging in live kissing.[15]
[edit]Sticking it to Goya, 2003
In 2003, Jake and Dinos Chapman montaged clown and other "funny" faces onto a set of etchings of Goya's The Disasters of War (which they had purchased), thereby intervening in the original work. Aside from complaints on the grounds of bad taste, this act was described by some as "defacement", although the set was a late 1930s printing. Ostensibly as a protest against this piece, Aaron Barschak (who later became famous for gate-crashing Prince William's 21st birthday party dressed as Osama bin Laden in a frock) threw a pot of red paint over Jake Chapman during a talk he was giving in May 2003.
The Chapmans then added monster heads to Goya's Los Caprichos etchings and exhibited them at the White Cube in 2005 under the title Like a dog returns to its vomit. Like other interventionists they asserted this was an improvement on the original: "You can't vandalise something by making it more expensive." However, Dinos pointed out one problem: "sometimes it is difficult to make the original Goya etchings any nastier; in one I found a witch sexually molesting a baby.".[16]
[edit]Throwing something at boxes, 2006

Interventionist with object at the Jonathan Meese performance at Tate Modern.
Another example at the Tate was an intervention in Rachel Whiteread’s Embankment installation in the Turbine Hall of Tate Modern on February 25, 2006. Whiteread's site-specific installation consisted of large piles of white plastic cubes, made by using a mould from cardboard boxes. Jonathan Meese, a German performance artist had staged a scheduled event in this environment, erecting props, and giving a wild monologue. During this, an object was thrown, or fell, from the walkway over the hall, landing with a bang. This was seen as intentional and considered by some people an art intervention, while others thought it was simply vandalism.[17] A month later, the Tate pronounced on this incident, "works get interfered with all the time and people often are unsure of the boundaries or social etiquette of Art and react accordingly, sometimes going beyond the pale." [18]
[edit]Outwitting the rules

A non-authorised and yet not illicit ploy is sometimes adopted, by carrying out purportedly "normal" behaviour, while finding loopholes in the regulations, pushing them to the limit and using them against the regulators.
[edit]Duchamp 1917
A seminal example of this approach took place in 1917 when Marcel Duchamp submitted a urinal (laid on its back, signed by him "R.Mutt 1917", and titled Fountain) to the Society of Independent Artists exhibition. The Society had proclaimed their open-mindedness by stating they would accept all work submitted, only anticipating that conventional media (paintings) would be. Duchamp was a member of the Society's board, and interpreted the regulations at face-value. His entry was immediately rejected as "not being art", and he resigned from the board shortly after. The original Fountain was lost. Fifty years later, Duchamp commissioned reproductions, which were then highly sought by museums.[19]
In 1961, fellow Dadaist, Hans Richter, wrote to Duchamp:
You threw a bottle rack and urinal in their faces as a challenge and now they admire them for their aesthetic beauty.
Duchamp wrote "Ok, ça va très bien" ("that's fine") in the margin beside it, and the quote is often erroneously attributed to him.
In a further piece of art intervention, in 1995, Brian Eno urinated in the reproduction of the Duchamp's Fountain in the Museum of Modern Art in New York City.
[edit]Stuckist clowns at the Tate, 2000–05
Main article: Stuckist demonstrations
The Stuckists have followed Duchamp's lead in exploiting regulations to their own advantage in yearly demonstrations outside the Turner Prize (2000–05) at Tate Britain. Prior to their first demonstration (dressed as clowns), they obtained written permission from the gallery that this form of dress was acceptable, and then walked round the Turner Prize wearing it.[20][21]

Stuckist artists dressed as clowns intervene at the Turner Prize, Tate Britain, in 2000
In 2002, when Martin Creed won with lights going on and off in an empty room, they flicked flashlights on and off outside, and in 2003 displayed a blow-up sex doll to parody Jake and Dinos Chapman's bronze (painted) sculpture modelled on one, by claiming they had the original.[22] Although barred from the prize ceremony, they have succeeded in infiltrating it psychologically to the extent that twice they have been mentioned by the guest of honour on live TV, just before the announcement of the winner.[23] They have also handed out manifestos to arriving guests at the Tate (and the Saatchi Gallery), thus getting their message carried into the events from which they were excluded.[24]
As the Stuckists condemn performance art as not real art, it raises the question as to whether their activities—which are carried out by artists and would therefore normally be classified as "art"—are still classified as "art", if they do not classify it that way themselves. On one occasion they were given an award for conceptual art by the proto-MU group nevertheless.
[edit]Art or vandalism?

It is clear that the legitimacy and artistic value of an art intervention may vary, depending on the perception and standpoint of the viewer. The following statement, entitled Stuckism Handy Guide to the Artworld, first appeared on the Stuckist website with specific reference to the Meese incident at Tate Modern, and was then posted by Jennifer Maddock on the Artforum board with the comment, "I found a pretty cynical attempt to differentiate between vandalism and intervention while I was reading about the event in Tate Modern, for example the Stuckists' cynical definition":[25]
“ An act by an individual which interferes with an existing artwork is termed an "intervention" and the individual termed an "artist" if they are endorsed by a Tate curator or are dead. The same, or similar, act by an individual interfering with the same artwork (or even interfering with the interference to the artwork), if they are alive and are not endorsed by a Tate curator, is termed "vandalism", and the individual termed a "criminal."[18] ”

Sometimes art vandalism is used to make a political protest. Whether this is or isn't regarded as a legitimate political act, it is not normally seen as art, nor until recently would the question have even arisen. However, with the increasing dissolution of boundaries between art and life, and the broadening of art's scope, there has been an increasing tendency to view unusual or spectacular actions as art, even though the actions were never intended as art.
[edit]Tracey Emin gets drunk, 1997
There was some confusion about Tracey Emin's drunken outburst on Channel 4 television during a debate on the Turner Prize in 1997, when she swore at the rest of the panel and walked out. Newspapers referred to it as a "performance", though somewhat satirically. Emin does not seem to have regarded it as art herself. She has on other occasions been quite categorical about stating that certain of her actions were definitely not art, one of these being some posters she put up in the vicinity of her home, when her cat "Docket" was lost.
[edit]Damien Hirst and 9/11, 2002
Public outrage followed one attempt to reclassify an event in art terms on September 10, 2002, the eve of the first anniversary of the 9/11 World Trade Center attacks, when Damien Hirst said in an interview with BBC News Online:
The thing about 9/11 is that it's kind of like an artwork in its own right ... David Hockney said that it was the 'most wicked piece of artwork'—a lot of people have compared it to a work of art. Of course, it's visually stunning and you've got to hand it to them on some level because they've achieved something which nobody would have ever have thought possible—especially to a country as big as America. So on one level they kind of need congratulating, which a lot of people shy away from, which is a very dangerous thing.[26]
The following week, he issued a statement through his company, Science Ltd:
I apologise unreservedly for any upset I have caused, particularly to the families of the victims of the events on that terrible day.[27]
[edit]Other meanings

[edit]Corporate art intervention
The book Privatising Culture: Corporate Art Intervention Since the 1980s by Chin-Tao Wu was published in 2001 in New York. This examines the effect of policies by Margaret Thatcher and Ronald Reagan to encourage increased private funding of the arts, and how, for example, the consequent change in membership of trustee boards from academics to corporate executives has inevitably lead to potential conflicts of interest.[28]
[edit]Intervention where therapy will do
The National Institute for Trauma and Loss in Children uses the term "art intervention" in the sense of art therapy.,[29] as does the University of Hong Kong, which states:
Therapeutic art intervention for older adult.
The use of artistic intervention to improve the quality of life of the elderly persons has gained attention from health care professionals quite recently. The course will introduce the theoretical perspectives and applications of art orientations in service delivery. Advanced skills of using different artistic and non-verbal communication means to enhance expression of those with dementia and neurological impairment will be taught by progressive and experiential methods.[30]
[edit]Two words for one
There is also a widespread use of the term "art intervention" to refer not to a particular intended or achieved act, but generically to any presence of art or artists in an environment, where this may not have previously been the case, i.e. it just means "art". The extensive use of this is shown in instances from the London Borough of Bexley ("This Strategy aims to put 'culture at the heart of regeneration', and will build on the success of the first major Public Art intervention in the borough—The Erith Arts Project"),[31] to Neal Civic Center in Florida ("Plans include video documentation of this project so it can be used as a prototype for rural art intervention programs nationwide"),[32] and Mayor Howard W. Peak, City of San Antonio, Texas (with the wish to "disseminate 'best practices' models of national art intervention programs").[33]

Appropriation is a fundamental aspect in the history of the arts (literary, visual, musical). Appropriation can be understood as "the use of borrowed elements in the creation of a new work."[1]
In the visual arts, to appropriate means to properly adopt, borrow, recycle or sample aspects (or the entire form) of man-made visual culture. Strategies include "re-vision, re-evaluation, variation, version, interpretation, imitation, proximation, supplement, increment, improvisation, prequel... pastiche, paraphrase, parody, homage, mimicry, shan-zhai, echo, allusion, intertextuality and karaoke." [2] The term appropriation refers to the use of borrowed elements in the creation of a new work[1] (as in 'the artist uses appropriation') or refers to the new work itself (as in 'this is a piece of appropriation art').
Inherent in our understanding of appropriation is the concept that the new work recontextualises whatever it borrows to create the new work. In most cases the original 'thing' remains accessible as the original, without change.


Appropriation of visual culture, in some form or another, has always been part of human history. Art History and art historical practice has a long tradition of borrowing and using styles and forms from what came before. Students of art and established artists have always learned and progressed by copying and borrowing. The same is true in music. Cultural creation began with appropriation; borrowing images, sounds, concepts from the surrounding world and re-interpreting these elements. Appropriation can be understood as a key component of the way in which humans learn, communicate and progress.
Some[who?] might interpret Leonardo da Vinci as an appropriation artist. Da Vinci used recombinant methods of appropriation, borrowing from sources as diverse as biology, mathematics, engineering and art, and then synthesizing them in to inventions and works of art.[citation needed]
In the early twentieth century Pablo Picasso and Georges Braque appropriated objects from a non-art context into their work. In 1912, Picasso pasted a piece of oil cloth onto the canvas. Subsequent compositions, such as Guitar, Newspaper, Glass and Bottle (1913) in which Picasso used newspaper clippings to create forms, became categorized as synthetic cubism. The two artists incorporated aspects of the "real world" into their canvases, opening up discussion of signification and artistic representation.
Marcel Duchamp is credited with introducing the concept of the readymade, in which “industrially produced utilitarian objects…achieve the status of art merely through the process of selection and presentation.”[3] Duchamp explored this notion as early as 1913 when he mounted a stool with a bicycle wheel and again in 1915 when he purchased a snow shovel and humorously inscribed it “in advance of the broken arm, Marcel Duchamp.”[4][5] In 1917, Duchamp formally submitted a readymade into the Society of Independent Artists exhibition under the pseudonym, R. Mutt.[6] Entitled Fountain, it consisted of a porcelain urinal that was propped atop a pedestal and signed "R. Mutt 1917". The work posed a direct challenge to traditional perceptions of fine art, ownership, originality and plagiarism, and was subsequently rejected by the exhibition committee.[7] Duchamp publicly defended Fountain, claiming “whether Mr.Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view-- and created a new thought for that object.”[8]
Duchamp also went so far as to use existing art in his work, appropriating an apparent copy of the Mona Lisa into his piece, L.H.O.O.Q. Recent speculation regarding Duchamp's appropriated urinal claimed that the urinal was "non-standard" and "non-functional", and that Duchamp "allegedly custom-designed it along with his other supposed readymades,"[citation needed] however, this has never been substantiated.
The Dada movement (including Duchamp as an associate) continued with the appropriation of everyday objects, but their appropriation did not attempt to elevate the "low" to "high" art status, rather it produced art in which chance and randomness formed the basis of creation. Dada artists included Hugo Ball, Emmy Hennings, Jean Arp, Hans Richter, Richard Huelsenbeck, André Breton, Tristan Tzara, and Francis Picabia. A reaction to oppressive intellectual rigidity in both art and everyday society, Dada works featured deliberate irrationality and the rejection of the prevailing standards of art. Kurt Schwitters, who produced art at the same time as the Dadaists, shows a similar sense of the bizarre in his "merz" works. He constructed these from found objects, and they took the form of large constructions that later generations would call installations.
The Surrealists, coming after the Dada movement, also incorporated the use of "found" objects such as Méret Oppenheim's Object (Luncheon in Fur) (1936). These objects took on new meaning when combined with other unlikely and unsettling objects.
In 1938 Joseph Cornell produced what might be considered the first work of film appropriation in his randomly cut and reconstructed film 'Rose Hobart'. This work was to inspire later video artists.
In the 1950s Robert Rauschenberg used what he dubbed "combines", literally combining readymade objects such as tires or beds, painting, silk-screens, collage, and photography. Similarly, Jasper Johns, working at the same time as Rauschenberg, incorporated found objects into his work. Johns also appropriated symbolic images such as the American flag or the "target" symbol into his work.
The Fluxus art movement also utilised appropriation: its members blended different artistic disciplines including visual art, music, and literature. Throughout the 1960s and 1970s they staged "action" events, engaged in politics and public speaking, and produced sculptural works featuring unconventional materials. The group even appropriated the postal system in developing mail art. The performances sought to elevate the banal by appropriating it as "art" and dissembling the high culture of serious music.
Along with artists such as Roy Lichtenstein and Claes Oldenburg, Andy Warhol appropriated images from commercial art and popular culture as well as the techniques of these industries. Often called "pop artists", they saw mass popular culture as the main vernacular culture, shared by all irrespective of education. These artists fully engaged with the ephemera produced from this mass-produced culture, embracing expendability and distancing themselves from the evidence of an artist's hand.
In 1958 Bruce Conner produced the influential 'A Movie' in which he recombined film clips to produce this seminal work that comments on the propensity for humankind toward violence. At the same time Raphael Montanez Ortiz was involved in the 'Destructionist' movement in which objects and film were cut up, taken apart, burned and partially destroyed and then reformed to create new works. In 1958 Ortiz produced "Cowboy and Indian Film', a seminal appropriation film work.
In the late 1970s Dara Birnbaum was working with appropriation to produce feminist works of art. In 1978-79 she produced one of the first video appropriations. 'Technology, Transformation : Wonder Woman' utilised video clips from the Wonder Woman television series.
The term appropriation art was in common use in the 1980s with artists such as Sherrie Levine, who addressed the act of appropriating itself as a theme in art. Levine often quotes entire works in her own work, for example photographing photographs of Walker Evans. Challenging ideas of originality, drawing attention to relations between power, gender and creativity, consumerism and commodity value, the social sources and uses of art, Levine plays with the theme of "almost same".
During the 1970s and 1980s Richard Prince re-photographed advertisements such as for Marlboro cigarettes or photo-journalism shots. Prince's work spoke to issues of materialism and the idea of spectacle over lived experience. His work takes anonymous and ubiquitous cigarette billboard advertising campaigns, elevates the status and focusses our gaze on the images. The viewer questions the concept of masculinity portrayed in these heroic billboards and their relationship to the advertising campaign.
Appropriation artists comment on all aspects of culture and society. Joseph Kosuth appropriated images to engage with philosophy and epistemological theory. Other artists working with appropriation during this time with included Jeff Koons, Barbara Kruger, Greg Colson, and Malcolm Morley.
In the 1990s artists continued to produce appropriation art, using it as a medium to address theories and social issues, rather than focussing on the works themselves. Damian Loeb used film and cinema to comment on themes of simulacrum and reality. Other high-profile artists working at this time included Christian Marclay, Deborah Kass and Damien Hirst.
Artists working today increasingly incorporate and quote from both art and non-art elements. For example, Cory Arcangel incorporates aspects of cultural nostalgia through re-working vintage video games and computer software. Other contemporary appropriation artists include the Chapman brothers, Benjamin Edwards, Joy Garnett, Nikki S. Lee, Paul Pfeiffer, Pierre Huyghe.
[edit]Appropriation art and copyrights

See also: List of plagiarism controversies
Despite the long and important history of appropriation, this artistic practice has recently resulted in contentious copyright issues which reflects more restrictive copyright legislation. The U.S. has been particularly litigious in this respect. A number of case-law examples have emerged that investigate the division between transformative works and derivative works. Many countries are following the U.S lead toward more restrictive copyright, which risks making this art practice difficult if not illegal.

Campbell's Soup (1968). Andy Warhol.
Andy Warhol faced a series of law-suits from photographers whose work he appropriated and silk-screened. Patricia Caulfield, one such photographer, had taken a picture of flowers for a photography demonstration for a photography magazine. Warhol had covered the walls of Leo Castelli's New York gallery in 1964 with the silk-screened reproductions of Caulfield's photograph. After seeing a poster of their work in a bookstore, Caulfield claimed ownership of the image and while Warhol was the author of the successful silk screens, he settled out of court, giving Caulfield a royalty for future use of the image as well as two of the paintings.
On the other hand, Warhol's famous Campbell's Soup Cans are generally held to be non-infringing, despite being clearly appropriated, because "the public was unlikely to see the painting as sponsored by the soup company or representing a competing product. Paintings and soup cans are not in themselves competing products", according to expert trademark lawyer Jerome Gilson.[9]
Jeff Koons has also confronted issues of copyright due to his appropriation work (see Rogers v. Koons). Photographer Art Rogers brought suit against Koons for copyright infringement in 1989. Koons' work, String of Puppies sculpturally reproduced Rogers' black and white photograph that had appeared on an airport greeting card that Koons had bought. Though he claimed fair use and parody in his defense, Koons lost the case, partially due to the tremendous success he had as an artist and the manner in which he was portrayed in the media. The parody argument also failed, as the appeals court drew a distinction between creating a parody of modern society in general and a parody directed at a specific work, finding parody of a specific work, especially of a very obscure one, too weak to justify the fair use of the original.
In October 2006, Koons won one for "fair use." For a seven-painting commission for the Deutsche Guggenheim Berlin, Koons drew on part of a photograph taken by Andrea Blanch titled Silk Sandals by Gucci and published in the August 2000 issue of Allure magazine to illustrate an article on metallic makeup. Koons took the image of the legs and diamond sandals from that photo (omitting other background details) and used it in his painting Niagara, which also includes three other pairs of women's legs dangling surreally over a landscape of pies and cakes.
In his court filing, Koons' lawyer, John Koegel, said that Niagara is "an entirely new artistic work... that comments on and celebrates society's appetites and indulgences, as reflected in and encouraged by a ubiquitous barrage of advertising and promotional images of food, entertainment, fashion and beauty."
In his decision, Judge Louis L. Stanton of U.S. District Court found that Niagara was indeed a "transformative use" of Blanch's photograph. "The painting's use does not 'supersede' or duplicate the objective of the original", the judge wrote, "but uses it as raw material in a novel way to create new information, new aesthetics and new insights. Such use, whether successful or not artistically, is transformative."
The detail of Blanch's photograph used by Koons is only marginally copyrightable. Blanch has no rights to the Gucci sandals, "perhaps the most striking element of the photograph", the judge wrote. And without the sandals, only a representation of a women's legs remains—and this was seen as "not sufficiently original to deserve much copyright protection."
In 2000, Damien Hirst's sculpture Hymn (which Charles Saatchi had bought for a reported £1m) was exhibited in Ant Noises in the Saatchi Gallery. Hirst was sued for breach of copyright over this sculpture despite the fact that he transformed the subject. The subject was a 'Young Scientist Anatomy Set' belonging to his son Connor, 10,000 of which are sold a year by Hull (Emms) Toy Manufacturer. Hirst created a 20 foot, six ton enlargement of the Science Set figure, radically changing the perception of the object. Hirst paid an undisclosed sum to two charities, Children Nationwide and the Toy Trust in an out-of-court settlement. The charitable donation was less than Emms had hoped for. Hirst sold three more copies of his sculpture for similar amounts to the first.
Street artist Shepard Fairey’s iconic Hope poster of Barack Obama is symbolic of Obama’s 2008 presidential campaign. The image along with words like “hope” or “progress” in some versions was produced on posters, stickers and t-shirts. [10] In 2009, the Associated Press accused Fairey of copyright infringement saying the poster was based on a 2006 image of one of their photographers, Mannie Garcia. Fairey denied appropriating the image and claiming fair use sued the Associated Press. The civil lawsuit was settled out of court with Fairey agreeing not to use unlicensed Associated Press images and to share the rights for his image of Obama going forward. The financial terms of the settlement were not released. [11] The Smithsonian Institute’s National Portrait Gallery in Washington acquired a collaged version of the image in January 2009. [12]
On the other hand appropriating a familiar object to make an art work can also prevent the artist claiming copyright ownership. Jeff Koons threatened to sue a gallery under copyright, claiming that the gallery infringed his proprietary rights by selling bookends in the shape of balloon dogs.[13] Koons abandoned that claim after the gallery filed a complaint for declaratory relief stating, "As virtually any clown can attest, no one owns the idea of making a balloon dog, and the shape created by twisting a balloon into a dog-like form is part of the public domain."

Burning Man is a week-long annual event held in the Black Rock Desert in northern Nevada, in the United States. The event starts on the Monday before the American Labor Day holiday, and ends on the holiday itself. It takes its name from the ritual burning of a large wooden effigy on Saturday evening. The event is described by many participants as an experiment in community, radical self-expression, and radical self-reliance.[1][2][3][4]
Burning Man is organized by Black Rock City, LLC. In 2010, 51,515 people attended Burning Man.[5] 2011 attendance was capped at 50,000 participants and the event sold out[6] on July 24. In April 2011, Larry Harvey announced that the Org had begun the process of transitioning management of the festival over to a new non-profit called the "Burningman Project".


[edit]1986 to 1989
The annual event now known as Burning Man began as a bonfire ritual on the summer solstice in 1986 when Larry Harvey, Jerry James, and a few friends met on Baker Beach in San Francisco[7] and burned a 9-foot (2.7-meter) wooden man as well as a smaller wooden dog. Harvey has described his inspiration for burning these effigies as a spontaneous act of "radical self-expression".[8]
The event did have earlier roots, though. Sculptor Mary Grauberger, a friend of Harvey's girlfriend Janet Lohr, held solstice bonfire gatherings on Baker Beach for several years prior to 1986, some of which Harvey attended. When Grauberger stopped organizing it, Harvey "picked up the torch and ran with it,"[8] so to speak. He and Jerry James built an 8-foot (2.4-meter) wooden effigy for 1986, which was much smaller and more crudely made than the neon-lit figure featured in the current ritual. In 1987, the effigy grew to almost 15 feet (4.6 meters) tall, and by 1988, it had grown to around 40 feet (12 meters).
Harvey swears that he did not see the movie The Wicker Man until many years later, so it played no part in his inspiration. Accordingly, rather than allow the name "Wicker Man" to become the name of the ritual, he started using the name "Burning Man".[9]
[edit]1990 to 1996
In 1990, a separate event was planned by Kevin Evans and John Law on the remote and largely unknown dry lake known as Black Rock Desert, about 110 miles north of Reno.[10] Evans conceived it as a dadaist temporary autonomous zone with sculpture to be burned and situationist performance art. He asked John Law, who also had experience on the dry lake and was a defining founder of Cacophony Society, to take on central organizing functions. In the Cacophony Society's newsletter, it was announced as Zone Trip #4, A Bad Day at Black Rock (inspired by the movie of that name).
Meanwhile, the beach burn was interrupted by the park police for not having a permit. After striking a deal to raise the Man but not to burn it, event organizers disassembled the effigy and returned it to the vacant lot where it had been built. Shortly thereafter, the legs and torso of the Man were chain-sawed and the pieces removed when the lot was unexpectedly leased as a parking lot. The effigy was reconstructed, led by Dan Miller, Harvey's then-housemate of many years, just in time to take it to Zone Trip #4.[11]
Michael Mikel, another active Cacophonist, realized that a group unfamiliar with the environment of the dry lake would be helped by knowledgeable persons to ensure they did not get lost in the deep dry lake and risk dehydration and death. He took the name Danger Ranger and created the Black Rock Rangers.
Thus the seed of Black Rock City was germinated, organized by Law and Mikel, based on Evans' idea, along with Harvey and James' symbolic man. Since John Law worked in the sign business, he prepared custom neon tubes for the Man in 1991 so it could be seen as a beacon at night. The community grew by word of mouth alone. It consisted of participants only. There were no paid or scheduled performers or artists, no separation between art-space and living-space, no rules other than "Don't interfere with anyone else's immediate experience" and "no guns in central camp".
1991 was the first year that the event had a legal permit with the BLM (the Bureau of Land Management).[12] 1996 was the first year a formal partnership was created to own the name. 1996 was also the last year that the event was held in the middle of the Black Rock Desert and had no fence around it. Serious accidents occurring with motorized vehicles that year and pressure from county law enforcement compelled the organizers to limit driving and to create a grid of roads for all subsequent events. Rod Garrett is credited with the concentric design that continues to be used today.[13]
[edit]1997 to present

The neon-tubed Man at the 1999 event
1997 marked another major pivotal year for the event since moving from the beach. By 1996, the land-speed-record-holding open playa had hit a critical mass with 8,000 attendees and was deemed too dangerous to continue in the same way with unrestricted driving. To implement a ban on driving and re-create the event as a pedestrian/bicycle/art car-only event, it was decided to move to private gated property. Fly Ranch with the adjoining Hualapai mini dry lake-bed just east of the Black Rock desert was chosen. This brought Burning Man into the jurisdiction of Washoe County permitting, also circumventing issues with Pershing county and the BLM.[14] To comply with the new permit requirements and to manage the increased liability load, the organizers formed Black Rock City, LLC (a limited liability company).
With the success of the driving ban, having no vehicular incidents, 1998 saw a return to the Black Rock desert; along with a temporary perimeter fence. The event has remained there since.
As the population of Black Rock city grew, further rules were established in relation to its survival. Some critics of the event cite the addition of these rules as impinging on the original freedoms, altering the experience unacceptably, while others find the increased level of activity balances out the changes.
A grid street structure.[15]
A speed limit of 5 mph (8 km/h).[16]
A ban on driving, except for approved "mutant vehicles" and service vehicles.[17]
Safety standards on mutant vehicles.[16]
Burning your own art must be done on an approved burn platform.[18]
A ban on fireworks.[19]
A ban on firearms.[20]
A ban on dogs.[21]
Another notable restriction to attendees is the 7-mile-(11 km) long temporary plastic fence that surrounds the event and defines the pentagon of land used by the event on the southern edge of the Black Rock dry lake.[22] This 4-foot (1.2 meter) high barrier is known as the "trash fence" because its initial use was to catch wind-blown debris that might escape from campsites during the event. Since 2002, the area beyond this fence has not been accessible to Burning Man participants during the week of the event. [23]
At 1:25 AM on August 28, 2007, at the exact moment of the Total Lunar Eclipse, Paul Addis, a well known, longtime Burning Man participant and gadfly of BMorg (the Burning Man Organization), who had previously pranked the Man as early as 1997, set the Man on fire four days ahead of schedule.[24] A replacement effigy was built on-site and installed in time to be burned on Saturday as planned. In June 2008, he pled guilty to the felony charge of destruction of property over $5,000 and was sentenced to 1–4 years in prison. Addis is reported to have been granted parole effective February 2010.[25]
[edit]Transition to a non-profit organization
In April 2011, Larry Harvey announced that the LLC was beginning a three-year process to transfer ownership and control of the event over to a new non-profit organization called the "Burningman Project". The move towards becoming a non-profit organization was the result of "bitter infighting" between members of the board. At one point it looked like all of the board members were going to hire lawyers. Corporate appraisers were brought in to determine how much the company was worth, which Larry Harvey found "abhorrent" and against all of the values that Burning Man stood for.[26]
An earlier agreement stated that each member of the LLC would only receive "sole compensation for many years of service, a golden parachute of $20,000". But the board members all agreed to an out of court settlement in which each member of the board would receive undisclosed sums.
Marian Goodell, board member and head of communication, addressed concerns about the lack of transparency with this statement: “When you’re in the middle of a storm, if you’re going to explain all of how you got there, and how you’re going to get out, it often sets more panic among the survivors than if you just sail the boat out of the darkness.”[27]
[edit]Timeline of the event
Year Height from ground to top of Man Location Participants Ticket price Theme Notes
1986 8 ft (2.4 m) Baker Beach, San Francisco 20 Free None Larry Harvey & Jerry James build & burn wooden man on Baker Beach on the summer solstice, following a ritual bonfire tradition begun by Mary Grauberger
1987 20 ft (6.1 m) Baker Beach 80 Free None
1988 30 ft (9.1 m) Baker Beach 150-200 Free None
1989 40 ft (12 m) Baker Beach 300+ Free None First listing of Burning Man in the San Francisco Cacophony Society newsletter, "Rough Draft" under "sounds like cacophony."
1990 40 ft (12 m) Baker Beach / Black Rock Desert, Nevada 500 / 120 Free None Figure erected at Baker Beach on Summer Solstice (June 21) but not burned. Man is invited to San Francisco Cacophony Zone Trip #4 on Labor Day weekend in the Black Rock Desert, Nevada.
1991 40 ft (12 m) Black Rock Desert 250 None First year of neon on the man.
1992 40 ft (12 m) Black Rock Desert 600 None
1993 40 ft (12 m) Black Rock Desert 1,000 None Theme camps: 1 - "Christmas Camp"
1994 40 ft (12 m) Black Rock Desert 2,000 None First year of wooden spires and lamplighting
1995 40 ft (12 m) Black Rock Desert 4,000 $35 None/ (Good and Evil; unofficial)
1996 48 ft (15 m) Black Rock Desert 8,000 $35 Helco Theme featuring Dante's Inferno/HELCO (a satire on corporate takeovers). First year the man is elevated on a straw bale pyramid and guns banned in central camp. First fatality in motorcycle collision. 3 people seriously injured in a tent run over by a car.[28] 10 of 16 BLM stipulations violated, putting BM on probationary status for next year. An injury claim drives liability coverage up by a factor of 6. Featured in an article in Wired magazine.[29] Theme camps 130+
1997 50 ft (15 m) Hualapai Playa 10,000 $65 Fertility: The Living Land The BM org. forms management structure, the DPW to meet strict permit requirements newly imposed. First year the city has grid streets and driving banned. Washoe County officials impounded gate receipts to ensure payment after the fire and protection fees along with more than 100 new fire and safety conditions are imposed before the event.[30] Registered theme camps: 400+
1998 52 ft (16 m) Black Rock Desert 15,000 $80 – $90 Nebulous Entity Burning Man returned to the Black Rock Desert although much closer to Gerlach than before. The "Nebulous Entity" was Harvey's satirical concept of alien beings who thrive on information - who consume it but do not understand it.
1999 54 ft (16 m) Black Rock Desert 23,000 $65 – $130 Wheel of Time Listed in the AAA's RV guide under "Great Destinations." Registered theme camps: 320
2000 54 ft (16 m) Black Rock Desert 25,400 $200 The Body First active law enforcement activity, 60 Bureau of Land Management (BLM) and police arrests and citations. Most are for minor drug charges following surveillance and searches. Registered theme camps: 460
2001 70 ft (21 m) Black Rock Desert 25,659 $200 Seven Ages See Seven Ages of Man. Over 100 BLM citations and 5 arrests. Registered theme camps: 466, placed art: 150
2002 80 ft (24 m) Black Rock Desert 28,979 $135–$200 The Floating World First year for FAA approved airport. 135 BLM citations and 4 Sheriff citations. Registered theme camps: 487, placed art: 120
2003 79 ft (24 m) Black Rock Desert 30,586 $145–$225 Beyond Belief Dogs are banned for the first time. 177 BLM citations, 9 police citations, 10 arrests and 1 fatality.[31] Registered theme camps: 504, placed art: 261
2004 80 ft (24 m) Black Rock Desert 35,664 The Vault of Heaven 218 BLM citations, some issued from decoy 'art car'. Camps giving away alcohol subjected to state law compliance examinations and 1 arrest. Pershing County Sheriff's office: 27 cases, 4 arrests, 2 citations. Nevada Highway Patrol: 2 DUI arrests, 217 citations, and 246 warnings were issued. Malcolm in the Middle used burning man in one of their episodes. Registered theme camps: 503, placed art: 220
2005 72 ft (22 m) Black Rock Desert 35,567 $145 – $250 Psyche - The Conscious, Subconscious & Unconscious The Man, perched atop a "fun house" maze, can be turned by participants, confusing those at a distance who use it to navigate. Dream related art work. 218 BLM citations, 6 arrests and 1 fatality. Registered theme camps: 485, placed art: 275
2006 72 ft (22 m) Black Rock Desert 38,989 $185 – $280 Hope and Fear: The Future The Man goes up and down reflecting a hope/fear meter. Voting stations were set up around the playa, allowing residents to cast a Hopeful or Fearful vote for the future of Man. If the vote was hopeful he would burn with his hands in the air- not- hands down. FYI- they voted hopeful- and his arms were raised till the end. 155 BLM citations and 1 arrest. Pershing County Sheriff's office: 1 citation and 7 arrests. Nevada Highway Patrol: 234 citations, 17 arrests, and 213 warnings. Placed art: 300
2007 65 ft (20 m) Black Rock Desert 47,366[32] $195 – $280 The Green Man The Man set on fire around 2:58 AM, August 28, during full Lunar eclipse. A repeat Burning Man prankster, Paul Addis, was arrested and charged with arson,[33] and the Man was rebuilt for regular Saturday burn. Addis pleaded guilty in May 2008 to one felony count of injury to property, was sentenced to up to four years in Nevada state prison, and was ordered to pay $30,000 in restitution.[34] 331 BLM citations. Registered theme camps: 681, placed art: 300
2008 100 ft (30 m) Black Rock Desert 49,599[5] $210 – $295 American Dream First year that tickets are not sold at the gate.[35] The size and layout of the city is enlarged to accommodate a larger central playa and a longer Esplanade. Because of excessively high winds and whiteout conditions on Saturday, the burning of the Man was delayed for over an hour and a half and the fire conclave was canceled. Many long time contributors opted out allegedly due to the chosen theme, jailing of dissenter Addis, and the founders' rift. The perimeter of BRC extended to 9 miles. The BLM made 6 arrests and issued 129 citations. Registered theme camps: 746, placed art: 285
2009 66 ft (20 m) Black Rock Desert 43,435 $210 – $360 Evolution: A Tangled Bank Tickets sold at the gate once again. As the result of some criticism, the size and layout of the city was returned to roughly the same as the 2007 event. The BLM officials said that as of noon Saturday, 41,059 people were at the festival, and the crowd peaked at 43,435 at noon Friday, a noted decline after years of steady attendance growth, due mainly to the 2008 stock market crash. BLM issued 287 citations and 9 arrests. Registered theme camps: 618, placed art: 215
2010 100 ft (30 m) Black Rock Desert 51,454[36] $210 – $360 Metropolis: The Life Of Cities Attendance over 50,000 mark, for first time. The gate opened early, at 6pm Sunday, for first time. Coincided with the inaugural Black Rock City Film Festival. BLM issued 293 citations and 8 arrests. Registered theme camps: 700, placed art: 275
2011 104 ft (32 m) Black Rock Desert 53,963[37] $210 – $360 Rites of Passage According to Black Rock LLC, 27,000 tickets (all discounted tiers) were sold by midday the day following the opening of ticket sales.[38] For the first time in Burning Man history, tickets sold out before the event on July 24, 2011.[38]
2012 ? Black Rock Desert ? $240 – $420 Fertility 2.0 Due to the sellout of the event in 2011, the BMOrg opted for a complex multi-round, random selection system of ticket sales with a separate low income program. On January 27, BMOrg announced that the number of tickets requested in the Main Sale was around 120,000 vs the 40,000 that were available. In consequence a significant number of registrants would not be awarded tickets in the Main Sale. The Main Sale was originally planned to be followed by a secondary open sale of 10,000 tickets. However as the huge demand from the Main Sale left many veteran burners and theme camps without tickets, BMOrg opted for a "directed ticket distribution" instead, i.e. "manually redirect them to some of the vital groups and collaborations that make up Black Rock City" rather than an open sale.
Note: The man itself has remained close to 40 feet (12 meters) tall since 1989. Changes in the height and structure of the base account for the differing heights of the overall structures.[citation needed]
The statistics above are to illustrate the growth of the Burning Man event.[39]
The event has gone through several changes, including growing from a small handful of people to over 49,500 people attending the event in 2008. The scale of the event has increased enormously, and Black Rock City, LLC has become more structured since its creation in 1997.
Burning Man 2006 was covered extensively for television for the first time by subscription television channel Current TV which handed out cameras to participants and broadcast daily updates via satellite from the dry lake. "TV Free Burning Man" also provided TV viewers an hour-long live feed of The Burn and was shown without commercial sponsorship. TV Free returned in 2007 and 2008; the 2007 coverage was nominated for a news Emmy Award[40]
Black Rock City is not considered a Census-designated place according to the United States Census Bureau. If it were, the year 2000 event attendance would have placed it between Carson City and Pahrump, making it the 7th largest city in the state of Nevada at the time. Since then, Paradise, Sunrise Manor, and Spring Valley (all suburbs of Las Vegas) experienced proportionally larger population growths than the rest of the state, pushing Black Rock City to the 10th largest city in Nevada according to 2004 census estimates (still between Carson City and Pahrump)[41]

)'( is an iconic representation of The Man.
Because of the variety of goals fostered by participatory attendees, known as "Burners," Burning Man does not have a single focus. Features of the event are subject to the participants and include community, artwork, absurdity, decommodification and revelry. Participation is encouraged.[42][43]
The Burning Man event is governed by 10 principles, which are radical inclusion, gifting, decommodification, radical self-reliance, radical self-expression, communal effort, civic responsibility, leaving no trace, participation, and immediacy.[44]
Radical inclusion - Anyone who can afford a ticket is gladly welcomed and there are no prerequisites to be part of Burning Man.[44] All participants are expected to provide for their own basic needs and follow the minimal rules of the event.
Gifting - Instead of cash, event participants are encouraged to rely on a gift economy, a sort of potlatch. In the earliest days of the event, an underground barter economy also existed, in which burners exchanged "favors" with each other. While this was originally supported by the Burning Man organization, this is now largely discouraged. Instead, burners are encouraged to give gifts to one another unconditionally.
Decommodification - No cash transactions are permitted between attendees of the event, which is in accordance with the principles of Burning Man. Cash can be used for a select few charity, fuel and sanitation vendors as follows:[45]
Café beverages such as coffee, chai, lemonade, etc., which are sold at Center Camp Café, operated by the organizers of the event.[46]
Ice.[47] Ice sales benefit the local Gerlach-Empire school system.
Tickets for the shuttle bus to the nearest Nevada communities of Gerlach and Empire which is operated by a contractor not participating in the event: Green Tortoise.[48]
A re-entry wristband, which allows a person to leave and re-enter the event and may be purchased at the gate upon exit.[49]
An airport use fee, payable at the airport upon first entry.[50]
Diesel and biodiesel sold by third-party contractors
RV dump service and camp graywater disposal service.[51]
Private portable toilets and servicing, which can be arranged with the official contractor.
Radical self-reliance - Because of the event's harsh environment and remote location, participants are expected to be responsible for their own subsistence. Since the LLC forbids any commerce, participants must be prepared and bring all their own supplies with the exception of the items stated in Decommodification.[52]
Radical self-expression - Participants are encouraged to express themselves in a number of ways through various art forms and projects. The event is clothing-optional and public nudity is common, though not practiced by the majority.[53][54]
Communal effort - Participants are encouraged to work with and help fellow participants.[55]
Civic responsibility - Participants are encouraged to assume responsibility and be part of a civil society in which federal, state and local laws are obeyed and communicate this to other participants.[55]
"Leave No Trace" - Participants are committed to a "leave no trace" event. They strive to leave the area around them in better condition than before their arrival to ensure that their participation does not have a long-term impact on the environment.[55]
Participation - Burning Man is about participation.[55]
Immediacy - Participants are encouraged to become part of the event, to experience who and what is around them and to explore their inner selves and their relation to the event.[55]

Woman at Burning Man event
Art on the dry lake is assisted by the Artery, which helps artists place their art in the desert and ensures lighting (to prevent accidental collisions), burn-platform (to protect the integrity of the dry lake bed), and fire-safety requirements are met.[56]
Since 1995, a different theme has been created, ostensibly by Larry Harvey, for each year's event. For 2006, the theme was Hope and Fear,[57] and for 2007, it was The Green Man.[58][59] The 2011 theme was "Rites of Passage".[60] . The upcoming 2012 theme is "Fertility 2.0"[61]. It determines to some extent the design of the Man (although his design and construction, while evolutionary, has remained relatively unchanged) and especially the structure on which he stands (an Observatory for "Vault of Heaven," a Lighthouse for "The Floating World"). These themes also greatly affect the designs that participants employ in their artworks, costumes, camps and vehicles.[62]
Burning Man primarily features outsider art and visionary art, though a great variety of art forms appear during the event. Creative expression through the arts and interactive art are encouraged at Burning Man. Numerous Theme Camps, registered and placed by the LLC, are created as event and residence centers by sizable sub-communities of participants and use extensive design and artistic elements to engage the greater community and meet the LLC's interactivity requirements. Music, performance and guerrilla street theatre are art forms commonly presented within the camps and developed areas of the city. Adjacent to the city, the dry lake bed of Lake Lahontan serves as a tabula rasa for hundreds of isolated artworks, ranging from small to very large-scale art installations, often sculptures with kinetic, electronic and fire elements.
Artwork is generally viewed as a gift that the artist makes to the community, although art grants are available to participants from the LLC via a system of curation and oversight, with application deadlines early in the year. Grants are intended to help artists produce work beyond the scope of their own means, and are generally intended to cover only a portion of the costs associated with creation of the pieces, usually requiring considerable reliance on an artist's community resources. Aggregate funding for all grants varies depending on the number and quality of the submissions (usually well over 100) but amounts to several percent (on the order of $500,000 in recent years) of the gross receipts from ticket sales. In 2006, 29 pieces were funded.
Various standards regarding the nature of the artworks eligible for grants are set by the Art Department of the LLC, but compliance with the theme and interactivity are important considerations. This funding has fostered artistic communities, most notably in the Bay Area of California, the region that has historically provided a majority of the event's participants. There are active and successful outreach efforts to enlarge the regional scope of the event and the grant program. Among these is the Black Rock Arts Foundation (BRAF).
While BRAF does not fund any installations for the event itself, it relies on the donations from the LLC for a significant portion of its funding, and does facilitate presentation of work created for the event in outside venues as well as offering its own grants for artworks that typify interactivity and other principles and traditions the event.
[edit]Mutant vehicles
Mutant Vehicles, often motorized, are purpose-built or creatively altered cars and trucks. Participants who wish to bring motorized mutant vehicles must submit their designs in advance to the event's own DMV or "Department of Mutant Vehicles” for approval and for physical inspection at the time of the event. Not all designs and proposals are accepted. The event organizers, and in turn the DMV, have set the bar higher for what it deems an acceptable MV each year, in effect capping the number of Mutant Vehicles. This is in response to constraints imposed by the U.S. Bureau of Land Management, which grants permits to hold the event on federal property, and to participants who want to maintain a pedestrian-friendly environment. Vehicles that are minimally altered, and/or whose primary function is to transport participants, are discouraged or rejected. One of the criteria the DMV employs to determine whether an application for a proposed Mutant Vehicle is approved is "can you recognize the base vehicle". For example, if a 1967 VW van covered with glitter, dolls' heads and old cooking utensils can still be recognized as a VW van, it is considered to be "decorated not mutated" and is less likely to be approved. This criterion led to the exclusion of some "Art Cars", which historically have been a staple of the event. There were over six hundred approved Mutant Vehicles at the event in 2010.
Bicycles and tricycles are extremely popular for getting around on the dry lake. Mountain bikes are generally preferred over road bikes for riding on the dried silt, which is normally hard but becomes loose with traffic. Participants often decorate their bikes to make them unique. Since lighting on the bikes is critically important for safety at night, many participants incorporate the lighting into their decorations, using electroluminescent wire (a thin, flexible tube that glows with a neon-like effect when energized with electricity) to create intricate patterns over the frame of the bike. Every night during the festival, thousands of bikes and art cars drive around, creating a visual display similar to Las Vegas at night, except that the lights are mobile.
Beginning in 2010, a series of short films selected from around the world screened as part of the Black Rock City International Film Festival, whose name was shortened to Black Rock Film Festival in 2011.[63] 29 films were selected for the inaugural 2010 festival, which spanned four evenings. Ten films were selected to screen on the climactic evening of the burning of the Man, opening with Susan's Big Day, directed by Jeffrey Uhlmann, and closing with I'm Keith Hernandez, directed by Rob Perri.[64]
In January 2012, Los Angeles-based photographer Tedshots, posted a video on Youtube titled, "Oh, The Places You'll Go At Burning Man", based on the last book published by Dr. Seuss, Oh, the Places You'll Go! (1990). It featured a series of Burners reciting the entire story on camera, amidst the backdrop of the annual Burning Man festival, the video later went viral on YouTube.[65]
[edit]The Temple

inside the 2011 temple
In addition to the burning of the Man, the burning of a Temple has become an activity at the event. David Best's temple projects were ritually burned from 2000 to 2004.[66]
In 2005, Best stepped aside to allow for another artist, Mark Grieve, to build his own interpretation of a Temple.[67] Grieve's temples were seen in both 2005 and 2006. However, in 2007 David Best took over the temple building duties for one last time. The 2007 Temple was named "The Temple of Forgiveness." Best has stated that it is time to hand the Temple over to the community, and in 2008 the "Basura Sagrada" Temple was a collaboration of Shrine and Tucker Teutsch 3.0, built with the extensive help of their friends and the greater Burning Man community.[68] In 2009, the "Fire of Fires" Temple for Burning Man was built in Austin, Texas.[69] In 2010, the Temple of Flux was designed and orchestrated by artists Rebecca Anders, Jess Hobbs and Peter (pk.) Kimelman who formed the Flux Foundation. This group was notable for drawing from a broad section of the Burning Man community, including the large-scale sound camps and other existing BM art groups. The Flux Foundation has since continued to make large-scale public art outside of Burning Man.[70] The Temple of Flux broke from tradition and was highly abstract in nature, appearing as a series of landforms with canyon and cave-like spaces.[71] The tradition of participants inscribing on the surfaces of the piece has continued though all of the iterations and are usually of a highly personal nature. The 2011 Temple was the first Temple built in Reno, Nevada. The International Arts Megacrew, helmed by Chris "Kiwi" Hankins, Diarmaid "Irish" Horkan and Ian "Beave" Beaverstock returned to a more traditional style. The Temple of Transition[72] took the form of a 120-foot tiered, hexagonal central tower, surrounded by five 58-foot tiered, hexagonal towers. The towers were vaulted and lofty, cut with a profusion of gothic style arches.
[edit]Black Rock City

Oblique aerial photo of Black Rock City showing the familiar "C" or semicircle pattern, 2010
Black Rock City, often abbreviated to BRC, is the name of the temporary city created by Burning Man participants. Much of the layout and general city infrastructure is constructed by Department of Public Works (DPW) volunteers who often reside in Black Rock City for several weeks before and after the event.[73][74] The remainder of the city including theme camps, villages, art installations and individual camping are all created by participants.
[edit]City planning
The developed part of the city is currently arranged as a series of concentric streets in an arc composing, since 1999, two-thirds of a 1.5-mile (2.4-km) diameter circle with the Man Sculpture and his supporting complex at the very center (40°46′9.48″N 119°13′12.36″W in 2007). Radial streets, sometimes called Avenues, extend from the Man to the outermost circle. The outlines of these streets are visible on aerial photographs.
The innermost street is named the Esplanade, and the remaining streets are given names to coincide with the overall theme of the burn, and ordered in ways such as alphabetical order or stem to stern, to make them easier to recall. For example, in 1999, for the "Wheel of Time" theme, and again in 2004 for "The Vault of Heaven" theme, the streets were named after the planets of the solar system. The radial streets are usually given a clock designation, for example, 6:00 or 6:15, in which the Man is at the center of the clock face and 12:00 is in the middle of the third of the arc lacking streets (usually at a bearing of 60° true from the Man). These avenues have been identified in other ways, notably in 2002, in accordance with "The Floating World" theme, as the degrees of a compass, for example 175 degrees, and in 2003 as part of the Beyond Belief theme as adjectives ("Rational, Absurd") that caused every intersection with a concentric street (named after concepts of belief such as "Authority, Creed") to form a phrase such as "Absurd Authority" or "Rational Creed". However, these proved unpopular with participants due to difficulty in navigating the city without the familiar clock layout.
The Black Rock City Airport is constructed adjacent to the city, typically on its southern side. The airport serves a variety of aviation traffic, including private airplanes, helicopters, hot air balloons, ultralights, gliders, and skydivers.[75]
[edit]Center Camp
Center Camp is located along the mid line of Black Rock City, facing the Man at the 6:00 position on the Esplanade. This area serves as a central meeting place for the entire city as well as contains the Center Camp Cafe, Camp Arctica and a number of other city institutions.
[edit]Villages and theme camps
Villages and theme camps are located along the innermost streets of Black Rock City, often offering entertainment or services to participants.[76]
Theme camps are usually a collective of people representing themselves under a single identity. Villages are usually a collection of smaller theme camps which have banded together in order to share resources and vie for better placement.
Theme camps and villages often form to create an atmosphere in Black Rock City that their group envisioned. As Burning Man grows every year it attracts an even more diverse crowd. Subcultures form around theme camps at Black Rock City similar to what can be found in other cities.
The Burning Man event is heavily dependent on a large number of volunteers.[77]
[edit]Safety, policing and regulations
Black Rock City is patrolled by various local and state law enforcement agencies as well as the Bureau of Land Management Rangers. Burning Man also has its own in-house group of volunteers, the Black Rock Rangers, who act as informal mediators when disputes arise between participants and law enforcement.
Firefighting, emergency medical services (EMS), mental health, and communications support is provided by the volunteer Black Rock City Emergency Services Department (ESD). Three "M*A*S*H"-like stations are set up in the city: station 3, 6 and 9. Station 6 is staffed by physicians and nurses working with REMSA, the Reno based ambulance provider, while Stations 3 and 9 are staffed by Black Rock City ESD personnel. While Station 3 and 9 provide emergency services and Basic Life Support, the volunteers are generally doctors, nurses, EMTs/paramedics, and firefighters. Both station 3 and 9 have a small fire engine available in addition to a smaller four-wheel drive fire suppression unit and Quick response vehicle for medical emergencies.

[edit]Commercial airports
The airport with regular commercial service closest to the event is the Reno-Tahoe International Airport in Reno, Nevada, approximately a 3-hour drive. An airport spokesperson said in 2009 that 15,000 burners arrive to the event via the airport annually, making it the second-busiest time for them.[citation needed] In 2008 and 2009, an information desk for burners was organized in Reno airport.
San Francisco, seven hours away by car, is the nearest airport with a high volume of international service.
[edit]Temporary airstrip
A section of the Playa is used for a non-permanent airport, which is set up before each event and completely erased afterward.[78] Pilots began camping there about 1995, and once compelled to add structure, it was established in a form acceptable to the BLM in 1999 through the efforts of Tiger Tiger (Lissa Shoun) and LLC board member Mr. Klean (Will Roger). In 2009 it was officially recognized by the FAA and designated 88NV. Though it receives logistical support from BMOrg and operates an event gate and box office for them, it is technically an independent entity (theme camp). It is found on the Klamath Falls Sectional, using a CTAF of 122.9 MHz. Black Rock Unicom and the airport are operational on that frequency from 6:00am to 7:30pm PDT each day during the event. The runway is simply a compacted strip of playa, and is not lighted.[79] Because of the unique air traffic and safety issues associated with the airport, pilots are strongly encouraged to familiarize themselves with the published information and procedures at the official airport website Because of the changes of the surface each year information about the airport is subject to change.[80]
There are prepaid shuttles, originating in Reno and San Francisco, that move participants to and from the event. During the event there is also a paid shuttle between the event and the nearby towns of Gerlach and Empire. Exiting and reentering the event requires an additional fee, and is highly discouraged.
Participants also share rides and hitchhike.

[edit]Concerns regarding the "Leave No Trace" policy
Burning Man takes place in the middle of a large playa and while not inhabited by humans itself, the area around the playa is home to many animals and plants.[81]
Supporters of Burning Man point out that participants are encouraged to leave no trace (LNT) of their visit to Black Rock City (BRC) and not to contaminate the area with litter, commonly known as MOOP (Matter Out Of Place). Despite the BLM and LLC's insistence on the practice of LNT, the amount of residual trash at the site has increased over the years.[82]
[edit]Damage to the playa
While fire is a primary component of many art exhibits and events, materials must be burned on a burn platform.[18] At one time, burning was allowed to take place directly on the ground of the playa, but this practice allowed burn scars to form and was discontinued. Burn scars left from 1996 (numbering 250) were finally eradicated in 2000 due to pressure from BLM Winnemucca district director Terry Reid, who was alerted to scars remaining by two of the founders of the Friends of Black Rock / High Rock (Garth Elliott & Sue Weeks). Some believe burn scars (fired clay-like playa surface) could take thousands of years to weather away. On the last day, public shared burn areas are prepared for participants to use. While Burning Man does provide instructions on how to build a Burn Platform and what not to burn, there are concerns on whether some participants do not follow these instructions to the detriment of the environment and the participants.[83][84]
Even water is not to be dumped on the playa, and used shower water must be captured and either evaporated off, or collected and carried home with each participant. Methods used for evaporating water normally include a plastic sheet with a wood frame. The playa dust often blows into these catch basins and some participants end up with a muddy mess to take home. Careful design of small scale evaporating ponds has become an engineering competition, to see what works best.
The Bureau of Land Management, which maintains the desert, has very strict requirements for the event. These stipulations include trash cleanup, removal of burn scars, dust abatement, and capture of fluid drippings from participant vehicles. For four weeks after the event has ended, the Black Rock City Department of Public Works (BRC – DPW) Playa Restoration Crew remains in the desert, cleaning up after the temporary city in an effort to make sure that no evidence of the event remains.[85]
[edit]Burning Man and its effect on the environment
Burning Man's carbon dioxide footprint is primarily from transportation to the remote area. The CoolingMan organization has estimated that the 2006 Burning Man was responsible for the generation of 27,000 tons of carbon dioxide, with 87% being from transportation to and from the remote location.[86] The Sierra Club has criticized Burning Man for the "hundreds of thousands" of plastic water bottles that end up in landfills, as well as ostentatious displays of flames and explosions.[87]
In 2007 Burning Man's "Green Man" theme received criticism for Crude Awakening, the 99-foot oil derrick that consumed 900 gallons of jet fuel and 2,000 gallons of liquid propane to blast a mushroom cloud 300 feet high into the sky.[88]
In an attempt to offset some of the event's carbon footprint, 30- and 50-kilowatt solar arrays were constructed in 2007 as permanent artifacts, providing an estimated annual carbon offset of 559 tons.[59]
[edit]On-site photography restrictions
The terms of the Burning Man ticket require that participants wishing to use video-recording equipment (including, in practice, most digital cameras) sign over copyright in their images to Black Rock City, and forbid them from using their images for anything other than personal and private use. This has been criticized by many, including the Electronic Frontier Foundation.[89][90]
A Burning Man spokeswoman replied that the policies are not new, were written by a former head of the EFF, were used when suing to block pornographic videos and ultimately arose from participant concerns: "We’re proud that Black Rock City (a private event held on public land) is widely acknowledged as a bastion of creative freedom. [B]ut that protection [of participants' freedoms] does necessitate the acceptance of some general terms of engagement when it comes to cameras... EFF seems to think that anyone attending any event somehow has an absolute right to take photographs, and then to do whatever they want with those images without any effective restriction or manner of enforcement. While we believe that such rights do make sense for any of us taking pictures in purely public spaces, this is not true in the private space of Burning Man — if it were it would mean that Burning Man couldn’t protect participant privacy or prevent commercialization of imagery."[91]
The Burning Man organization has since worked with the EFF and with Creative Commons and other parties, and has revised and clarified the photography policies.[92]
[edit]Regional events

See also: List of regional Burning Man events
The popularity of Burning Man has encouraged other groups and organizations to hold events similar to Burning Man.
In recent years, burners wishing to experience Burning Man more frequently than once per year, without the need for travel to Nevada, or otherwise free from the specific restrictions of the Black Rock City event, have banded together to create local regional events such as SOAK [2] in Oregon; Critical Massive near Seattle; InterFuse in Missouri; Lakes of Fire in Michigan; Element 11 in Utah, Xara Dulzura and Fuego de los Muertos in San Diego; Apogaea in Colorado; Playa del Fuego in Delaware; Firefly in New England; Burning Flipside in Texas; AuraMan in Indiana; Recompression (until 2010) & and Burn in the Forest BitF near Vancouver, British Columbia; Kiwiburn in New Zealand; Burning Seed in Australia; Rebirth in Hawaii; "Source"[3] in Maui; Transformus in North Carolina; Alchemy in Georgia; Saguaro Man in Arizona; Freezer Burn between Edmonton and Calgary, Alberta, Canada; AfrikaBurn in South Africa and NoWhere near Zaragoza in Spain.
Some of the events are officially affiliated with the Burning Man organization via the Burning Man Regional Network. This official affiliation usually requires the event to conform to certain standards outlined by the Burning Man organization, and to be substantially coordinated by a "Burning Man Regional Contact," a volunteer organizer with an official relationship to the Burning Man Project via a legal Letter of Agreement. In exchange for conforming to these standards, the event is granted permission to officially advertise as a Burning Man Regional Event.

Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today.[1]

Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Many of the works, sometimes called installations, of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions.[1] This method was fundamental to LeWitt's definition of Conceptual art, one of the first to appear in print:
“ In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. ”
—Sol LeWitt[2]
Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of art,[3] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, "Art after Philosophy" (1969). The notion that art should examine its own nature was already a potent aspect of (the influential art critic) Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Joseph Kosuth, Lawrence Weiner and the English Art & Language group began a far more radical interrogation of art than was previously possible (see below). One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.[4][5][6]
Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the UK, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture.[7] It could be said that one of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention." Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention."

The term environmental sculpture is variously defined. A development of the art of the 20th century, environmental sculpture usually creates or alters the environment for the viewer, as opposed to presenting itself figurally or monumentally before the viewer. A frequent trait of larger environmental sculptures is that one can actually enter or pass through the sculpture and be partially or completely surrounded by it. Also, in the same spirit, it may be designed to generate shadows or reflections, or to color the light in the surrounding area.

Sculpture as environment

Britannica Online defines environmental sculpture in this vein:[1]
"20th-century art form intended to involve or encompass the spectators rather than merely to face them; the form developed as part of a larger artistic current that sought to break down the historical dichotomy between life and art."
Julia M. Bush, writing in "A Decade of Sculpture: the New Media in the 1960s" (1974), emphasizes the nonfigurative aspect of such works: ""Environmental sculpture is never made to work at exactly human scale, but is sufficiently larger or smaller than scale to avoid confusion with the human image in the eyes of the viewer." (Busch, p. 27). Most sources, including author Laurie Wilson [2] cite Ukrainian-born American sculptor Louise Nevelson as the pioneer of environmental sculpture in this sense. Busch (p. 27) also places the sculptures of Jane Frank, as well as some works by Tony Smith and David Smith, in this category. Some environmental sculpture so encompasses the observer that it verges on architecture. For example, the Wikipedia article on Saunders Schultz refers to his "pioneering work in architectural/environmental sculpture."
Britannica names George Segal, Duane Hanson, Edward Kienholz, Robert Smithson, Christo, and Michael Heizer as practitioners of the genre. The inclusion of Segal and Hanson clearly contradicts Busch's suggestion that environmental sculpture is never figural. Indeed, many figurative works of George Segal, for example, do qualify as environmental, in that - instead of being displayed on a pedestal as presentations to be gazed upon - they occupy and perturb the setting in which they are placed. A well known instance of this is the pair of Segal figures that sit on and stand next to one of the public benches in New York City's Sheridan Square; anyone can sit right down amongst them and be included in their mysterious, silent encounter.

Eberhard Bosslet construction drawing - La Restinga II, El Hierro, 1983
A less known but more appropriate example is Athena Tacha's 2-acre (8,100 m2) park Connections in downtown Philadelphia (between 18th St. and 19th St. two blocks north of Vine St.), created as a landscape art environment after her winning a competition in 1980 (where Segal was actually one of the finalists). It was the first park designed entirely by an artist "sculpting the land" with planted terraces, rock clusters and paths (completed in 1992).
[edit]Sculpture created for an environment

A second sense of the term "environmental sculpture", with a somewhat different emphasis, is sculpture created for a particular set of surroundings. Thus, contemporary sculptor Beth Galston writes: "An environmental sculptor plans a piece from the very beginning in relationship to its surroundings. The site is a catalyst, becoming part of the creative process." [3] This is quite different from a Nevelson sculpture, which can usually be moved from place to place, like a conventional sculpture, without losing its meaning and effectiveness.
Nevertheless, even by Galston's definition, an environmental sculpture is not merely site-specific. After all, one could argue that many a conventional, figurative, marble monument was created for a specific site. This does not make it "environmental sculpture". Galston stresses that environmental sculpture entails the idea that the piece also functions to alter or permeate the existing environment or even to create a new environment in which the viewer is invited to participate: "The finished sculpture and site become one integrated unit, working together to create a unified mood or atmosphere," she writes. Many of the large, site-specific, minimalist sculptures of Richard Serra also qualify as environmental sculpture, in both senses described here. Much of what is called "land art" or "earth art" could also be termed environmental sculpture under this definition. Andrew Rogers and Alan Sonfist (which see) are among notable current practitioners of land art. Since 1983 German artist Eberhard Bosslet makes interventions on ruins, so-called "Re/formations and side effects"; he refers to the conditions of industrial and residential buildings by white painted lines or black painted color fields.
[edit]Environment sculpture vis-à-vis site-specific art and environmental art

Further clouding the definitional waters, the term "site-specific art" is sometimes used interchangeably with "environmental art". The Wikipedia article on Louise Nevelson, for instance, calls her "the pioneer American environmental artist", without ever using the term "environmental sculpture". In contrast, Louise Nevelson's New York Times obituary begins: "Louise Nevelson, a pioneer creator of environmental sculpture ...." Yet the Britannica Online article on 'environmental sculpture' does not so much as mention Louise Nevelson. Clearly the terms "environment sculpture," "site-specific art," and "environmental art" have not yet completely stabilized in their meanings, and a degree of uncertainty must be accepted, at least for now.
The reason for this is that much of site-specific and environmental art was created from 1970 on for public spaces all over the United States, sponsored by federal(GSA and NEA) or state and city Percent for Art competitions, and many of the artists were women trying to succeed outside the established art-gallery world. Younger art historians will have to sort out the development of this marginalized "movement" and the importance of artists such as Olga Kisseleva, Patricia Johanson, Athena Tacha, Mary Miss, Alice Adams, Elyn Zimmerman and others who, from the early 1970s on, won and executed large outdoor public art commissions with new formal, kinesthetic and social underpinnings. Many of these artists were also ecologically conscious and created works that could offer a further definition of "environmental sculpture": art that is environmentally friendly and cares for the natural environment.

The term found art—more commonly found object (French: objet trouvé) describes art created from undisguised, but often modified, objects that are not normally considered art, often because they already have a non-art function. Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning (1912). Marcel Duchamp perfected the concept when he made a series of "readymades"—completely unaltered everyday objects selected by Duchamp and designated as art—several years later. The most famous example is Fountain (1917), a standard urinal purchased from a hardware store and displayed on a pedestal, resting on its side.
Found art derives its identity as art from the designation placed upon it by the artist and the social history that comes with the object, either its anonymous wear and tear (as in collages of Kurt Schwitters or its recognizability as a consumer icon (as in the sculptures of Haim Steinbach. The context into which it is placed (e.g. a gallery or museum) is also a highly relevant factor. The idea of dignifying commonplace objects in this way was originally a shocking challenge to the accepted distinction between what was considered art as opposed to not art. Although it may now be accepted in the art world as a viable practice, it continues to arouse questioning, as with the Tate Gallery's Turner Prize exhibition of Tracey Emin's My Bed, which consisted literally of her unmade and disheveled bed. In this sense the artist gives the audience time and a stage to contemplate an object. Appreciation of found art in this way can prompt philosophical reflection in the observer.
Found art, however, has to have the artist's input, at the very least an idea about it, i.e. the artist's designation of the object as art, which is nearly always reinforced with a title. There is usually some degree of modification of the found object, although not always to the extent that it cannot be recognized, as is the case with readymades. Recent critical theory, however, would argue that the mere designation and relocation of any object, readymades included, constitutes a modification of the object because it changes our perception of its utility, its lifespan, or its status.

Origin: Duchamp

Main article: Readymades of Marcel Duchamp
The origins of the found object in art cannot be attributed to an exact gesture or moment in time. The commonly accepted origin is Pablo Picasso's painting Still Life with Chair Caning (1912). But the provenance of his gesture clearly points to his close colleague Georges Braque, who was the first known Western artist to attach a found object (paper scraps) to an artwork, a technique that has come to be known as collage. Although there is no definitive provenance before Braque, the strong influence of African art on Picasso and Braque, and the prominent use of found nails, cowry shells, and hair in 19th century African objects would suggest that the idea of the found object in Western art has its origins in Africa. Although art historians tend to draw a distinction between collage art and found object art, conceptually there is no difference between them. Both approaches introduce existing foreign objects to works of art.
Marcel Duchamp coined the term readymade in 1915 to describe a common object that had been selected and not materially altered in any way. Duchamp assembled the first readymade, entitled Bicycle Wheel in 1913 by attached a common front wheel and fork to the seat of a common stool. This was not long after his Nude Descending a Staircase was attracting the attention of critics at the International Exhibition of Modern Art. His Fountain, a urinal which he signed with the pseudonym "R. Mutt", confounded the art world in 1917. His Bottle Rack is a bottle drying rack signed by Duchamp, and is considered to be the first "pure" readymade.[1]
Research by Rhonda Roland Shearer indicates that Duchamp may have fabricated his found objects. Exhaustive research of mundane items like snow shovels and bottle racks in use at the time failed to reveal identical matches. The urinal, upon close inspection, is non-functional. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works.[2]

The use of found objects was quickly taken up by the Dada movement, being used by Man Ray and Francis Picabia who combined it with traditional art by sticking combs onto a painting to represent hair. [1] A well-known work by Man Ray is Gift (1921), [2] which is an iron with nails sticking out from its flat underside, thus rendering it useless.
The combination of several found objects is a type of readymade sometimes known as an assemblage. Another such example is Marcel Duchamp's Why Not Sneeze, Rose Sélavy?, consisting of a small birdcage containing a thermometer, cuttlebone, and 151 marble cubes resembling sugar cubes.
By the time of the Surrealist Exhibition of Objects in 1936 a whole range of sub-classifications had been devised — including found objects, readymade objects, perturbed objects, mathematical objects, natural objects, interpreted natural objects, incorporated natural objects, Oceanic objects, American objects and Surrealist objects. At this time Surrealist leader, André Breton, defined readymades as "manufactured objects raised to the dignity of works of art through the choice of the artist."
Pablo Picasso used found objects as the basis for Baboon and Young, and joined a "bicycle saddle" with "handle bars" to make a bull's head.
In the 1960s found objects were present in both the Fluxus movement and in Pop art. Joseph Beuys exhibited modified found objects, such as rocks with a hole in them stuffed with fur and fat, a van with sledges trailing behind it, and a rusty girder.
In 1973 Michael Craig Martin claimed of his work An Oak Tree, "It's not a symbol. I have changed the physical substance of the glass of water into that of an oak tree. I didn't change its appearance. The actual oak tree is physically present, but in the form of a glass of water.[3]"
[edit]Commodity sculpture

In the 1980s, a variation of found art emerged called commodity sculpture where commercially mass-produced items would be arranged in the art gallery as sculpture. The focus of this variety of sculpture was on the marketing, display of products. These artists included Jeff Koons, Haim Steinbach, and Ashley Bickerton (who later moved on to do other kinds of work).
One of Jeff Koons' early signature works was Two Ball 50/50 Tank, 1985, which consisted of two basketballs floating in water, which half-fills a glass tank (an influence on Damien Hirst).
[edit]Trash art

Junk art at Oak Street Beach
A specific sub-genre of found art is known as trash art or junk art.[4] These works are primarily comprised from components that have been discarded. Often they come quite literally from the trash. Many organizations sponsor junk art competitions. Trash art may also have a social purpose, of raising awareness of trash.[5]
Creating and using trash art can expose people to hazardous substances. For instance, older computer and electronic components can contain lead (in solder and insulation). Jewelry made from these items may require careful handling. In France, trash art became known as " Poubellisme", art made from contents of " poubelles" ( trash bins)

Throughout the 1990s, the Young British Artists (YBAs) made extensive use of found "objects", often with very strong press reaction. Damien Hirst exhibited a shark preserved in formaldehyde in a glass tank and called it The Physical Impossibility of Death in the Mind of Someone Living. He has taken this to extremes by presenting in the same way a cow and calf cut into sections, and, in A Thousand Years, a rotting cow's head, maggots and flies. Tracey Emin exhibited a tent covered with appliquéd names, titled Everyone I Have Ever Slept With 1963–1995, and then her own unmade bed with sweat-stained sheets, surrounded by items such as her slippers, period-stained underwear and drink bottles, titled My Bed. Sarah Lucas enlarged to a giant size a lurid tabloid press cutting; she also exhibited a mattress with two melons, a bucket and a cucumber, representing female and male genitalia.
Found art can also occur on the internet, where an image found on the internet can become the core component of a larger artwork made by modifying the image through basic computer graphic tools.
[edit]Historical precedents

Gold, when used in art, as in Medieval altar pieces, is present for its own innate quality, and is therefore a found object, as are precious jewels used in artworks. The essential difference is that these materials were already considered precious, whereas modern art's use of found objects has mostly been of mundane items, which are then deemed to be elevated into a special status.
An exception in 2003 was the Chapman Brothers use of a set of Francisco Goya prints, The Disasters of War, which they "adapted" by collaging clown and puppy faces onto the figures. The prints were valuable already in their own right as art.[3]
Like Marcel Duchamp before him, Damien Hirst has suggested that a painting can be considered an adapted found object (the object being paint), i.e. the whole history of art is based on the found objects.
In the 19th century, the French writer Comte de Lautréamont had drawn attention to the possibilities of transforming the otherwise mundane object with the now famous phrase, "Beautiful as the chance encounter of a sewing machine and an umbrella on a dissecting table."

The modern use of found objects aroused hostility from the start, when Duchamp's urinal, titled Fountain, was rejected by the "unjuried" 1917 Society of Independent Artists on the basis that it was not art.
The found object in art has been a subject of polarised debate in Britain throughout the 1990s due to the use of it by the Young British Artists. It has been rejected by the general public and journalists, and supported by public museums and art critics. In his 2000 Dimbleby lecture, Who's afraid of modern art, Sir Nicholas Serota advocated such kinds of "difficult" art, while quoting opposition such as the Daily Mail headline "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all". A more unexpected rejection in 1999 came from artists—some of whom had previously worked with found objects—who founded the Stuckists group and issued a manifesto denouncing such work in favour of a return to painting with the statement "Ready-made art is a polemic of materialism". [4]
[edit]Other art forms

"Other People's Mail", was a zine first published in 1995 by Abby Bridge. The photocopied publication contained found documents including: "lists found in the pockets of thrift-store clothes, notes passed in coffee shops or left on windshields, school work left in textbooks, postcards and photos from junk stores, letters left at bus stops, rants posted on power boxes, writings left in photocopiers, and so on.".[6] It was resurrected on in 2000 and also inspired an episode of This American Life. Found Magazine, based in Ann Arbor, Michigan, first published in 2004,[7] collects and catalogs found notes, photos, and other "interesting" items. Music composers use found sound in their compositions. Examples include John Cage, Nicolas Collins, Art of Noise, The Slant (band), Robin Rimbaud AKA Scanner and The Books. In British experimental music, Christopher Hobbs was the foremost proponent of the 'musical readymade', a concept named by John White.[8] Hobbs used chance operations, systems and other 'dislocating procedures'[8] on works by Tchaikovsky, John Bull, Bach, and others to create new pieces, including using a readymade or 'found' system (a knitting pattern for an Aran sweater) to create Aran (1972). Writers Brion Gysin and William Burroughs pioneered "cut ups", which was the random assembling of cut-up pre-existing text. This has also been employed by David Bowie, Kurt Cobain, Ted Milton and Thom Yorke for lyric writing. Poets, too, create art out of non-literary writing, such as vocabulary books, adverts or newspaper articles. Adrian Henri made the poem On the Late Late Massachers Stillbirths and Deformed Children a Smoother Lovelier Skin Job (and the title) by combining found text from John Milton's "Sonnet XVIII", the TV Times and a CND leaflet. Cordelia McGuire turned a funeral home classified advertisement into a poem entitled Embalmer by adding line breaks. Found art features in Jean-Pierre Jeunet's film Amélie and the 2001 independent comedy, Ghost World.

Interactive art is a form of installation-based art that involves the spectator in a way that allows the art to achieve its purpose. Some installations achieve this by letting the observer or visitor "walk" in, on, and around them; some others ask the artist to become part of the artwork.
Works of this kind of art frequently feature computers and sensors to respond to motion, heat, meteorological changes or other types of input their makers programmed them to respond to. Most examples of virtual Internet art and electronic art are highly interactive. Sometimes, visitors are able to navigate through a hypertext environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a performance or can even participate in it.
Though some of the earliest examples of interactive art have been dated back to the 1920s, most digital art didn’t make its official entry into the world of art until the late 1990s.[1] Since this debut, countless museums and venues have been increasingly accommodating digital and interactive art into their productions. This budding genre of art is continuing to grow and evolve in a somewhat rapid manner through internet social sub-culture on one hand, and large scale urban installations on the other hand.

Interactivity in art

Boundary Functions (1998) interactive floor projection by Scott Snibbe at the NTT InterCommunication Center in Tokyo.[2]
Interactive art is a genre of art in which the viewers participate in some way by providing an input in order to determine the outcome. Unlike traditional art forms wherein the interaction of the spectator is merely a mental event, interactivity allows for various types of navigation, assembly, and/or contribution to an artwork, which goes far beyond purely psychological activity.[3] Interactivity as a medium produces meaning.[4]
Interactive art installations are generally computer-based and frequently rely on sensors, which gauge things such as temperature, motion, proximity, and other meteorological phenomena that the maker has programmed in order to elicit responses based on participant action. In interactive artworks, both the audience and the machine work together in dialogue in order to produce a completely unique artwork for each audience to observe. However, not all observers visualize the same picture. Because it is interactive art, each observer makes their own interpretation of the artwork and it may be completely different than another observer's views.[5]
Interactive art can be distinguished from Generative art in that it constitutes a dialogue between the artwork and the participant; specifically, the participant has agency, or the ability, even in an unintentional manner, to act upon the artwork and is furthermore invited to do so within the context of the piece, i.e. the work affords the interaction. More often, we can consider that the work takes its visitor into account. In an increasing number of cases an installation can be defined as a responsive environment, especially those created by architects and designers. By contrast, Generative Art, which may be interactive, but not responsive per se, tends to be a monologue - the artwork may change or evolve in the presence of the viewer, but the viewer may not be invited to engage in the reaction but merely enjoy it.

According to the new media artist and theorist Maurice Benayoun, the first piece of interactive art should be the work done by Parrhasius during his art contest with Zeuxis described by Pliny, in the fifth century B.C. when Zeuxis tried to unveil the painted curtain. The work takes its meaning from Zeuxis gesture and wouldn’t exist without it. Zeuxis, by its gesture, became part of Parrhasius’ work. This shows that the specificity of interactive art resides often less in the use of computers than in the quality of proposed “situations” and the “Other’s” involvement in the process of sensemaking. Nevertheless computers and real time computing made the task easier and opened the field of virtuality- the potential emergence of unexpected (although possibly pre-written) futures- to contemporary arts.
Some of the earliest examples of interactive art were created as early as the 1920s. An example is Marcel Duchamp’s piece named Rotary Glass Plates. The artwork required the viewer to turn on the machine and stand at a distance of one meter.[6]
The present idea of interactive art began to flourish more in the 1960s for partly political reasons. At the time, many people found it inappropriate for artists to carry the only creative power within their works. Those artists who held this view wanted to give the audience their own part of this creative process. Aside from this “political” view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process.[7]
In the 1970s artists began to use new technology such as video and satellites to experiment with live performances and interactions through the direct broadcast of video and audio.[8]
Interactive art became a large phenomenon due to the advent of computer based interactivity in the 1990s. Along with this came a new kind of art-experience. Audience and machine were now able to more easily work together in dialogue in order to produce a unique artwork for each audience.[9] In the late 1990s, museums and galleries began increasingly incorporating the art form in their shows, some even dedicating entire exhibitions to it.[10] This continues today and is only expanding due to increased communications through digital media.
A hybrid emerging discipline drawing on the combined interests of specific artists and architects has been created in the last 10–15 years. Disciplinary boundaries have blurred, and significant number of architects and interactive designers have joined electronic artists in the creation of new, custom-designed interfaces and evolutions in techniques for obtaining user input (such as dog vision, alternative sensors, voice analysis, etc.); forms and tools for information display (such as video projection, lasers, robotic and mechatronic actuators, led lighting etc.); modes for human-human and human-machine communication (through the Internet and other telecommunications networks); and to the development of social contexts for interactive systems (such as utilitarian tools, formal experiments, games and entertainment, social critique, and political liberation).

There are many different forms of interactive art. Such forms range from interactive dance, music, and even drama.[11] New technology, primarily computer systems and computer technology, have enabled a new class of interactive art.[12] Examples of such interactive art are installation art, interactive architecture and interactive film.

The aesthetic impact of interactive art is more profound than expected.
Supporters of more “traditional” contemporary art saw, in the use of computers, a way to balance artistic deficiencies, some other consider that the art is not anymore in the achievement of the formal shape of the work but in the design of the rules that determine the evolution of the shape according to the quality of the dialogue.
[edit]Interactive art events and places

There are number of globally significant festivals and exhibitions of interactive and media arts. Prix Ars Electronica is a major yearly competition and exhibition that gives awards to outstanding examples of (technology-driven) interactive art. Association of Computing Machinery's Special Interest Group in Graphics (SIGGRAPH), DEAF Dutch Electronic Arts Festival, Transmediale Germany, FILE - Electronic Language International Festival Brazil, and AV Festival England, are among the others.
CAiiA, Centre for Advanced Inquiry in the Interactive Arts, first established by Roy Ascott in 1994 at the University of Wales, Newport, and later in 2003 as the Planetary Collegium, was the first doctoral and post doc research center to be established specifically for research in the interactive art field.
Interactive architecture has now been installed on and as part of building facades, in foyers, museums and large scale public spaces, including airports, in a number of global cities. A number of leading museums, for example, the National Gallery, Tate, Victoria & Albert Museum and Science Museum in London (to cite the leading UK museums active in this field) were early adoptors in the field of interactive technologies, investing in educational resources, and more latterly, in the creative use of MP3 players for visitors. In 2004 the Victoria & Albert Museum commissioned curator and author Lucy Bullivant to write Responsive Environments (2006), the first such publication of its kind. Interactive designers are frequently commissioned for museum displays; a number specialize in wearable computing.

Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era.[1] The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation.[2] Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much modern art. More recent artistic production is often called Contemporary art or Postmodern art.
Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Henri Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting.[3] It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Initially influenced by Toulouse Lautrec, Gauguin and other late 19th century innovators Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.

Roots in the 19th century

Vincent van Gogh, Courtesan (after Eisen) (1887), Van Gogh Museum

Vincent van Gogh, The Blooming Plumtree (after Hiroshige) (1887), Van Gogh Museum

Vincent van Gogh, Portrait of Père Tanguy (1887), Musée Rodin
Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier.[5] The date perhaps most commonly identified as marking the birth of modern art is 1863,[6] the year that Édouard Manet exhibited his painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris. Earlier dates have also been proposed, among them 1855 (the year Gustave Courbet exhibited The Artist's Studio) and 1784 (the year Jacques-Louis David completed his painting The Oath of the Horatii).[6] In the words of art historian H. Harvard Arnason: "Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning .... A gradual metamorphosis took place in the course of a hundred years."[6]
The strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century.[7] The important modern art critic Clement Greenberg, for instance, called Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from the outside ... . Modernism criticizes from the inside."[8] The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate. This gave rise to what art historian Ernst Gombrich called a "self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper."[9]
The pioneers of modern art were Romantics, Realists and Impressionists.[10] By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: post-Impressionism as well as Symbolism.
Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a search for more realism in the depiction of common life, as found in the work of painters such as Jean-François Millet. The advocates of realism stood against the idealism of the tradition-bound academic art that enjoyed public and official favor.[11] The most successful painters of the day worked either through commissions or through large public exhibitions of their own work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts.
The Impressionists argued that people do not see objects but only the light which they reflect, and therefore painters should paint in natural light (en plein air) rather than in studios and should capture the effects of light in their work.[12] Impressionist artists formed a group, Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions.[13] The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a "movement". These traits—establishment of a working method integral to the art, establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.
[edit]Early 20th century

Pablo Picasso Les Demoiselles d'Avignon 1907, Museum of Modern Art, New York

Henri Matisse, The Dance I, 1909, Museum of Modern Art, New York
Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism, and Futurism.
During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne where he exhibited three of his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, and his work was noticed by Pablo Picasso, Guillaume Apollinaire, and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. Song of Love (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924.
World War I brought an end to this phase but indicated the beginning of a number of anti-art movements, such as Dada, including the work of Marcel Duchamp, and of Surrealism. Artist groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts, architecture, design, and art education.
Modern art was introduced to the United States with the Armory Show in 1913 and through European artists who moved to the U.S. during World War I.
[edit]After World War II
It was only after World War II, however, that the U.S. became the focal point of new artistic movements.[14] The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, FLUXUS, Postminimalism, Photorealism and various other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media.[15] Larger installations and performances became widespread.
By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art.[16] Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting.[17]
Towards the end of the 20th century, a number of artists and architects started questioning the idea of "the modern" and created typically Postmodern works.[18]

Neo-conceptual art describes art practices in the 1980s and particularly 1990s to date that derive from the conceptual art movement of the 1960s and 1970s. These subsequent initiatives have included the Moscow Conceptualists, United States neo-conceptualists such as Sherrie Levine and the Young British Artists, notably Damien Hirst and Tracey Emin in the United Kingdom, where there is also a Stuckism counter-movement and criticism from the 1970s conceptual art group Art and Language.


Many of the concerns of the "conceptual art" movement proper have been taken up by many contemporary artists since the initial wave of conceptual artists. While many of these artists may not term themselves "conceptual artists", ideas such as anti-commodification, social and/or political critique, digital art, and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with computer art, installation art, performance art, and electronic art. Many critics and artists may speak of conceptual aspects of a given artist or art work, reflecting the enduring influence that many of the original conceptual artists have had on the art world.
The Moscow Conceptualists, in the 1970s and 80s, attempted to subvert socialist ideology using the strategies of conceptual art and appropriation art. The central figures were Ilya Kabakov and Komar and Melamid. The group also included Eric Bulatov and Viktor Pivovarov.
Notable U.S neo-conceptual artists of the 1980s include Jenny Holzer, Richard Prince, Louise Lawler, Mark Lombardi, Barbara Kruger, and expatriate Briton, John LeKay who exhibited with Damien Hirst.[1]
The Young British Artists (YBAs), led by Damien Hirst, came to prominence in the 1990s and their work was described at the time as neo-conceptual[2], even though it relies very heavily on the art object to make its impact. The term is used in relation to them on the basis that the object is not the artwork, or is often a found object, which has not needed artistic skill in its production. Tracey Emin is seen as a leading YBA and a neo-conceptualist, even though she has denied that she is and has emphasised personal emotional expression. Charles Harrison, a member of the conceptual art group Art and Language in the 1970s, criticizes the neo-conceptual art of the 1990s as conceptual art "without threat or awkwardness"[3] and a "vacant" prospect.[4]
Other notable artists associated with neo-conceptualism in the UK include Martin Creed, Liam Gillick, Bethan Huws, Simon Patterson, Simon Starling and Douglas Gordon.
[edit]Notable events

1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine.
1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to the display of her diary of food.
1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
2001: Martin Creed wins the Turner Prize for The Lights Going On and Off, an empty room where the lights go on and off.[5]
2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.[6]
[edit]Controversy in the UK

In Britain, the rise to prominence of the Young British Artists (YBAs) after the 1988 Freeze show, curated by Damien Hirst, and subsequent promotion of the group by the Saatchi Gallery during the 1990s, generated a media backlash, where the phrases "conceptual art" and "neo-conceptual" came to be terms of derision applied to much contemporary art. This was amplified by the Turner Prize whose more extreme nominees (most notably Hirst and Emin) caused a controversy annually.[7]

Stuckists' "Death of Conceptual Art" coffin demonstration, 2002
The Stuckist group of artists, founded in 1999, proclaimed themselves "pro-contemporary figurative painting with ideas and anti-conceptual art, mainly because of its lack of concepts." They also called it pretentious, "unremarkable and boring" and on July 25, 2002 deposited a coffin outside the White Cube gallery, marked "The Death of Conceptual Art".[8][9] They staged yearly demonstrations outside the Turner Prize.
In 2002, Ivan Massow, the Chairman of the Institute of Contemporary Arts branded conceptual art "pretentious, self-indulgent, craftless tat" and in "danger of disappearing up its own arse ... led by cultural tsars such as the Tate's Sir Nicholas Serota.[10] Massow was consequently forced to resign. At the end of the year, the Culture Minister, Kim Howells (an art school graduate) denounced the Turner Prize as "cold, mechanical, conceptual bullshit".[11]
In October 2004 the Saatchi Gallery told the media that "painting continues to be the most relevant and vital way that artists choose to communicate."[12] Following this Charles Saatchi began to sell prominent works from his YBA collection.

In art, performance art is a performance presented to an audience, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

Visual arts, performing arts and art performance

Yves Klein and Dino Buzzati engaged in the ritual transfer of immateriality, January 26, 1962
Performance art is an essentially contested concept: any single definition of it implies the recognition of rival uses. As concepts like "democracy" or "art", it implies productive disagreement with itself.[1]
The meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. From about the mid-1960s into the 1970s, often derived from concepts of visual art, with respect to Antonin Artaud, Dada, the Situationists, Fluxus, Installation art, and Conceptual Art, performance art tended to be defined as an antithesis to theatre, challenging orthodox artforms and cultural norms. The ideal had been an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased.[2] The in this time widely discussed difference, how concepts of visual arts and concepts of performing arts are utilized, can determine the meanings of a performance art presentation (compare Performance: A Critical Introduction by Marvin Carlson, P. 103,2-105,1).
Performance art is a term usually reserved to refer to a conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance which is presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand.
Some kinds of performance art nevertheless can be close to performing arts. Such performance may utilize a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays.
Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements (compare Blue Man Group); utilize robots and machines as performers, as in pieces of the Survival Research Laboratories; or borrow elements of any performing arts such as dance, music, and circus.
Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia.

Performance art activity is not confined to European or American art traditions; notable practitioners can be found in Asia and Latin America. Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. In an episode of In our time broadcast on Thu, 20 Oct 2005, 21:30 on BBC Radio 4, Angie Hobbs, Lecturer in Philosophy, University of Warwick; Miriam Griffin, Fellow of Somerville College, Oxford; and John Moles, Professor of Latin, University of Newcastle discussed with Melvyn Bragg the idea that Antisthenes and Diogenes in ancient Greece practiced a form of performance art and that they acquired the epithet of cynic which means "dog" due to Diogenes behaving repeatedly like a dog in his performances.
There are also accounts of Renaissance artists such as itinerant poets putting on public performances that could be said to be ancestors of performance art.[citation needed]

Conceptual work by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960, photo by Harry Shunk. Le Saut dans le Vide (Leap into the Void)
Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Futurists and Dada. Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, who painted his face for his actions (1910–20) and Alexander Rodchenko and his wife Varvara Stepanova.
According to the art critic Harold Rosenberg in the 1940s and 1950s Action Painting gave artists the freedom to perform - the canvas as "an arena in which to act", thereby rendering the paintings as traces of the artist's performance in his/her studio. Abstract expressionism and Action painting preceded the Fluxus movement, Happenings and the emergence of Performance Art.
Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's "Electric Dress" (1956) [1].
Yves Klein had been a precursor of performance art with the conceptual pieces of Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility) 1959–62, and works like the photomontage, Saut dans le vide (Leap into the Void). In the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well.

In the 1960s a variety of new works, concepts and the increasing number of artists led to new kinds of performance art.
Prototypic for the artform later explicitly labeled "performance art", were works of artists like Yoko Ono with her Wall piece for orchestra (1962); Carolee Schneemann with pieces like Meat Joy (1964); Wolf Vostell with his Happening YOU [3] (1964 in New York); Joseph Beuys with How to Explain Pictures to a Dead Hare (1965); Yayoi Kusama, with actions such as a naked flag-burning on the Brooklyn Bridge (1968) and Allan Kaprow in his many Happenings.
Kaprow had coined the term Happening describing a new artform, at the beginning of the 1960s. A Happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells. One of Kaprow's earliest was "Happenings in the New York Scene," written in 1961 as the form was developing.[4] Notably in the Happenings of Allan Kaprow, the audience members become performers. While the audiences in Happenings had been welcomed as the performers, it is only sometimes and often unwittingly that they become an active part in a Performance. Other artists who created Happenings besides Kaprow include Jim Dine, Claes Oldenburg, Robert Whitman, and Wolf Vostell: Theater is in the Street (Paris in 1958).
Hermann Nitsch in 1962 presented his "Theatre of Orgies and Mysteries" (Orgien- und Mysterien Theater), a precursor to performance art, close to the performing arts.
Andy Warhol during the early 1960s beginning to create films and video, in the mid-60s sponsored the Velvet Underground and staged events and performances in New York, like the Exploding Plastic Inevitable (1966) that featured live Rock music, exploding lights, and film.
Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, Paradise Now was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing.
The work of performance artists after 1968 often showed influences of the cultural and political events of that year. Barbara T. Smith with Ritual Meal (1969) was at the forefront of the feminist body-, and performance art of the 1970s; among others including: Carolee Schneemann, and Joan Jonas. Schneemann and Jonas along with Yoko Ono, Joseph Beuys, Nam June Paik, Wolf Vostell, Allan Kaprow, Vito Acconci, and Chris Burden pioneered the relationship between Body art and performance art.

Chris Burden during the performance of his 1974 piece Trans-fixed where he was nailed to the back of a Volkswagen
Artists whose work already before tended to be a performance art, as well as new artists, at the beginning of the 1970s began to present performance art in a stricter form.
New artists with radical performances were Chris Burden, with the 1971 performance piece Shoot, in which he was shot in his left arm by an assistant from a distance of about five meters, and Vito Acconci in the same year with Seedbed.
The book Expanded Cinema, by Gene Youngblood, marked a shift in the use of media by performance artists. The first book considering video art as an art form, mentions Jud Yalkut as a pioneering video artist. Since 1965 he had collaborated in dozens of intermedia performances throughout the United States, also with Nam June Paik, who beginning of the 1960s already had been a fluxus performer on the way to become a media artist. As to the art of Paik, Youngblood refers to works of Carolee Schneemann and Robert Whitman from the 1960s, which had been pioneering for performance art, becoming an independent artform at the beginning of the 1970s.[5]
The British-based pair Gilbert and George, already in 1970, had documented actions of themselves on video, and created their "living sculpture" performance, being painted in gold and singing "Underneath The Arches" for extended periods. Joan Jonas began to include video in her experimental performances in 1972.
In 1973 Laurie Anderson performed Duets on Ice, on the streets of New York City. Marina Abramović, in the performance "Rhythm 10", conceptually included the violation of her body.[6]
Since 1973 the Feminist Studio Workshop at the Woman's Building in Los Angeles had a formative impact on the wave of performances with feminist background.
Carolee Schneemann work in 1963, Eye Body, already had been a prototype of performance art. Schneemann in 1975 drew on with innovative solo performances, like Interior Scroll, showing the female body as an artistic medium.
Performance art, because of its relative transience, by the 1970s, had a fairly robust presence in the avant-garde of East Bloc countries, especially Yugoslavia and Poland.

Until the 1980s, performance art had been demystifying virtuosity. Now it began to embrace technical brilliance.[7] In reference to Presence and Resistance[8] by Philip Auslander, a performance art critic, Sally Banes writes “… by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment.”[9]
Despite the fact that many performances are held within the circle of a small art-world group, RoseLee Goldberg notes, in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise.”[10]
Among the performance art most discussed in the art-world of this decade were a performance by Linda Montano and Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece), and Karen Finley’s I'm an Ass Man 1987.
Until the decline of the European eastern block during the late 1980s, performance art by most communist governments had actively been rejected. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or covered as another activity, like a photo-shooting. Isolated of the western conceptual context, in different settings it could be like a playful protest or like a bitter comment, using subversive metaphors to express dissent with the political situation.[11]
Hedwig Gorski before 1982 came up up with the term performance poetry, to distinguish her text-based vocal performances from performance art, especially the work of performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture.

While the Soviet bloc disintegrated, formerly repressed activities of performance artists like György Galántai in Hungary, or the Collective Action Group in Russia, became better known. Young artists from all over the former Eastern bloc, including Russia, turned to performance. Performance art at about the same time appeared in Cuba, the Caribbean and China. Chinese performance artists like Zhang Huan had been performing underground since the late 1980s. Beginning of the 1990s chinese performance art already was acclaimed in the international artscene.[12]
"In these contexts performance art became a critical new voice with a social force similar to that found in Western Europe, the United States and South America in the 1960s and early 1970s. It should be emphasized that the eruption of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba, and elsewhere should never be considered either secondary to or imitative of the West."[13]
In the western world in the 1990s, even sophisticated performance art became part of the cultural mainstream: performance art as a complete artform gained admittance into art museums and became a museal topic.[14]

In the second half of the decade, computer-aided forms of performance art began to take place.[15]
From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Marina Abramović's work, the biggest exhibition of performance art in MoMA's history.[16] During the run of the exhibition, Abramović performed "The Artist is Present," a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.[17] A support group for the "sitters," "Sitting with Marina," was established on Facebook.[18] The performance attracted celebrities such as Björk and James Franco and received coverage on the internet.[19]

Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus. There are often distinct relationships forged between the visual and aural domains of art and perception by sound artists.
Like many genres of contemporary art, sound art is interdisciplinary in nature, or takes on hybrid forms. Sound art often engages with the subjects of acoustics, psychoacoustics, electronics, noise music, audio media and technology (both analog and digital), found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art.[1]
From the Western art historical tradition early examples include Luigi Russolo's Intonarumori or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of sound art, there is often debate about whether sound art falls within the domain of either the visual art or experimental music categories, or both.[2] Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, spoken word, avant-garde poetry, and experimental theatre.
Scottish artist Susan Philipsz's 2010 British Turner Prize win for her piece Lowlands (overlapping recordings of the artist singing an ancient Scottish lament in three different versions, played back over a loudspeaker system, without any visual component) was seen as an important boost for this relatively new genre (it was the first time a work of sound art won this prestigious prize), and, in winning an art prize, again highlighted the genre's blurred boundaries with other, more visual artforms.

Origin of the term in the United States

The earliest documented use of the term in the U.S. is from a catalogue for a show called "Sound/Art" at The Sculpture Center in New York City, curated by William Hellerman in 1983. The show was sponsored by "The SoundArt Foundation," which Hellerman founded in 1982. The artists featured in the show were as follows: Vito Acconci, Connie Beckley, Bill and Mary Buchen, Nicolas Collins, Sari Dienes and Pauline Oliveros, Richard Dunlap, Terry Fox, William Hellermann, Jim Hobart, Richard Lerman, Les Levine, Joe Lewis, Tom Marioni, Jim Pomeroy, Alan Scarritt, Carolee Schneeman, Bonnie Sherk, Keith Sonnier, Norman Tuck, Hannah Wilke, Yom Gagatzi. The following is an excerpt from the catalogue essay by art historian Don Goddard: "It may be that sound art adheres to curator Hellermann's perception that "hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood... The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought rather than illusionary space and thought."[3]

Sound installation (related to sound art and sound sculpture) is an intermedia and time based art form. It is an expansion of an art installation in the sense that it includes the sound element and therefore the time element. The main difference with a sound sculpture is that a sound installation has a three dimensional space and the axes with which the different sound objects are being organized are not exclusively internal to the work, but also external. A work of art is an installation only if it makes a dialog with the surrounding space. A sound installation is usually a site-specific but sometimes it can be readapted to other spaces. It can be made either in close or open spaces, and context is fundamental to determine how a sound installation will be aesthetically perceived. The difference between a regular art installation and a sound installation is that the later one has the time element, which gives the visiting public the possibility to stay a longer time due possible curiosity over the development of sound. This temporal factor also gives the audience the excuse to explore the space thoroughly due to the dispositions of the different sounds in space. Sound installations sometimes use interactive art technology (computers, sensors, mechanical and kinetic devices, etc.) but we also find this type of art form using only sound sources placed in different space points (like speakers), or acoustic music instruments materials like piano strings that are played by a performer or by the public (see Paul Panhuysen).

Mark Jenkins (born 1970 in Alexandria, Virginia ) is an American artist most widely known for the street installations he creates using box sealing tape. In addition to creating art, he also teaches his sculpture techniques through workshops in cities he visits. He currently lives in Washington, DC.
Contents [hide]
1 Projects
2 Philosophy
3 Books
4 References
5 External links

Embed Series

Jenkins' first street project was a series of clear tape casts made from his body that he installed on the streets in Rio de Janeiro (2003). In 2005 he began working with Sandra Fernandez on the Storker Project, a series where tape "babies" are "dropped" in different cities. [1] In 2006 Jenkins began dressing his casts to create hyper realistic sculptures. (Embed Series). Other outdoor projects include Meterpops (2005), Traffic-Go-Round (2007)[2], and Flowersigns (2007). He collaborated with Greenpeace in 2008 with the "Plight of the Polar Bears" street installation.

"Glazed Paradise"
Jenkins refers to his work collectively as the Glazed Paradise and hosts a website ( made up of digital collages of his street characters extracted into surreal environments.
Indoors Jenkins has shown with Carmichael Gallery (LA) and Lazarides Gallery (UK) and has had solo shows in cities including Tokyo, Vienna, NYC, LA, and London. He has participated in group shows including Dublin Contemporary 2011, Kusthalle Wien "Street and Studio", OpenArt2011 Örebro, "Subglob 2" and Taubman Museum "Recordings".
He has held workshops in cities including Moscow, St Petersburg, Belgrade, Tashkent, Seoul, and Prato.

Jenkins' practice of street art is to use the "street as a stage" where passersby become actors. Many of his installations have resulted in intervention by the authorities whom he also regards as actors. Most of his early outdoor works were non-commissioned.
Jenkins said the following about the illegal aspects of street art during an interview with art critic Brian Sherwin, "There is opposition, and risk, but I think that just shows that street art is the sort of frontier where the leading edge really does have to chew through the ice. And it's good for people to remember public space is a battleground, with the government, advertisers and artists all mixing and mashing, and even now the strange cross-pollination taking place as street artists sometimes become brands, and brands camouflaging as street art creating complex hybrids or impersonators. I think it's understanding the strangeness of the playing field where you'll realize that painting street artists, writers, as the bad guys is a shallow view. As for the old bronzes, I really don't see them as part of what's going on in the dialogue unless addressed by a new intervention. “[3]

Early Graffiti in Cincinnati

Leon IV began writing graffiti in Cincinnati, Ohio in 1995, at the age of 15. He was attracted to the traditional uses of spray paint, markers, wild style lettering and black-book culture as first developed by graffiti writers in Philadelphia and New York City a quarter of a century earlier. Leon IV chose VERBS as his tag (graffiti identity) by watching a video by underground hip-hop group The Nonce. "I saw this fat guy rapping on T.V.... he had a big black sweatshirt that read "VERBS" in the middle of it...I badly needed a name and for some reason it seemed to have the right feel " He said in conversation. As VERBS, Leon IV engaged in numerous street bombing missions (graffiti made on urban infrastructure typically at night) with his friend MERZ, also a young graffiti writer. Street bombing, the dominant vehicle of graffiti expression after the era of New York City train writing ended in the late 1980s, could be just as dangerous as train writing. One night after painting graffiti on a rooftop with MERZ, Leon IV fell off the side of a building while descending its back wall. A sharp object in the alley below made a laceration in his left leg on impact, for which he "still bears the scar" he claimed in an off the record statement.
[edit]Proto-Street Art/ VERBS

NYC Subway installation
The late 1990s brought waves of graffiti artists through Cincinnati by way of Scribble Jam, an annual hip-hop festival held in August. Among the most influential visiting artist was Philadelphia writer Steven Powers (a.k.a. ESPO). Leon IV began to adopt ESPO's recent strategy of applying illegal graffiti in daylight, while absorbing the tactics of advert manipulation as developed by Ron English, and graffiti writers Barry Mcgee (a.k.a.TWIST) and KAWS. As a result, Leon IV consolidated his influences into a functioning street installation program by placing road signs and altered adverts in broad daylight under the guise of a city ordained construction worker. Pivotal to the new process was Leon IV's childhood friend and artist Andre Hyland (a.k.a Buddy Lembeck) who participated in these initial street installations and added a white construction hard hat to the disguise. A reflective vest would be added to the costume after Leon IV's stay in Brooklyn.
[edit]New York Period/Darius Jones

Fleur D'acier #3, NYC
Leon IV's Move to Brooklyn, NY in 1998 proved transitional. While attending Pratt Institute he met film students Quenell Jones and Brad Downey. The pair were interested in filming a documentary (later titled Public Discourse) on the burgeoning New York street art scene and asked Leon IV if he would be their first subject. With Leon IV's approval, the three became a street art trio, often executing and filming installations simultaneously. After months behind the camera, Downey began assisting in Leon IV's installations and gradually shifted gears from documentarian to street artist.
"Brad soon found himself working alongside Leon, eventually donning a costume himself...Leon remembered exactly how it felt to be new to the scene, how hard it was to learn the ropes and secrets...So he willingly took Brad under his wing. He shared all of his years of experience, all the trials and errors, never making Brad pay his dues to nearly the degree expected of him earlier in his own career."[1]
As author Ed Zipco writes in "The Adventures of Darius and Downey". Thames & Hudson, 2008. While on summer break ('00) in Cincinnati. Leon IV made a drastic creative decision. He put a complete end to writing VERBS, and at the suggestion of friend Andre Hyland, began signing his new works under the pen-name Darius Jones (a faux name he gave to a reporter when interviewed as VERBS). The new vein of work was characterized by sweeping roller-paint graffiti laced with positive and witty messages. The artist Swoon recalled:
"In one conversation with Darius, he told me how he realized there was already so much negativity in the city, especially within the public's perception of graffiti." [he said] "Why don't we try to make something that is big and illegal and positive?"[2]
[edit]Style Shift

As Darius Jones, Leon IV developed a, lyrical, romantic quality that separated further from his work as VERBS. Moreover, he leaped from a primarily aerosol based genre to work increasingly with steel, pushing the limits of 3-dimensional street art, a then scantly explored possibility of the art form, with the exception of J.J. Veronis and Revs. Furthermore, by providing official titles to his illegal works, such as "Fleur D'acier" and "The Kiss", Leon IV urged the public to consider street art as more than a random act of vandalism. On his return to Brooklyn, he shared his new developments with Downey who by then had become a practicing street artist.
[edit]London Period

"The Kiss", London
In the Fall of 2003 Leon IV moved to London to attend graduate studies at Central Saint Martins College of Art and Design. Downey made the move to England as well and the two resumed their street collaborations from a distinctly British standpoint. This period in both the output of Leon IV and Downey is noted for a highly subversive approach to street art.
"Last year, sharp-eyed Londoners may have noticed a three-foot high sheet metal figure painted green in the classic pedestrian crossing pose, looking for all the world like it was about to cross Tottenham Court Road...Meanwhile Bristolians may have come across a metal sculpture of a spider installed on a bricked-up window of an unoccupied house...Even fewer people will know who is behind these and many more unsigned sculptures- two American artists now operating in the UK, Darius and Downey."[3]
Wrote Gavin Lucas for London design magazine Creative Review (2004). When curator Scott Burnham asked him to comment further on his creative process for British based ICON magazine Leon IV stated:
"I occasionally stumble upon an area so devoid of either life or humour that I have an incredible urge to contribute something. This is when I take pictures of the area, study them and develop a piece around what exactly is missing from the space. I look at it like a tailor measuring a client to make the best fitting suit, or a doctor examining a patient to prescribe the right medication."[4]
Due to their similarities in style, Leon IV and Downey are referred to collectively as Darius and Downey first in European and British press.
[edit]Current Phase

Leon IV's approach to art changed once again upon his return to Brooklyn in early 2005. He continued to make street art but increasingly accepted credit under his legal name before grinding to a complete halt in all illicit installations -effectively ending his work as Darius Jones and the Darius and Downey partnership. The swift change, similar to his detachment from VERBS, caught a number of street art enthusiasts by surprise. In an article appearing in The Post-Standard entitled "Brooklyn artist is legal in Syracuse" Leon IV briefly describes the benefits of working with permission after completing a city commissioned sculpture: "Reid said it would have been impossible to install all three pieces illegally."[he said] "I can do so much more with permission, I can go bigger, for one, and the possibility of getting a budget is also there."[5]

Brad Downey (born 1980 in Louisville, Kentucky) is an American artist. He uses film, sculpture, painting and drawing to reflect on concepts about the Establishment versus the audience. Downey currently lives in Berlin.
Contents [hide]
1 Biography
2 Career
3 References
4 Further reading
5 External links
5.1 Press

Downey earned a fine art master's degree in painting and sculpture from London's Slade School of Art, where he studied under Bruce Mclean. He grew up in a United States Marine Corps family traversing towns across the United States, soaking up influences of diverse surroundings that would later add to his perspective. Pratt Institute drew him to New York City in 1998, where he first cultivated his study of fine art. Stimulated by the buzz of the urbane, he sought out alternate methods for depicting his environment, deciding on a film degree for formal study.

His first feature length film, Public Discourse, a documentary about street art, proved a pivotal point in his artistic endeavors. The film has been screened at over 70 venues around the world including the Institute of Contemporary Arts in London and the Copenhagen Documentary Film Festival. It includes work by street artists such as Swoon, Obey Giant, Revs, Nato, Desa, Ellen Harvey, JJ Veronis, and Johnny Swing from the Rivington School, and features music by Japanther. Public Discourse was distributed by Video Data Bank. Public Discourse has also compelled Downey to take an active role in front of the camera, focusing on how to use a minimalist work to enhance people's overall sensation of their surroundings.
Downey initially gained international recognition working collaboratively with Darius Jones A.K.A. Verbs (an American graffiti artist from Cincinnati, Ohio). As a team they developed a new style of concept/image-based roller-paint graffiti and a unique illegal site-specific brand of three-dimensional sculptures, where functional traffic symbols become humanized. A novel entitled The Adventures of Darius and Downey as Told to Ed Zipco, was published by Thames and Hudson in 2008 about their collaborative work spanning from 1999 to 2005.
Downey regularly lectures about unsanctioned public artwork. He is exploring its adaptation in traditional gallery settings in London, Berlin and New York. He was named as one of the ArtReview 25 MA graduates to watch in 2005. He has been featured in The New York Times, Creative Review, Atlanta Journal Constitution and The Guardian, among others. He has exhibited in venues such as Urbis museum in Manchester, Tate Modern, Kunstlerhaus Bethanian in Berlin, the Basil Art Fair in Miami, the ICA in London, and Mass MOCA in the USA, Peacock Visual Arts, in Scotland, Kunsthalle Dominikanerkirche in Osnabrück, Kunstcentret Silkeborg Bad, in Denmark. In 2007 Downey was awarded SEEDA Arts Plus award for a commission with the Tour de France.
In 2008, Downey sprayed green paint on the shopping windows of Berlins historical KaDeWe mall, which the owners reported to the police as an act of vandalism. However, Downey had been contracted by the Lacoste clothing brand (along with 11 other street artists) for an exhibition at KaDeWe celebrating the 75th anniversary of the brand, and he maintained that he was just fulfilling his contract. Die Tageszeitung speculated that the incident might have been a media stunt by Lacoste.[1]

Banksy is a pseudonymous England-based graffiti artist, political activist, film director, and painter.
His satirical street art and subversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.[1]
Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.[2] According to author and graphic designer Tristan Manco and the book Home Sweet Home, Banksy "was born in 1974 and raised in Bristol, England.[3] The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[4] Observers have noted that his style is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass, which maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s and is active today.[5][6][7] However Banksy himself stated on his website [8] that in all actuality he based his work on that of 3D from Massive Attack, stating, "No, I copied 3D from Massive Attack. He can actually draw."
Known for his contempt for the government in labeling graffiti as vandalism, Banksy displays his art on public surfaces such as walls and even going as far as to build physical prop pieces. Banksy does not sell photos of street graffiti directly himself;[9][10] however, art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[11] Banksy's first film, Exit Through the Gift Shop, billed as "the world's first street art disaster movie," made its debut at the 2010 Sundance Film Festival.[12] The film was released in the UK on 5 March 2010.[13] In January 2011, he was nominated for the Academy Award for Best Documentary for the film.
Contents [hide]
1 Career
1.1 Early career (1992–2001)
1.2 Exhibitions (2002–03)
1.3 £10 notes to Barely Legal (2004–06)
1.4 The Banksy effect (2006–07)
1.5 2008
1.6 The Cans Festival
1.7 2009
1.8 Exit Through the Gift Shop (2010)
1.9 2011
2 Notable art pieces
3 Technique
4 Political and social themes
5 Identity
6 Critics
7 See also
8 Bibliography
9 References
10 External links

Early career (1992–2001)
Banksy began as a freehand graffiti artist 1990–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene with Nick Walker, Inkie and 3D.[16][17] From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realizing how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a rubbish lorry, when he noticed the stencilled serial number[18] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[18]

Stencil on the waterline of The Thekla, an entertainment boat in central Bristol – (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[19]
Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, apes, policemen, soldiers, children, and the elderly.
In July 2011 one of Banksy's early works Gorilla In A Pink Mask which had been a prominent landmark on the exterior wall of a former social club in Eastville for over ten years, was unknowingly painted over after the premises became a Muslim cultural centre.[20][21]
Exhibitions (2002–03)
On 19 June 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a tiny Silver Lake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion LA's Chris Vargas, Funk Lazy Promotions' Grace Jehan, and B+.[22]
In 2003, at an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[23] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[24]

Banksy art in Brick Lane, East End, 2004.
Banksy, along with Shepard Fairey, Dmote and others created work at a warehouse exhibition in Alexandria, Sydney for Semi-Permanent in 2003. Approximately 1,500 people attended.
£10 notes to Barely Legal (2004–06)
In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Diana, Princess of Wales's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.

A stencil of Charles Manson in a prison suit, hitchhiking to anywhere, Archway, London
In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on the Israeli West Bank wall.[25]
Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September 2006. The exhibition featured a live "elephant in a room," painted in a pink and gold floral wallpaper pattern, which, according to leaflets handed out at the exhibition, was intended to draw attention to the issue of world poverty. Although the Animal Services Department had issued a permit for the elephant, after complaints from animal rights activists, the elephant appeared unpainted on the final day. Its owners rejected claims of mistreatment and said that the elephant had done "many, many movies. She's used to makeup."[26] Banksy also made artwork displaying Queen Victoria as a lesbian and satirical pieces that incorporated art made by Andy Warhol and Leonardo da Vinci.[27]
The Banksy effect (2006–07)
After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[28] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[29] In December, journalist Max Foster coined the phrase, "the Banksy effect," to illustrate how interest in other street artists was growing on the back of Banksy's success.[30]

Naked Man image by Banksy, on the wall of a sexual health clinic[31] in Park Street, Bristol. Following popular support, the City Council has decided it will be allowed to remain – (wider view).
On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[32] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina with Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[33] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[34] In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural that comes with a house attached.[35]
In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, featuring Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics."[36] Banksy tagged the same site again and, initially, the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Some time later, Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone who, along with fellow artist Wants, was hit by an underground train in Barking, East London on 12 January 2007.[37] The piece was of an angel wearing a bullet-proof vest holding a skull (pictured below left). He also wrote a note on his website saying:
The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone – rest in peace.[citation needed]

Ozone's Angel
On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000) around 20 times the estimate at Bonhams of London.[38] On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award and continued with his notoriously anonymous status. On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[39][40] In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[41]

Banksy's "Stonehenge" from portable toilets at the Glastonbury Festival, June 2007
Banksy has published a "manifesto" on his website.[42] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes No.03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[43] By 12 August 2009 he was relying on Emo Philips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn't work that way, so I stole one and prayed for forgiveness." A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
Banksy, who "is not represented by any of the commercial galleries that sell his work second hand (including Lazarides Ltd, Andipa Gallery, Bank Robber, Dreweatts etc),"[44] claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[45]

Banksy "Swinger" in New Orleans
In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[46] Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it did not cover anyone else's.[47] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Ben Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil Roadsworth and Sten & Lex.[citation needed]

Work on building in the Lower 9th Ward of New Orleans, August 2008
In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[48] A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[49] His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[50]

One nation under CCTV.[51]
The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV," painted in April 2008 would be painted over as it was graffiti. The council said it would remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child." Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art."[51] The work was painted over in April 2009. In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was destroyed. The image had been protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere." The image was almost completely obliterated.[52]
The Cans Festival
The Cans Festival was an urban art festival held from 3–5 May 2008 in London and organized by the noted street artist Banksy.[53] It was held in an abandoned tunnel on Leake Street, London (SE1 7NN).
Banksy invited thirty-nine artists from around the world, including Sten Lex, Bsas Stencil, Prism, Roadsworth, Blek, C215, Dotmasters, Hero, Sadhu, Lucamaleonte, Faile, Logan Hicks, Btoy, Vhils, Vexta and John Grider exhibited their works in an abandoned tunnel near Leake Street in South East London.[54]
The festival's name is a play on the famous French film extravaganza The Cannes Film Festival.

Queues for Banksy's Summer Homecoming Show in Bristol, June 2009

The location of the damaged 1985 graffiti by Robbo in Camden, London allegedly painted over by Banksy and subsequently painted over by Robbo in retaliation.
In May 2009, Banksy parted company with agent Steve Lazarides and announced that Pest Control,[55] the handling service who act on his behalf, would be the only point of sale for new works. On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[56][57] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[58] Over the course of the twelve weeks, the exhibition was visited over 300,000 times.[59] In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[60] In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included the phrase, "I don't believe in global warming;" the words were submerged in water.[61] A feud and graffiti war between Banksy and King Robbo broke out when Banksy allegedly painted over one of Robbo's tags. The feud has led to many of Banksy's works being altered by graffiti writers.[62]
Exit Through the Gift Shop (2010)
The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[63] In February, The Whitehouse public house in Liverpool, England, was sold for £114,000 at auction.[64] The side of the building has an image of a giant rat by Banksy.[65] In March 2010, the work "Forgive us our Trespassing" was displayed in the London underground. The work had to be displayed without the halo over the boy's head. After a few days the halo was repainted and the poster was removed by Tube advertising bosses. The display was organised by Art Below, a London based public art agency. In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008, vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other "famous or significant artworks" in the city.[66] In April 2010, to coincide with the premiere of Exit Through the Gift Shop in San Francisco, five of his pieces appeared in various parts of the city.[67] Banksy reportedly paid a San Francisco Chinatown building owner $50 for the use of their wall for one of his stencils.[68] In early May 2010, seven new Banksy pieces appeared in Toronto, Ontario, Canada,[69] though most have been subsequently painted over or removed. In May 2010, to coincide with the premiere of Exit Through the Gift Shop in Royal Oak, Banksy visited the Detroit area and left his mark in several places in Detroit and Warren.[70] Shortly after the Detroit piece showing a little boy holding a can of red paint next to the words "I remember when all this was trees" was excavated by the 555 Nonprofit Gallery and Studios. They claim that they do not intend to sell the work but plan to preserve it and display it at their Detroit gallery.[71] There was also an attempted removal of one of the Warren pieces known as "Diamond Girl."[72]
In late January 2011, Exit Through the Gift Shop was nominated for a 2010 Oscar for Best Documentary Feature.[73] Banksy released a statement about the nomination, where he said, "This is a big surprise... I don't agree with the concept of award ceremonies, but I'm prepared to make an exception for the ones I'm nominated for. The last time there was a naked man covered in gold paint in my house, it was me."[74] Leading up to the Oscars, Banksy blanketed Los Angeles with street art. Many people speculated if Banksy would show up at the Oscars in disguise and make a surprise appearance if he won the Oscar. Exit Through the Gift Shop did not win the award, which went to Inside Job. In early March 2011, Banksy responded to the Oscars with an art piece in Weston, UK, of a little girl holding the Oscar and pouting. Many people think the piece is in reference to 15-month old Lara, who dropped and damaged her father's (The King's Speech co-producer Simon Egan) Oscar statue.[75] Exit Through the Gift Shop was broadcast on British public television station Channel 4 on 13 August 2011.
Banksy was also credited with the opening couch gag for the 2010 The Simpsons episode "MoneyBART," depicting people working in deplorable conditions and using endangered or mythical animals to make both the episodes cel-by-cel and the merchandise connected with the program.[76] His name appears several times throughout the episode's opening sequence, spray-painted on assorted walls and signs.
In May 2011 Banksy released a lithographic print which showed a smoking petrol bomb contained in a 'Tesco Value' bottle. This followed a long running campaign by locals against the opening of a Tesco Express supermarket in Banksy's home city of Bristol. Violent clashes had taken place between police and demonstrators in the Stokes Croft area. Banksy produced the poster ostensibly to raise money for local groups in the Stokes Croft area and to raise money for the legal defence of those arrested during the riots. The posters were sold exclusively at the Bristol Anarchists Bookfair in Stokes Croft for £5 each.[77]
In December, he unveiled "Cardinal Sin" at the Walker Art Gallery, Liverpool. The bust, which replaces a priest's face with a "pixelated" effect, was a statement on the child abuse scandal in the Catholic church. [78]
Notable art pieces

See also: Other Banksy works on the Israeli West Bank barrier
"When you go to an art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires."
– Banksy[79]

Near Bethlehem – 2005
In regards to personal fame, Banksy has stated that "We don't need any more heroes; we just need someone to take out the recycling."[80] However, in addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:
At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in 7-foot-high (2.1 m) letters.[81]
At Bristol Zoo, he left the message "I want out. This place is too cold. Keeper smells. Boring, boring, boring." in the elephant enclosure.[82]
In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[83]
In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[84]
In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[25][85][86][87]
In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a side street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[88]
In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[89] After an internet discussion in which 97% of the 500 people surveyed supported the stencil, the city council decided it would be left on the building.[89] The mural was later repainted with blue paint by fellow graffiti artists.[90]
In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why Am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up."[91][92][93]
In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[94][95]
He also makes stickers (the Neighbourhood Watch subvert) and was responsible for the cover art of Blur's 2003 album Think Tank.

ATM attacking a girl, Rosebery Avenue, London, January 2008
Asked about his technique, Banksy said:
I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[96]
Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.
He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimize time and overlapping of the colour.
There is dispute in the street art world over the legitimacy of stencils, with many artists criticizing their use as "cheating."[97]
Political and social themes

We can't do anything to change the world until capitalism crumbles. In the meantime we should all go shopping to console ourselves.
— Banksy, Wall and Piece[98]
Banksy's works have dealt with an array of political and social themes, including anti-War, anti-capitalism, anti-fascism, anti-imperialism, anti-authoritarianism, anarchism, nihilism, and existentialism. Additionally, the components of the human condition that his works commonly critique are greed, poverty, hypocrisy, boredom, despair, absurdity, and alienation. Although Banksy's works usually rely on visual imagery and iconography to put forth his message, he has made several politically related comments in his various books. In summarising his list of "people who should be shot," he listed "Fascist thugs, religious fundamentalists, (and) people who write lists telling you who should be shot."[99] While facetiously describing his political nature, Banksy declared that "Sometimes I feel so sick at the state of the world, I can't even finish my second apple pie."[100]

There have been numerous rumours and theories as to Banksy's identity. Names often suggested include Robin Banks and Robin Gunningham.[101]
In 2004, an alleged photograph of him in Jamaica at the Two-Culture Clash Project surfaced. In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[102] Through the pictures, Banksy's identity was speculated to be Robin Gunningham, a man born in Bristol on 28 July 1973. Gunningham was educated at Bristol Cathedral School, and, according to a former friend, was "extremely talented at art." Gunningham lived with artist Luke Egan. Around 2000, when Banksy moved from Bristol to London, Gunningham is known to have moved from Bristol to a London flat in Hackney, and a number of Banksy's most famous works appeared nearby. At that time, Gunningham lived with Jamie Eastman, who worked for a record label that used illustrations by Banksy.[103][104][105][106]
In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the face of the man on the 2004 photo shot on it was photographed in East London.[107] This "new Banksy rat" story was also picked up by The Times[108] and the Evening Standard.
In response to reports that Banksy was Robin Gunningham, Banksy's agent refused to either confirm or deny the reports.[109][110]
In May 2007, an extensive article written by Lauren Collins of The New Yorker re-opened the Banksy-identity controversy citing the 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[34]
Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face to face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring."[111] In the same interview, Banksy claimed that his parents think he is a painter and decorator.[111]
An article posted at The Onion jokes that Banksy is actually an 89-year-old woman from Old London.[112]
Banksy, himself, states on his website:
I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[113]

Peter Gibson, a spokesman for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[114] and Diane Shakespeare, an official for the same organisation, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism."[34] In his column for The Guardian, satirist Charlie Brooker wrote of Banksy "...his work looks dazzlingly clever to idiots."[115]
He has also been long criticised for copying the work of Blek le Rat, creator of the life-sized stencil technique in early 1980s Paris. Blek initially brushed off such criticism, stating pride if he were an influence on "an artist that good",[6] and was seen adding to a mural initiated by Banksy in San Francisco in early 2011.[116]
However, later that same year, in the documentary Graffiti Wars, Blek took a different perspective, stating:
When I see Banksy making a Madonna with a child or Banksy making rats, of course I see immediately where he takes the idea. I do feel angry. When you're an artist you use your own techniques. It's difficult to find a technique and style in art so when you have a style and you see someone else is taking it and reproducing it, you don't like that. I'm not sure about his integrity. Maybe he has to show his face now and show what kind of guy he is."[117]

Mark Divo
From Wikipedia, the free encyclopedia
Mark Divo (born 1966) is a Luxembourgeois conceptual artist and curator who organises large scale interactive art projects incorporating the work of a number of well-known underground artists. His own work involves performance, photography, installation, often using found material.

Between 1988 and 1989 Divo worked in West Berlin. After the fall of the Berlin wall in 1989 he moved to East Berlin, where he organised exhibitions at the Kunst Haus Tacheles. Between 1990 - 1994 he organised exhibitions, performances and murals with the Duncker group, which was awarded a prize by the Berlin Senate.
In 1994 he moved back to Zurich where he created a number of murals and organised a group of travelling mural painters (including Gabriel Serra). There he became notorious for organising a number of underground art projects funded by the Swiss government, including the first exhibitions / events in the subways of Escherwyssplatz. In 1995, he organised an international festival of underground art for which he received considerable critical acclaim. The work was given the name "post Industrial Baroque" by critics. Amongst the artists who exhibited were Swiss artist Ingo Giezendanner, German artist Leumund Cult and British artist Lennie Lee.
In 1996 Mark Divo exhibited at the Rich and famous gallery, London. In the winter of 2002 he occupied the famous Cabaret Voltaire with several artists including the Mikry Drei and Dan Jones. Together they succeeded in preventing the famous location closure. As a result of considerable publicity in the Swiss and international press, the building has now been turned into a museum dedicated to Dada (Cabaret Voltaire). In 2003 he organised another international Dada festival at the Sihlpapierfabrik.
Since 2003 Divo has organised an annual international festival of Dada and In the summer of 2008 he set up a new art centre in the city of Kolín, close to Prague, together with his wife, Sonja Vectomov. In August 2009 Divo and Sonja were invited to curate a group of artists from the Divo Institute for the Subvision Art Festival in Hamburg.
Since becoming an artist, Mark Divo has exhibited in a number of prestigious museums throughout Europe including the Helmhaus in Zurich, The Contemporary Art Center, Vilnius, the Casino Luxemburg, the Kunsthaus Zurich and the Kinsky Palace, Prague. He has three times been awarded the city of Zurich's prestigious art prize and has created three major public sculptures for the city of Zurich.

El Celso is a post-graffiti artist working on and off the streets of the United States. He was born in Newark, New Jersey and is currently active in the New York City area.

He has been described in a recent issue of ARTnews as a “conceptualist” regarding his show at The Winkleman Gallery. described his show, “Art Burn,” an International contemporary art expo & immolation, as a “bonfire of the art vanities” [1]and the Miami Herald declared it “a funky Basel sideshow.” The New York Times described his previous exhibition, “Post No Bills,” a street art gallery installation in Long Island City as “audacious.”[2] The Brooklyn Rail describes El Celso as “a street artist with a taste for experimentation, a knack for making things happen and a predilection for drawing colorful naked women.”[3] His figurative drawings, paintings and original works on Plexiglas were also the subject of a documentary series, “The Streets of New York,” which was broadcast on NHK in Japan in 2008. His work is also featured in numerous publications, street art books and web sites.

Graffiti Research Lab, founded by Evan Roth and James Powderly during their fellowships at the Eyebeam OpenLab, is an art group dedicated to outfitting graffiti writers, artists and protesters with open source technologies for urban communication. The members of the group experiment in a lab and in the field to develop and test a range of experimental technologies. They document those efforts with video documentation and DIY instructions for each project and make it available for everybody. The GRL is particularly well-known for inventing LED Throwies.
The Graffiti Research Lab is currently housed at Free Art and Technology Lab (a.k.a. FAT Lab), a non-profit research lab that supports artists, engineers, designers and entertainers whose work directly enriches the public domain. (FATLAB website)
Each extension of Graffiti Research Lab is called a cell. Localized cells were founded in Vienna[1], Amsterdam[2], and Mexico[3], copying and extending the work of the NY based organization. For example, the inventions are reproduced and deployed locally and the exhibition of the MBU at Prix Ars Electronica was done in cooperation with GRL Vienna. The cells cooperate and communicate, but are not one formal organization.

Invader (artist)
From Wikipedia, the free encyclopedia

Space Invader in Shoreditch

Space Invader street art on a statue on the Pont du Carrousel across from the Musée du Louvre
Invader (born 1969) is a French urban artist who pastes up characters from and inspired by the Space Invaders game, made up of small coloured square mosaic tiles that form a space invader character mural. He does this in cities across the world, then documents this as an "Invasion", with books and maps of where to find each invader.[1]
Invader is responsible for perhaps the most recognizable street art stunt of the last decade. In a planet-wide war of attrition, the pixilated expansionist aliens from Toshiro Nishikados infamous 1978 arcade game Space Invaders stalked the Earth one more, appearing everywhere from on the 'Hollywood letters to Jacques Chiracs lapel.
Invader started this project in 1998 with the invasion of Paris – the city where he lives and the most invaded city to date – and then spread the invasion to 31 other cities in France (such as Montpellier, Marseille, Avignon, Rennes, Bordeaux, Lille, Chartres, or Bastia…). London, Cologne, Geneva, Newcastle, Rome, Berlin, Lausanne, Barcelona, Bonn, Ljubljana, Vienna, Graz, Amsterdam, Bilbao, Manchester, Darlington, Istanbul are among the 22 other European cities which have been invaded. Throughout the world, Los Angeles, New York City, San Diego, Toronto, Bangkok, Tokyo, Katmandu, Varanasi, Melbourne, Perth and even Mombasa are now invaded with his colourful characters in mosaic tiles.
The mosaics depict characters from Space Invaders and other video games from the early 1980s. The images in these games were made with fairly low-resolution graphics, and are therefore suitable for reproduction as mosaics, with tiles representing the pixels. The tiles are difficult to damage and weather-resistant.

Space Invader in Amsterdam
Invader installed his first mosaic in the mid 1990s in Paris. According to the artist, it was a scout, or sentinel, because it remained the only one for several years. The programme of installations began in earnest in 1998.

Invader in Paris
The locations for the mosaics are not random, but are chosen according to diverse criteria, which may be aesthetic, strategic or conceptual. Invader favours locations that are frequented by many people, but also likes some more hidden locations. In Montpellier, the locations of mosaics were chosen so that, when placed on a map, they form an image of a giant space invader character.
The mosaics are half built in advance. When Invader arrives in a city he obtains a map and spends at least a week to install them. They are catalogued, pictured and Invader uses a map indicating their locations within the city. Typically, mosaics are located 10 to fifteen feet above the ground, and often on street corners in areas of high visibility.

Invader in Los Angeles
One of the more prominent places where the mosaics have been installed is on the Hollywood Sign. The first was placed on the letter D on December 31, 1999. During further trips to Los Angeles, Invader has placed mosaics on the 8 other letters of the sign.
Invader also works on another project that he titles "Rubikcubism", which involves making artworks made of Rubik's Cubes. Invader has had solo exhibitions at art galleries in Paris, Osaka, Melbourne, Los Angeles, New York City, and London.
Most recently, Invader placed two of his iconic tile works on the World Of Wonder Storefront Gallery, located at 6650 Hollywood Blvd., in Hollywood, CA. for the 4th annual I Am 8 Bit group show.
Since 2000 Space Invader has shown in many galleries, art centers and museums, from the 6th Lyon contemporary art biennale (2001), the mama gallery in Rotterdam (2002), at the Paris based Magda Danysz Gallery (2003), at the Borusan Center for Culture and Arts in Istanbul, Subliminal Projects in Los Angeles (2004), etc..
In 2010, he was one of the featured artists in the film Exit Through the Gift Shop in which it states he is a cousin of Thierry Guetta (Mr. Brainwash).
In 2011, he has taken part in the MoCA LA show at Geffen Contemporarya : "Art in the streets" curated by Jeffrey Deitch. He was the first artist arrested for taking part in the show.[2]
As of July, 2011, no arrest has been made of either of the two French nationals who were detained by the Los Angeles Police Department (LAPD) on suspicion of vandalism near MOCA's Little Tokyo gallery. Authorities believed one of the men detained only for suspicion was the French street artist Space Invader. Shortly after the two men were detained by LAPD, they were also released with no reported charges; however, authorities maintain one of the two men released was the artist "Invader". [3]

Lennie Lee (born 4 March 1958) is a South African conceptual artist who lives and works in London.
[edit]Life and career

Lennie Lee is a British artist born in Johannesburg, South Africa. He moved to the UK in 1960. He was educated at Dulwich college in London before winning a scholarship to study philosophy at Christ Church, Oxford.
In 1983 he took up painting. Soon after, he moved to east London where he became interested in the urban dereliction left over from the Second World War. In 1984 he occupied several disused buildings and, together with a number of artists including South African painter, Beezy Bailey, he began to make site-specific[1] installations using found material.
From the mid 1980s he joined various underground art collectives including the ARC group, a London-based collective of international artists, influenced by Kurt Schwitters, who specialized in building site-specific installation art. From 1987 to 1991 he worked together with the ARC group until it was finally disbanded in November 1991 in Budapest.
After the Berlin Wall came down in 1989, Lee was offered a number of exhibitions in East and West Berlin. While working on a series of outdoor sculptural installations in the summer of 1990, he was invited to work at the Kunst Haus Tacheles in Berlin, where he made contact with the thriving Berlin underground scene. On his return to London in the winter of 1990 he began to make a series of performances, mostly on the theme of taboo, the first of which took place at the ARC in London's Balls Pond Road. Through this, Lee was introduced to members of the KULE group, a radical theatre collective based in Berlin who invited him to come and stay in August Strasse 10 in the winter of 1990. There, together with performance artist Nils Duemcke, he set up a weekly cabaret. In the same year he painted large-scale banners for the Mutoid Waste Company.
After returning to London, he set up a new art collective known as the 'Department of Hate and Social Sickness', (DHSS) in the spring of 1992. The DHSS continued to make installations and performances in underground venues throughout London until it was disbanded in the spring of 1994. That same year, in collaboration with Ian Stenhouse and Mark Bishop, Lee set up the Rich and famous gallery in the heart of London's East End showing work by a number of artists including Martin Maloney, David Burrows, Mark Divo, Ingo Giezendanner, Graham Nicholls, Dan Jones, Tod Hanson,[2] Lee Campbell, Daniel Fernandez, David Mccairley Ian Stenhouse, Gini Simpson, Trevor Knaggs and Stefanie Maas.[3]
In the winter of 1994, Lee once again moved to Berlin where he organised a series of performances in the theatre space at the Kunst Haus Tacheles in Berlin. There he became involved with a group of radical artists from Zurich including Mark Divo and Ingo Giezendanner and from 1995 onwards was repeatedly invited by them to take part in a series of art projects throughout Europe including Divo's important show at the 'Escherwyssplatz' in Zurich in 1995, the infamous Cabaret Voltaire Zurich in 2002,[4][5] the 'Sihlpapierfabrik', Zurich in 2003 and the 'Real Biennale', Prague in 2005[6] and 'Process', Prague in 2006.[7][8]
In the late 1990s Lee made a series of performances and installations for the art collective, Hydra.[9] Between 1996 and 2002 Lee worked together with Gustavo Aguerre and Ingrid Falk, mainly in Sweden. In 2003 Lee was invited by Gillian McIver to join 'Luna Nera', an art collective producing site-specific installations. He has exhibited with Luna Nera in London, Berlin and St. Petersburg.[10][11]
Since 2000 Lee has concentrated mainly on performance art, video art, digital photography and installation art. He has exhibited in a number of UK institutions including the Barbican Art Centre, the Institute of Contemporary Arts, Tate gallery and the Third Eye Centre in Glasgow. Abroad he has exhibited in the National Gallery in Stockholm 1998, the Museum of Arts and Sciences in Valencia, 2005, the Circulo de Bellas Artes, Madrid, 2006 and the prestigious Venice Biennale in 1999.[12][13] He was the subject of documentaries.[14][15] He was included in an Imax film. Since 2001 Lee has made a series of performances and exhibitions in Chengdu, Xian and Beijing[16] organised by curator Shu Yang.
Lee is a painter[17] and performance artist[18][19] working with themes of taboo,[20][21] shame[22] and fear.[23] His work involves extreme performance,[24][25] video and digital images

Lucien Armand Marco den Arend (December 15, 1943) is a geometric abstract sculptor. As is the case with concrete art, his work is not modeled after any existing object – his sculpture represents only itself. Most of his sculptures and Land art projects were made as public art.
Den Arend was born in Dordrecht, Netherlands. In 1953 his family emigrated to the United States, where they settled in Los Angeles California. Between 1964 and 1966 he studied art and Russian at California State University, Long Beach. During the summer of 1965 the first international sculpture symposium in the United States (and the first on a college campus) was organized on the campus of California State University at Long Beach . There he made friends with Joop Beljon, who was the participating sculptor from the Netherlands. After returning to the Netherlands he continued his art studies at the Tilburg Academy of Art, studying for an Nht teaching degree. After finishing his studies there, he attended the last year of sculpture classes at the Rotterdam Academy of Art – now the Willem de Kooning Academy. When he finished his studies there in 1970, the Rotterdam Art Foundation awarded him the ‘drempelprijs’ for his accomplishments in the field of sculpture in that year in Rotterdam. Later he taught at the Rietveld Art Academy in Amsterdam and At the Royal Academy of Art in The Hague with Joop Beljon who was its director.
In 1969 he received his first commission for an environmental sculpture project. At that time his visiting card read “Environmental Sculpture.” He used this term for sculpture that went beyond making a sculptural object for a specific environment – the environment itself had to become the sculpture. Presently the term site-specific art covers both. He incorporated elements that we know from our environment to bring them together to form a new whole. These elements could be natural materials as well as artifacts. His first environment was an enclosed garden for a social work place in Dordrecht, DSW. In 1971 he made another environmental work, the Walburg Project which he incorporated into an agricultural landscape, in the town of Zwijndrecht. Up to now he has made site-specific projects in more than 55 cities throughout northwestern Europe.
In the early seventies he met Henry Moore three times during his trips to Forte Dei Marmi, where he worked at Henraux Stone Yards in Querceta Italy. With him he discussed the area of site_specific sculpture and the overlapping area of environmental sculpture.
From the early seventies he was active in various artists' associations, advisory committees for public art in Amsterdam, Rotterdam and other municipalities in Holland. He was chairman of the stipend committee of the Dutch Ministry of Culture in 1982 and 1983 and chairman of the Dutch Sculptors' Association from 1984 to 1986. He organized international exhibitions and symposia of sculpture such as the East West Forum (Japan and The Netherlands), North Sea|Black Sea (Bulgaria and the Netherlands). In the Drechtsteden Area he realized his plan for an international sculpture park, OPAM, which was opened by Queen Beatrix of the Netherlands in 1996. In 1999 Queen Beatrix and the Bulgarian King Simeon II opened Black Sea|North Sea, a symposium and exhibition of five Bulgarian sculptors in OPAM. He received the Knight of Madara (Madara Horseman) decoration from the President of Bulgaria. In 2004 he started the organization of his second international sculpture park FOAM (Finnish Open Air Museum) in Finland to which country he moved in 2003. He now lives and works in Kangasniemi, Finland where a collection of his sculptures is permanently exhibited on the grounds of Penttilä, an old estate in the Saimaa Lake District. He named the sculpture park POAM (Penttilä Open Air Museum).

Artist Betty Beaumont (born 1946 in Toronto, Ontario, Canada) lives and works in New York City, New York. Beaumont is now a U. S. Citizen. She works in the field of environmental art, creating installations out of waste products.
Contents [hide]
1 Life and work
3 See also
4 References
5 Readings
6 External links
[edit]Life and work

Beaumont received a B.A. in Art from California State University in 1969. In 1972 Beaumont received a M.A. in Architecture from University of California, Berkeley, College of Environmental Design.
Her work Ocean Landmark (1978–80) created an ocean-floor habitat, encouraging fish and vegetation to thrive off the coast of New York.[1] The work is made of 500 tons of processed coal-waste.
She is a frequent conference panelist on subjects involving environmental art and collaborative projects and has worked with numerous venues including ArtSci99 Symposium, Columbia University, Bell Labs/Lucent Technologies, Interactive Telecommunications Project, Japan Radio Network WMBS and University of Oregon. Her writing has appeared in Art Monthly, New York Magazine, The New York Times, NY ARTS, The Village Voice, Vita Nova Tokyo, Z Magazine and zingmagazine among others.
She has exhibited at P.S. 1 Museum, the Queens Museum, and the Whitney Museum of American Art and also The Hudson River Museum, The National Museum of Modern Art in Tokyo and Kyoto, as well as Canada, Cuba, Czech Republic, England, Germany, Holland, Mexico, Scotland, South Korea, Spain and Sweden.
Beaumont has received five National Endowment for the Arts grants (1997, 2002), three New York State Council for the Arts grants, two Pollock-Krasner grants (1998), and the German Unwelt Stiftung Award. She has served as a member of the Board of Advisors for the Art & Technology Program at the New York Hall of Science as well as on the Board of Directors of Women Make Movies. She is one of the artists featured in the video Totalitarian Zone (1991) by Czechoslovakian film/video maker, Vaclav Kucera.

Guillaume Bijl, born in Antwerp in 1946, is a Belgian installation artist.

Guillaume Bijl: “Archaeological Site (A Sorry Installation)” (2007)
Bijl's first installation was a driving school, set in a gallery-space in Antwerp in 1979, accompanied by a manifesto calling for the abolition of art centres, and replacing them with 'socially useful institutions'. This installation was followed in the eighties by a billiards room, a casino, a laundromat, a centre for professional training, a psychiatric hospital, a fallout shelter, a show of fictitious American artists, a conference for a new political party and a rural Belgian model house. A more recent show was at the Berlin’s Centre for Opinions in Music and Art.[1] Bijl is also an artist at the Mulier Gallery[2] has displayed at the Witte de With[3] and has been reviewed by the New York Times.[4]
He divides his work into four categories: 'transformation installations', 'situation installations', 'compositions trouvées' and 'sorry's'.
Bijl created a display window for a wax-doll museum for Documenta IX in 1992.

Chris Booth, (born 30 December 1948)[2] is a New Zealand sculptor. Born at Kerikeri in the Bay of Islands, he was the 1982 recipient of the Frances Hodgkins Fellowship.
Booth studied at the University of Canterbury's school of fine arts before taking two years of specialist sculptural study with such prominent sculptors as Barbara Hepworth and Denis Mitchell.
Booth's work – largely made on commission – is usually monumental in form, and can be found throughout New Zealand, Australia, Europe, and North America.
Booth was featured in the 1991 documentary film When A Warrior Dies[3] which focused on his construction of a very large and imposing sculpture at Matauri Bay overlooking the Cavalli Islands for the Ngati Kura people of the district. The sculpture stands before the resting place of the MV Rainbow Warrior which was bombed and sunk by French Government DGSE secret agents[4] in Auckland on 10 July 1985. The Rainbow Warrior propellor is in the centre of the sculpture,[5] surrounded by an arch of large basalt boulders recovered from a local beach.

Eberhard Bosslet (born 1953) is a German contemporary artist who has been producing site-specific art and architectural-related works, such as sculpture, installation and painting, both indoors and outdoors, since 1979. Born in Speyer, Germany, and living in Berlin and Dresden, he co-founded the artist group, "Material & Effect" (Material & Wirkung) in Berlin in 1981, and since 1980, has been the co-director of the artistspace "MOPEDS" in Berlin/Kreuzberg that is involved in curating and managing non-conventional artshows.

Christo (born Christo Vladimirov Javacheff, Bulgarian: Христо Явашев, June 13, 1935) and Jeanne-Claude (born Jeanne-Claude Denat de Guillebon, June 13, 1935 – November 18, 2009) were a married couple who created environmental works of art. Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City's Central Park.
Christo and Jeanne-Claude were born on the same date. They first met in Paris in October 1958. Their works were credited to just "Christo" until 1994 when the outdoor works and large indoor installations were retroactively credited to "Christo and Jeanne-Claude".[1] They flew in separate planes: in case one crashed, the other could continue their work.[2]
Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm.[1]
Although their work is visually impressive and often controversial as a result of its scale, the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways of seeing familiar landscapes. Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment."[3] To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."[4]

Jane Frank's paintings and mixed media works on canvas are in the collections of the Corcoran Gallery of Art ("Amber Ambience", 1964), the Smithsonian American Art Museum ("Frazer's Hog Cay #18", 1968; image link here), the Baltimore Museum of Art ("Winter's End", 1958), the Herbert F. Johnson Museum of Art at Cornell University ("Red Painting", 1966) [1], the Arkansas Arts Center (AAC: image here) in Little Rock ("Web Of Rock", 1960), and the Evansville Museum ("Quarry III", 1963). Her works are in many other public, academic, corporate, and private collections.
[edit]The early years

[edit]Training in commercial art

Jane Frank in her studio, circa 1975 (uncredited photo from the 1975 retrospective exhibition catalogue). Notice that in the photo, possibly taken by Barbara Young, the artist serendipitously embodies a "Jane Frank diagonal" that continues right into the canvas behind her.

Jane Frank, illustration from Yoseloff's "Further Adventures of Til Eulenspiegel" (1957): Note that even in this children's book illustration one sees Jane Frank's penchant for strong rising diagonal structures as well as her tendency to define rather than draw structural lines through the play of patches of contrasting texture.

Jane Frank:"Crags and Crevices"(1961): oil and spackle on canvas, 70 inches by 50 inches. This was the largest and most striking canvas in Jane Frank's 1962 solo exhibition at the Corcoran Gallery. As Prof. Phoebe Stanton wrote, "Nothing in the painting is still, for the big forms seem to hover in mid-air, colliding as they fall."

Jane Frank: "Plum Point" (1964), mixed media on canvas (32 in. X 32 in.). This painting was featured on the cover of Art Voices magazine.

Jane Frank: "Winter Windows" (1966-1967): acrylic and mixed materials on apertured double canvas, 80"x60". One of Frank's earliest "double canvas" paintings, featuring an irregularly shaped hole through which a second painted canvas is visible. Dr. Phoebe Stanton called it a "sublime" painting which evokes "sensations of awe and helplessness."

Jane Frank: "Aerial View No. 1" (1968), acrylic and mixed materials on double canvas, 60"x84". According to the profile in Baltimore County Women, 1930-1975, this work was a favorite of Jane Frank's. In its depiction of an aerial landscape, it is not yet as explicit or realistic as some of the later paintings: certain aspects of its structure and use of color sabotage any attempt at "realistic" interpretation.

Jane Frank: "April Screen", acrylic sculpture, late 1960s (detail). Frank's environmental sculptures show a minimalist tendency.

Jane Frank: "Night Landings: Sambura" (1970), acrylic and mixed materials on double canvas, 35"x48". Margret Dreikausen comments: "The use of beads and glitter, partially covered with paint, conveys a sense of a personal landscape."

Jane Frank: "Ledge of Light", 1974, 52 inches by 48 inches, oil on "double canvas". This multiple-canvas aerial landscape is typical of Jane Frank's later style, with its vibrant yet earthy colors and textures, explicit depiction of its subject, and its apertured upper canvas casting shadows that are both echoed and rendered ambiguous by painted-on "false shadows".
Jane Frank (when she was still Jane Schenthal) attended the progressive Park School and received her initial artistic training at the Maryland Institute of Arts and Sciences (now known as MICA, the Maryland Institute College of Art), earning in 1935 a diploma in commercial art and fashion illustration [Watson-Jones]. She then acquired further training in New York City at what is now the Parsons School of Design (then called the New York School of Fine and Applied Art), from which she graduated in 1939 [Stanton]. In New York she also studied at the New Theatre School. Her schooling complete, she began working in advertising design and acting in summer stock theater. From the sources, it is unclear whether she worked in these fields while still in New York, or only after returning to Baltimore. We do know, however, that she began painting seriously in 1940.
[edit]Becoming a painter
In a letter to Thomas Yoseloff, she wrote (quoted in Yoseloff's Retrospective, 1975, p. 34) that "prior to 1940 my background had been entirely in commercial art" and that when she began painting seriously, she had to "put behind me everything I had so carefully learned in the schools" (p. 34). She began a study of the history of painting and "went through a progression of spatial conceptions" (p. 35) from cave painting through the Renaissance, then concentrating on Cezanne, Picasso, and De Kooning. "I was also much concerned with texture, and heavy paint", she adds (p. 35).
[edit]Marriage and family - and children's books
After returning to Baltimore, she married Herman Benjamin Frank in 1941. According to the biography in "Baltimore County Women, 1930-1975" listed below, Jane had previously been working as a commercial artist "for department stores and advertising agencies", but she "gave up her career in commercial art for marriage and a family" (p. 16). After marrying, she signed her worked consistently as "Jane Frank", apparently never including a maiden name or middle initial. Her husband, a builder, constructed their home, including a studio for his wife. With the initial demands of a new marriage and family presumably beginning to relax a bit, Jane Frank returned seriously to painting in 1947 (according to Stanton, p. 9).
In the following decade, while raising a family and rapidly developing as a serious painter, the young mother also illustrated three children's books. Monica Mink (1948) featured, along with Jane Frank's illustrations, a whimsical text by the artist herself, entirely in verse, relating a tale in which (according to the review published by the National Council of Teachers of English) "In rhyme the obstreperous Monica Mink 'who wouldn't listen and didn't think' is finally taught that 'all Mother Minks know best'." [2]. Thomas Yoseloff's The Further Adventures of Till Eulenspiegel (1957, New York), featured Jane Frank's block prints, which already show a penchant for collage-like textural juxtapositions and strong diagonal composition. Jane Frank's 1986 obituary in the Baltimore Sun mentions that she published a third children's book, entitled Eadie the Pink Elephant, with both text and pictures by the artist, and this is confirmed in an excerpt from Publishers Weekly available online [3].
[edit]Health catastrophes and recovery
Professor Phoebe B. Stanton of Johns Hopkins University (see below) mentions that twice in the 20 years after 1947, Jane Frank suffered from illnesses which "interrupted the work for long periods". The first of these catastrophes was a serious car accident in 1952, requiring multiple major surgeries and extensive convalescence, and the second was a "serious and potentially life-threatening illness" soon after her 1958 solo show at the Baltimore Museum of Art. The latter illness was so severe, according to Stanton, that it interrupted Jane Frank's painting work for about two years.
[edit]The latter 1950s to late 1960s

[edit]Encountering Hans Hofmann, and discovering a "sculptural landscape"
Health problems notwithstanding, the latter 1950s proved decisively fruitful for Jane Frank as a serious artist. Having fairly well recovered from her injuries in the traumatic 1952 accident, she studied for a period in 1956 with the great abstract expressionist painter Hans Hofmann in Provincetown, Massachusetts, and this mentoring gave her a jolt of inspiration and encouragement. She soon had solo exhibitions at the Baltimore Museum of Art (1958), the Corcoran Gallery of Art (1962), the Bodley Gallery in New York (1963) and Goucher College (1963), among others.
She also, in 1962 (1961 according to some sources), won a Rinehart Fellowship, enabling her to study with Norman Carlberg [4] at the Rinehart School of Sculpture, Maryland Institute College of Art. This might seem a sudden and late detour away from painterly pursuits, but it is really a logical step: the canvases in the 1962 Corcoran show, such as "Crags and Crevices" and "Rockscape II" [5][6], already feature passages that are sculpturally "built up" with thick mounds of gesso (or "spackle", as Stanton tends to call it).
The single best source on Jane Frank is The Sculptural Landscape of Jane Frank (1968), by Phoebe B. Stanton (the art history professor emerita at Johns Hopkins University who died in 2003). Stanton's text provides a guide to Jane Frank's life and work, and there is a helpful and liberal use of quotations from the artist herself, enabling the reader to understand how Frank's thinking evolved, especially from the late 1950s through the late 1960s. The book (out of print but still in many public and university art libraries) also contains a wealth of biographical information and many large plate reproductions of the artist's works, some in color. There are also photographs of the artist.
Jane Frank's preoccupation with space was evident even before her paintings became overtly "sculptural" in their use of mixed media. Of the paintings in the 1962 Corcoran Gallery show, she tells Phoebe Stanton: "I was trying to pit mass against void and make it look as though there were passages that went way back - that's why 'crevice' is in so many of the titles" (Stanton, p. 15). Indeed, "Crags and Crevices" (70"x50", oil and spackle on canvas), completed in 1961, dominated the show.
[edit]Combining diverse materials and techniques
Soon after the month-long Corcoran Gallery solo exhibition, Jane Frank began to apply not just spackle but a variety of other materials - sea-weathered or broken glass, charred driftwood, pebbles, what appears to be crushed graphite or silica, and even glued-on patches of separately painted and encrusted canvas (canvas collage) - to her jagged, abstract expressionist paintings. "I wanted work that was painterly but with an actual three-dimensional space", she later wrote (Yoseloff 1975, pp. 37–39). The oil painting technique itself varies widely, from heavy daubs and stabs of the palette knife to watery or inky effects. Occasionally a very thick impasto will be peppered with minute pits, so that it looks a bit like sandstone eroded by wind-blown dirt. There are even crinkly, web-like areas which somewhat resemble (while clearly not being) batique or tie-dye. Sometimes the paint appears smeared with mud or mixed with sand, though it's hard to be sure. The 1963 work pictured at the top of this page is a good example, as is "Plum Point" (1964). Jane Frank's first solo show at New York's Bodley Gallery (1963), as well as her 1965 solo show at Baltimore's International Gallery, featured many of these radically dense and variegated mixed media paintings.
[edit]"Apertured", multiple-canvas paintings
Later she began making irregular holes in the canvases ("apertures", as she called them: the earliest example is "Winter Windows", 1966–1967), disclosing deeper layers of painted canvas underneath (so-called "double canvases" - and sometimes triple canvases), with painted-on "false shadows", etc. - increasingly invoking the third dimension, creating tactile, sculptural effects while remaining within the convention of the framed, rectangular oil painting. The apertures also suggest a view into some sort of psychological interior, as though the second canvas - seen only partially, through the hole in the forward canvas - were some half-concealed secret, perhaps even another whole painting that we will never see.
Stanton (p. 24) also notes that Jane Frank worked out a method - unspecified - of stiffening the apertures' often jagged edges so that they held their shape and flatness. These creations are a type of "shaped canvas", though obviously very different from the shaped canvases of Frank Stella and others more commonly associated with this term.
In much of her output before the late 1960s, Frank seems less interested in color than in tonality and texture, often employing the gray scale to create a sense of depth or of motion from light to dark, this frequently moving in a diagonal (as in "Winter's End", 1958), and otherwise employing one basic hue (as with the earthy reds in "Plum Point", 1964). However, the later, "windowed" paintings show a sharper interest in vivid color relationships: indeed, Yoseloff (p. 20) notes that with the later paintings "she has gone to bolder colors". This is especially true, as he notes, in the "aerial" paintings, of which an early and monumental example is "Aerial View no. 1" (1968, 60 inches by 84 inches, collection of the Turner Auditorium complex at the Johns Hopkins School of Medicine, Johns Hopkins University). This was one of the artist's favorites, according to Baltimore County Women [see below].
[edit]Standing apart
While these highly complex and laborious constructions (she often called them "three-dimensional paintings") moved her well beyond the vocabulary of the improvisatory, so-called "action painting" usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene. Furthermore, they bore little resemblance to the serene "color field" paintings of Morris Louis, Helen Frankenthaler, or Mark Rothko. Whether brooding or exuberant, the (as it were) geologically deposited, erupted, eroded, and gouged canvases of Jane Frank stand apart from all else. Perhaps this style could be called "geomorphic abstraction" - though apparently no such term can be found as a stylistic category in art history books.
This standoffish aesthetic position, her chosen departure from the career-making New York scene, and the fact that her overall output was not very large (by some standards at least), were factors that limited her career and her contemporary impact on the course of American art. Yet perhaps, as time goes on, present-day art lovers who get to know these pieces will agree with Professor Stanton that they are powerful and beautiful creations, worthy of contemplation and admiration on their intrinsic merits - regardless of what was supposedly fashionable in 1960-something:
“ ..."Winter Windows" is perhaps sublime in Burke's use of the word for a kind of beauty which produces sensations of awe and helplessness.... Part of the power of these pictures is the result of their controlled design, for balance, color, texture, have been managed so economically that the least change would throw the whole out of key. ”
– Dr. Phoebe Stanton [The Sculptural Landscape of Jane Frank, p. 29]
[edit]After 1967: sculptures, and further development of the "apertured" paintings

[edit]Sculpture: depths and shadows, reflections and refractions
In the late 1960s, Jane Frank turned her energies toward the creation of free-standing sculpture, i.e., sculptures properly speaking, as opposed to "sculptural paintings" or mixed media works on canvas. Oddly, the Stanton book contains no mention of these, though its chronology (p. 31) mentions Jane Frank's 1968 solo show at Goucher College, and the sculptures date from 1967 on, according to Yoseloff's 1975 "Retrospective". Fortunately, we have "A Decade of Sculpture: the New Media in the 1960s" by Julia M. Busch (1974), which contains many images of Frank's sculptures, a number in color.
The sculptures, with their clean lines and surfaces, often in sleek lucite or aluminium, completely dispense with the earthy, gritty qualities of those "sculptural landscape" canvases, yet there seems to be no clear record of Jane Frank's thinking concerning what must have been a sharp divide in her artistic approach and aims. Possibly this simply reflects the constructivist or minimalist influence of her teacher, Norman Carlberg. Indeed, a reviewer of the Watson-Jones book (see References) finds that Frank's sculptures "maintain an abstract cool". Also, perhaps making the sculptures was a less spontaneous process than painting, placing an emphasis on planning and structure over tactile engagement. Busch (1974) quotes Frank as saying: "I begin [working] from a drawing or cardboard mockup. I give my welding and aluminum pieces to a machinist with whom I work quite closely". Even if she worked "quite closely" with the machinist, this is clearly a very different creative process from solitary work in the studio. Nevertheless, to this writer, a palpable common element between the sculptural paintings and the free-standing sculptures seems to be a fascination with depth and shadows. She seems concerned with what happens to light when it encounters obstacles. Rather than monumental forms, imposing themselves on a space, most of Jane Frank's sculptures seem more like dreamcatchers: ingenious contraptions designed to seize fugitive visions, so that we can get a better look at them. This is further suggested by many of the titles, such as "April Screen", "Prism no. 2", and "Shadows of Substance". Julia M. Busch also calls attention to this quality with her remark that "Jane Frank's acrylic constructions cast brilliant stained-glass shadows through the play of light and color" (p. 26). Busch classifies Frank's pieces as environmental sculpture - a type pioneered by Louise Nevelson.
There were more solo exhibitions, at venues including New York's Bodley Gallery again in 1967, Morgan State University (1967), Goucher College (for the second time) in 1968, London's Alwin Gallery in 1971, the Galerie de l'Université, Paris (1972), the Philadelphia Art Alliance (1975), and a major retrospective at Towson State College (now Towson University) in 1975. She also won the Sculpture Prize at the 1983 Maryland Artists Exhibition (source: Watson-Jones).
[edit]Aerial landscape paintings
Even after 1967, when Jane Frank began making sculptures, grappling with new media such as plastics and metals, she maintained her ever-evolving production of mixed media paintings on canvas, virtually until the end of her life. Continuing her exploration of the possibilities of multiple-canvas, "apertured" paintings, she began to create her "Aerial Series" pieces, which came more and more explicitly to suggest landscapes seen from above. Especially noteworthy and striking are the "Night Landings" paintings, such as "Night Landings: Sambura" (1970), with the city grid glinting below like a dark jewel in a deep, nocturnal blue river valley. The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book.
Several sources note that Jane Frank also designed rugs and tapestries; a color photograph showing a detail from one of these textile works is reproduced in the Ann Avery book listed below.
Jane Frank died on Saturday, May 31, 1986. In some sources, her place of residence is listed as Owings Mills, Maryland, which is a near suburb of Baltimore. The 1986 Watson-Jones book's entry on Jane Frank, available at the "Questia" link given below, states her address as "1300 Woods Hole Road Towson, Maryland 21204". Towson is another near suburb of Baltimore.
[edit]Concluding discussion of Jane Frank's work as a whole

[edit]"Standing in the presence of the gods"
The overall characterization of Jane Frank's art is ultimately a subjective matter, but there is plenty of solid material on which to base a substantive discussion.
There is a strong feeling of the solitarian in many of these pieces before 1970. They are wild and unpeopled. It is ironic that someone trained in advertising and acting would create such an emphatically unsocial body of work. Thus Stanton writes that "landscape" is for Jane Frank a way of conveying ideas which (to Stanton) recall Heidegger's definition of poetry, which included "the recreation of the experience of standing 'in the presence of the gods and to be exposed to the essential proximity of things' " (Stanton, p. 8). According to the jacket notes of the Stanton book, Pictures on Exhibit magazine commented in a similar vein, saying that these landscapes are "to a compellingly strong degree, poetic evocations of communion with Nature's basic essentials". We are in direct contact with the primal forces, exposed and profoundly alone.
These works are at once sensually compelling and incorporeal — "out-of-body", so to speak. And as Julia M. Busch points out, even the sculptures avoid reference to anything recognizably, bodily human. Stating that Frank's sculptures are "environmental", Busch goes on to define this term in a way that points to their "beyond-human" quality:
"Environmental sculpture is never made to work at exactly human scale, but is sufficiently larger or smaller than scale to avoid confusion with the human image in the eyes of the viewer." (Busch, p. 27).

Jane Frank: "New Moon", acrylic and aluminum, 1967
Also, the canvases of the 1960s, for all their landscape-like qualities, usually avoid anything that can be read as a horizon or a sky: we literally don't know which way is up; for as Stanton (p. 12) points out, Jane Frank - starting with "Winter's End" (1958) - avoids horizontal orientation in favor of strong diagonals. Furthermore, in this painting, as in many others of the next decade, scale is undecidable. Stanton, again speaking of "Winter's End", writes:
"One is given no indication of the size of the scene; the way through which winter passes could be either a mountain gorge or a minute water course" (Stanton 1968, p. 12).
Plenty of cues are there that this is some sort of landscape, and Frank herself avows it:
"The beginning of my efforts to make my own statement, I would trace to my first visit to the Phillips Gallery.... Landscape was a natural metaphor, and so it is still for me today, in my three-dimensional double canvases" (Jane Frank, in a letter to Yoseloff, quoted in Yoseloff, 1975, p. 37).
Summing up the ambiguous position of Jane Frank's work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: "Her richly textured canvases evoke a world of crags and forests, rivers and plains, in terms which are entirely non-representational." [7]
The catalogue of the 1963 Bodley Gallery show contains a long essay by the artist, and the following three quoted passages capture many of the concerns described here:
(1) On constructing her metaphorical landscape vocabulary: "I prefer to create my own landscapes or vocabulary of shapes and patterns. However, it is rock and mineral substances, their veins and surfaces, projections and infinite hollows, which spark my particular fantasy - also beach wood, well worn with time, that is to be found on the water's edge. Issues of space have always been one of my prime concerns, and these substances seem to relate most closely to this concern. These then are the metaphor..."
(2) On the quality of interiority in her works: "It is also an attempt to penetrate the surface of an object, presenting not only the outside but what occurs within - the essence or core."
(3) On the essential aloneness of her vision: "The artist must create his own space, of his own time and personal vision. The result is not a unique image for the sake of 'newness', but rather for the sake of the artist, who must be concerned with it daily. These days are spent quite alone."
These pieces of the late 1950s and 1960s never lapse into the complaisantly decorative: there is a certain deliberate instability, often even violence, that prevents that. This quality comes through in another remark from Dr. Stanton's book. She's speaking of "Crags and Crevices", but it fits many of the works: "Nothing in the painting is still, for the big forms seem to hover in mid-air, colliding as they fall. There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife." (Stanton, p. 14).
[edit]Delighting in the bird's-eye view
Even 1968's "Aerial View No. 1", despite the spatial hint of the title, is far from literal. Certain features of structure and color render a literal interpretation of this image as an aerial landscape difficult or even impossible. The attempt at interpretation is both invited and repulsed. But by about 1970, with the "Night Landings" paintings, there was a definite shift away from the previous decade's stubbornly refractive attitude. The "Night Landings" offer a much more definite sense of scale and viewpoint, especially with the aid of the titles. "Night Landings: Nairobi" is not disorienting in the least: we know where we are; we know we're in a plane, we know the plane is landing, and we even know roughly what time it is: we are looking down, and we see vividly the city named in the title, with the surrounding land and water.
Furthermore, the fact that we see a city down there means that - at least implicitly - there are people in this painting.
Yoseloff, in his 1975 "Retrospective" book, enthuses:
"Perhaps the ultimate achievement in the direction in which Mrs. Frank has been tending is her series of "night landings".... Now, more than ever, the viewer is deeply involved, and he can feel himself carried downward into the landscape that is the canvas before him" (Thomas Yoseloff, "Jane Frank: A Retrospective Exhibition", 1975: pp. 18–20).
A staunch modernist might scoff that with the "Night Landings" of 1970 Jane Frank's art begins to "go gentle into that good night" (perhaps even lapsing into "postmodernism"). But if these more literal aerial landscapes - created in 1970 and after - lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject. In "Aerial Perception" (1985), author Margret Dreikausen sees Jane Frank's aerial landscapes as sharing the spirit of the work of artists such as Georgia O'Keeffe, Susan Crile, and others, in creating images which "reflect contemporary interest in reality", experienced from a historically new vantage point. Dreikausen insists that this art "does not merely show landscape from the air" but incorporates the "earthbound vision" into "remembered images from both spaces"[p. 63]. Dreikausen also (p. 27) sees Jane Frank's aerial paintings as consisting of two basic types: the "day scenes" (such as "Ledge of Light") and the "night landings" (such as "Night Landing: Sambura"). The day scenes show a fascination with the play of actual shadows and false, painted ones, "inviting the viewer more closely to inspect the textures on the canvas and its 'reality' "(p. 27). In the night landings, by contrast, the city is the focus, nestled in the canvas's aperture, like a precious jewel in a dark velvet box, with its "enticing twinkling lights", suggesting "the anticipation of the unknown, mysterious city.... The use of beads and glitter, partially covered with paint, conveys a sense of personal landscape" (p27).
[N.B.: Yoseloff, 1975, gives the reverse of Dreikausen's dates for these two works: that is, he gives 1970 as the date for "Night Landing: Sambura" (not 1974) and 1974 as the date for "Ledge of Light" (not 1970). Yoseloff's dates seem to comport better with other information, and so it seems probable that Dreikausen somehow got them reversed.]
[edit]Art of the lonely inscape
The 1999 Benezit book's entry on Jane Frank takes it as a given that her works on canvas may be summarized as semi-abstract aerial views: "Sa peinture, abstraite, fait cependant reference a un paysagisme aerien, comme vu d'avion." ["Her paintings, though abstract, nevertheless make reference to aerial landscapes, as viewed from an airplane."]
As an overview of Jane Frank's work, this oversimplifies - even to the point of falsification; but it must be remembered that Frank did not exhibit in Paris until 1972. The French, ainsi dire, got only a distant, aerial view of Jane Frank's oeuvre. One really ought to come in for a closer look; for despite the relatively extroverted character of these later aerial paintings, the continued use of multiple canvases with apertures gives even these more realistic landscapes an unsettling quality of psychic ingazing: thus, her obituary in the Baltimore Sun (Monday, June 2, 1986) reminds us that she liked to call her works "inscapes". As we peer over crags into the abyss, we are - in the words of Dr. Stanton - "exposed to the essential proximity of things."

Andy Goldsworthy, OBE (born 26 July 1956) is a British sculptor, photographer and environmentalist producing site-specific sculpture and land art situated in natural and urban settings. He lives and works in Scotland.
Contents [hide]
1 Life and career
2 Artistic style
3 Personal life
4 Awards
5 Exhibitions and installations
6 Publications
7 See also
8 Notes
9 References
10 Further reading
11 External links
Life and career

The son of F. Allin Goldsworthy (1929–2001), former professor of applied mathematics at the University of Leeds, Andy Goldsworthy was born in Cheshire[1] and grew up on the Harrogate side of Leeds, West Yorkshire, in a house edging the green belt. From the age of 13 he worked on farms as a labourer. He has likened the repetitive quality of farm tasks to the routine of making sculpture: "A lot of my work is like picking potatoes; you have to get into the rhythm of it."[2]
Goldsworthy studied fine art at Bradford College of Art (1974–1975) and at Preston Polytechnic (1975–1978)[1] (now the University of Central Lancashire) in Preston, Lancashire, receiving his Bachelor of Arts (B.A.) degree from the latter.[3]
After leaving college, Goldsworthy lived in Yorkshire, Lancashire and Cumbria. In 1985, he moved to Langholm in Dumfries and Galloway, Dumfriesshire, Scotland, and a year later to Penpont. It has been said that his gradual drift northwards was "due to a way of life over which he did not have complete control", but that contributing factors were opportunities and desires to work in these areas and "reasons of economy".[4]
In 1993, he received an honorary degree by the University of Bradford. He is currently an A.D. White Professor-At-Large at Cornell University.[5]
Goldsworthy is the subject of a 2001 documentary feature film called Rivers and Tides, directed by Thomas Riedelsheimer.[6]
Artistic style

The materials used in Andy Goldsworthy's art often include brightly-coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. He has been quoted as saying, "I think it's incredibly brave to be working with flowers and leaves and petals. But I have to: I can't edit the materials I work with. My remit is to work with nature as a whole."[7] Goldsworthy is generally considered the founder of modern rock balancing. For his ephemeral works, Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials; however, for his permanent sculptures like "Roof", "Stone River" and "Three Cairns", "Moonlit Path" (Petworth, West Sussex, 2002) and "Chalk Stones" in the South Downs, near West Dean, West Sussex he has also employed the use of machine tools. To create "Roof", Goldsworthy worked with his assistant and five British dry-stone wallers, who were used to make sure the structure could withstand time and nature.
Photography plays a crucial role in his art due to its often ephemeral and transient state. According to Goldsworthy, "Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit."[8]
Goldsworthy produced a commissioned work for the entry courtyard of San Francisco's De Young Museum called "Drawn Stone", which echoes San Francisco's frequent earthquakes and their effects. His installation included a giant crack in the pavement that broke off into smaller cracks, and broken limestone, which could be used for benches. The smaller cracks were made with a hammer adding unpredictability to the work as he created it.[9]
Personal life

In 1982, Goldsworthy married Judith Gregson. They had four children and settled in the village of Penpont in the region of Dumfries and Galloway, Dumfriesshire, in southwest Scotland. He now lives there with his partner, Tina Fiske, an art historian whom he met when she came to work with him a few years after he separated from his wife.[2]

Michael Heizer is a contemporary artist specializing primarily in large-scale sculptures and earth art (or land art).
Heizer was born in Berkeley, California in 1944; and he attended the San Francisco Art Institute. Traveling to New York City in 1966, he began his career producing more conventional, small-scale paintings and sculptures. In the late 1960s, however, Heizer left New York City for the deserts of California and Nevada, where he began to produce larger-scale works that could not fit into a museum setting, except perhaps in photographs. This culminated in the production of Double Negative, a 1500-ft trench Heizer cut into the side of a mesa in the Nevada desert.
Since then, Heizer has continued his exploration of earthworks, with his efforts directed primarily toward City, an enormous complex in the rural desert of Lincoln County, Nevada. He has also produced a number of abstract paintings, and his large-scale sculptures, often inspired by Native American forms, can be found in museums and public spaces worldwide.
Since the late 1990s, Heizer's work has focused primarily on City, and his work continues to this day, supported by the Dia Art Foundation through a grant from the Lannan Foundation. City is not yet available to the public.

Nancy Holt (born April , 1938) is an American artist famous for her public sculpture, installation art and land art. Throughout her career, Holt has also produced works in other mediums, including film, photography, and writing artist’s books.
Nancy Holt
Born April 5, 1938 (age 73)
Worcester, Massachusetts
Nationality American
Field Sculpture, photography, film, writing
Movement Environmental art and land art
Contents [hide]
1 Biography
2 Artistic Style
2.1 The Land Art Tradition
2.2 Perception of Time and Space
3 Collaboration
4 Analysis of Major Works
4.1 Sun Tunnels
4.2 Dark Star Park
4.3 Sky Mound
5 Films
6 Selected Artworks
7 Selected Solo Exhibitions
8 Selected Group Exhibitions
9 References
10 Sources
11 External links

Nancy Holt was born in Worcester, Massachusetts. She spent a great deal of her childhood in New Jersey.[1] She was educated at Tufts University in Medford, Massachusetts.[1] Three years after graduating, she married fellow environmental artist Robert Smithson in 1963. Holt began her artistic career as a photographer and as a video artist. This involvement with photography and camera optics are thought to have influenced her later earthworks, which are “literally seeing devices, fixed points for tracking the positions of the sun, earth and stars.”[2] Today Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. However, she has created site-specific environmental works in public places all over the world. Holt has contributed to various publications, which have featured both her written articles and photographs. She has also authored several books. Holt has received five National Endowment for the Arts Fellowships, New York Creative Artist Fellowships, and a Guggenheim Fellowship.[1] She currently works and resides in Galisteo, New Mexico.[3]
[edit]Artistic Style

[edit]The Land Art Tradition
Holt is associated with earthworks or land art. Land art emerged in the 1960s, coinciding with a growing ecology movement in the United States, which asked people to become more aware of the negative impact they can have on the natural environment. Land art changed the way people thought of art; it took art out of the gallery or museum and into the natural landscape, the product of which were huge works engaging elements of the environment. Unlike much of the commercialized art during this time period, land art could not be bought or sold on the art market. Thus, it shifted the perspective of how people all over the world viewed art.
Land art was typically created in remote, uninhabited regions of the country, particularly the Southwest. Some attribute this popular location for land art to artists’ need to escape the turmoil in the United States during the 1960s and 70s by turning to the open, uncorrupted land of the West.[2] Holt believes this artistic movement came about in the United States due to the vastness of the American landscape.[4] As a result of earthworks not being easily accessible to the public, documentation in photographs, videos, drawings became imperative to their being seen. The first exhibit of contemporary land art was at the Virginia Dwan Gallery in New York in 1968.[5] Other earth artists who emerged during this time include Robert Smithson, James Turrell, Walter De Maria, Michael Heizer, and Dennis Oppenheim.
[edit]Perception of Time and Space
Holt’s works of art often deal with issues of how people perceive time and space. The various monumental works she has created blend with and complement their environment. Works such as Hydra’s Head do not merely sit in their environments, but are made of the land, stand on it and are created to be harmonious with the land. The pools in this work are at the top of concrete tubes imbedded in the ground. The land already at the site surrounds these pools. They reflect the natural landscape, while not disturbing it. Holt thinks about human scale in relation to the work she creates.[6] People can interact with the works and become more aware of space, of their own visual perception, and of the order of the universe.[6] Holt’s works incorporate the passage of time and also function to keep time. For example, Annual Ring functions so that when sunlight falls through the hole in the dome and fits perfectly into a ring on the ground, it is solar noon on the summer solstice.[6] At different times, the sun falls differently on the work and other holes in the dome align with celestial occurrences. Holt has said that she is concerned with making art that not only makes an impact visually, but is also functional and necessary in society,[7] as seen in works like Sky Mound, which serves a dual function as a sculpture and park and it also generates alternative energy.
In her works, Holt creates an intimate connection to nature and the stars, saying, "I feel that the need to look at the sky-at the moon and the stars-is very basic, and it is inside all of us. So when I say my work is an exteriorization of my own inner reality, I mean I am giving back to people through art what they already have in them."[6] In other words, Holt is saying that people have within them a basic need to observe the sky and through her works she wants to highlight and make people aware of that need.

Collaboration with architects, engineers, construction crews, and the like is an essential part of creating land art. Solar Rotary is a work located on the campus of the University of South Florida in Tampa, Florida. The work, consists of 20 ft (6.1 m). aluminum poles topped with a swirl of metal called a shadow caster, which casts a circle of light on a central seat when it is solar noon on the day of the summer solstice. On five days a year at different times, the shadow caster is designed to create a circle of light around plaques placed in the ground that mark important events in Florida’s history.[8] Thus, for Solar Rotary, Holt employed Dr. Jack Robinson, an archaeo-astronomer and professor to help her, among other things, to plot the sun’s coordinates for the work.[8] For almost all of Holt’s works, she has had some collaboration. For Dark Star Park, Holt coordinated with developer J.W. Kaempfer, Jr., of the Kaempfer Company, in integrating the design of his adjacent building, Park Place Office Building into her design for the park. She also worked in collaboration with an architect, landscape architect, engineers, and real estate developers on the work.[9] For Rock Rings, Holt searched far and wide to find the right masons to work on the piece and also had local stone called schist, which was 250-million-years old, quarried by hand for the work.[6] Despite all of the collaboration, Holt notes that she is always present for the construction of her artworks.[6]
[edit]Analysis of Major Works

Sun Tunnels in Lucin, Utah.
[edit]Sun Tunnels
Sun Tunnels is located in the Great Basin Desert outside of the ghost town of Lucin, Utah. The work is a product of Holt’s interest in the great variation of intensity of the sun in the desert compared to the sun in the city.[6] Holt searched for and found a site which was remote and empty.
"It is a very desolate area, but it is totally accessible, and it can be easily visited, making Sun Tunnels more accessible really than art in museums . . . A work like Sun Tunnels is always accessible . . . Eventually, as many people will see Sun Tunnels as would see many works in a city-in a museum anyway."[6]
The work consists of four massive concrete tunnels (18 feet long and nine feet in diameter), which are arranged in an “X” configuration to total a length of 86 feet (26 m). Each tunnel reacts differently to the sun, aligned with the sunrise, sunset, of the summer or winter solstice. Someone visiting the site would see the tunnels immediately with their contrast to the fairly undifferentiated desert landscape. Approaching the work, which can be seen one to one-and-a-half miles away, the viewer’s perception of space is questioned as the tunnels change views as a product of their landscape.[10]
The tunnels not only provide a much-needed shelter from the sweltering desert sun, but once inside the dazzling effect of the play of light within the tunnels can be seen. The top of each tunnel has small holes, forming on each, the constellations of Draco, Perseus, Columba, and Capricorn, respectively.[6] The diameters of the holes differ in relation to the magnitude of the stars represented.[6] These holes cast spots of daylight in the dark interiors of the tunnels, which appear almost like stars. Holt has said of the tunnels, "It’s an inversion of the sky/ground relationship-bringing the sky down to the earth."[6] This is a common theme in Holt’s work. She sometimes creates this relationship with reflecting pools and shadow patterns marked on the ground, like in her work Star Crossed.[6]

Dark Star Park in Arlington, Virginia.
[edit]Dark Star Park
Dark Star Park was commissioned by Arlington County, Virginia in 1979, in conjunction with an urban-renewal project.[7] Construction of the work began in 1984. Holt worked with an architect, landscape architect, engineers, and real estate developers on the project.[7] The artwork is at once a park and a sculpture. Built on two-thirds of an acre of land where a run-down, old gas station and warehouse once stood, Holt transformed the space.[7] The park consists of five spheres, two pools, four steel poles, a stairway, a large tunnel for passage, a smaller tunnel for viewing only and plantings of crown vetch, winter creeper, willow oak, and earth and grass.[11]
The forms stand in stark contrast to the busy and highly developed commercial area that surrounds the space. There are places to walk and sit within the park, giving a passersby a chance to escape from the urban environment. Dark Star Park is more socially interactive than Holt’s other works. Holt paid attention to how people both inside and outside the park would see the spheres. The work alters the viewer’s perception by using curvilinear forms, such as the walkways that mimic the curving roads surrounding the site. Walking in the park or driving by it, viewers may mistake spheres of different sizes to actually be the same size or one sphere may eclipse another. The tunneled passages into the park frame certain sculptural elements, as do the reflections in the pools. However, Holt has made sure not to alienate the park entirely from its surroundings. The spheres are made of gunite (a sprayable mixture of cement and sand), asphalt, precast concrete tunnels, steel poles and stone masonry.[7] These materials relate the park to the buildings located near the artwork.
The work explores the concept of time and our relationship to the universe. When approaching one of the spheres, a visitor to the park might be reminded of the lunar surface[11] or when glancing at the quiet pools of water around the spheres, may relate them to craters.[7] This is no coincidence. Holt has a fascination with solar eclipses, as well as in the shadows cast by the sun on the surface of the earth[11] and the name of the park is a reference to the astronomical appearance of the large spheres that are its most distinct features. In speaking about the name Holt has said, "It’s called Dark Star Park because in my imagination these spheres are like stars that have fallen to the ground-they no longer shine-so I think of the park/artwork in a somewhat celestial way."[6] By engaging the viewer with these spheres and the other elements surrounding them in the park, Holt brings the vast scale of nature and the cosmos back to human scale. Time is also a major part of this work. Once a year on August 1 at 9:32 am, the shadows cast by two of the spheres and their four adjacent poles align with permanent asphalt shadow patterns outlined on the ground.[7] This date was selected by the artist to commemorate the day in 1860 when William Ross bought the land that today is Rosslyn, Virginia, where the park is situated.[7]
Holt took on the challenging task of playing many roles in the park’s creation, becoming at once an artist, landscape designer, and committee member for approving plans for a nearby building. To take on all three roles possibly had never been done before by an artist, thus the park and its designer remain important to the history of art.
"I was the landscape designer as well as the sculptor, so the whole park became a work of art. And I was on the committee to approve the architectural design of the building adjacent to the park. I don’t think either of these situations ever happened before for an artist, so that was unusual, and it broke new ground for public art."[6]
The work was surveyed in June 1995. At that time “treatment was needed.”.[9] Thus, seven years later, when the park was finally restored in 2002 it was long overdue.
[edit]Sky Mound
Located in Northern New Jersey, Sky Mound sits where a 57-acre (230,000 m2), 100-foot (30 m)-high landfill once stood.[12] The state’s Hackensack Meadowland Development Commission (HMDC) asked Holt to reclaim the site in an effort to provide an environmentally safe spot for plant and animal life to reside and for humans to enjoy.[13]
Still unfinished in April 2008, the landfill is to be turned into an earth sculpture and public park. The landfill has been covered with grass. Ten mounds stand upon the site, as well as steel poles, plants, and a pond, designed for the approximately 250 species of migratory birds that visit the area seasonally.[13] There will eventually be wind indicators and gravel paths. On several astronomically significant dates each year, the work will provide its viewer with unique views of the sun, moon, and several stars.
In addition, a series of arcing pipes will go down into the landfill, recovering methane from the 10 million tons of garbage below.[12] This will provide an alternative source of energy for those in the community.
Sky Mound’s location makes it visible and accessible to many people. Holt believes the work will increase awareness of the complex problem of how we dispose of our waste and trash.[12] It also raises questions about the sun, as every ecosystem depends on the sun and its energy for survival.[14] In 1991, funding on Sky Mound was stopped to perform a technological study at the site; currently construction remains postponed.[15]

Holt has also made a number of films and videos since the late 1960s, including Mono Lake, (1968) (also with artist Michael Heizer), East Coast, West Coast (1969), and Swamp (1971) in collaboration with her late husband Robert Smithson. Points of View: Clocktower (1974) features conversations between Lucy Lippard and Richard Serra, Liza Bear and Klaus Kertess, Carl Andre and Ruth Kligman and Bruce Brice and Tina Girouard.[16] In 1978, she produced a 16mm color film documenting the seminal work Sun Tunnels.

Street installations are a growing trend within the "street art" movement. Whereas conventional street art/graffiti is done on surfaces/walls "street installations" use 3-D objects/space to enhance/interact/interfere with the urban environment . Like graffiti, it is non-permission based and once the object/sculpture is installed it is left there by the artist. Street Installations are sometimes designed to be taken/moved by the public as part of interactive and ongoing "life" of the art work. Unlike graffiti, street installations are generally designed in such a way that no damage is done to the property or location in which the installation is placed.

Video installation is a contemporary art form that combines video technology with installation art, making use of all aspects of the surrounding environment to affect the audience. Tracing its origins to the birth of video art in the 1970s, it has increased in popularity as digital video production technology has become more readily accessible. Today, video installation is ubiquitous and visible in a range of environments—from galleries and museums to an expanded field that includes site-specific work in urban or industrial landscapes. Popular formats include monitor work, projection, and performance. The only requirements are electricity and darkness.
One of the main strategies used by video-installation artists is the incorporation of the space as a key element in the narrative structure. This way, the well-known linear cinematic narrative is spread throughout the space creating an immersive ambient. In this situation, the viewer plays an active role as he/she creates the narrative sequence by evolving in the space. Sometimes, the idea of a participatory audience is stretched further in interactive video installation. Some other times, the video is displayed in such a way that the viewer becomes part of the plot as a character in a film.
A pioneer of video installation was Korean/American Nam June Paik whose work from the mid-sixties used multiple television monitors in sculptural arrangements. Paik went on to work with video walls and projectors to create large immersive environments. Wolf Vostell is another pioneer of video installation. He showed his „ 6 TV De-coll/age“[1] in 1963 at the at the Smolin Gallery in New York.
Other Americans include Bill Viola, Gary Hill and Tony Oursler. Bill Viola is considered a master of the medium. His 1997 Survey at the Whitney Museum in NY is considered a watershed mark in the history of video installation art marking both a period on the sentence of the first generation and a beginning of the next. Gary Hill has created quite complex video installations using combinations of stripped down monitors, projections and laser disk technologies so that the spectator can interact with the work. For instance in the 1992 piece Tall Ships the audience enters a space where ghostly images of seated figures are projected onto a wall. The movement of the audience was the figures to stand up and approach the viewer. Tony Oursler's work exploited the technology developed in the early 1990s of very small video projectors that could be built into sculptures and structures as well as improvements in image brightness so that images could be placed on surfaces other than a flat screen.
David Hall and Tony Sinden exhibited the first multi-screen installation in Britain, 60 TV Sets, at Gallery House London in 1972. Subsequently British video installation developed a distinctive pattern following the seminal international Video Show at the Serpentine Gallery, London in 1975, and later thanks in part to the existence of regular festivals in Liverpool and Hull and public galleries such as the Museum of Modern Art, Oxford that routinely showcased the work. Sam Taylor-Wood's early installation pieces are good examples where specially filmed elements are shown as a series of serial projections.

Robert Julius Tommy Jacobsen (4 June 1912, Copenhagen - 26 January 1993, Tågelund) was a Danish sculptor and painter. The Danish Robert award was named after him.

He lived in France from 1947 - 1969. From 1962 - 1981 he was professor at the Kunstakademie der Bildenden Künste, Munich. In 1969 he moved to Tågelund, west of Egtved, Denmark. From 1976 to 1985 he was professor at the Royal Danish Academy of Art, Copenhagen. From 1986 to 1991 he worked with Jean Clareboudt to create a sculpture park at Tørskind Gravel Pit near Egtved and Vejle. He worked closely together with his friend and son in law, Bernard Leauté. Jacobsen also had a connection to Asger Jorn and the CoBrA artists, but he never was a member of their group. He died in 1993 at home in Tågelund.
It was planned to raise a 60 meter high sculpture in Copenhagen in the year 2012, financed by Robert Jacobsen's foundation but the city council did not want the sculpture.[1]
... everyone, of course, must know with whom he is dealing. A former badminton champion, a film actor, a former sailor, a whale butcher, an :ex-barman, an antiquarian, a musician (jazz to be sure) a chaufeur, a confectioner and a croupler, a grandfather at thirty-seven, the Danish :Robert Jacobsen is certainly one of the best sculptors of our time, a worthy successor of the Rumanian Brâncuşi, of the Russian Pevsner, of :the American Calder and of one or two others whom you may choose according to you tastes...|
Roger Bordier - Catalogue "LE MOUVEMENT", Paris, 1955

Robert Jacobsen's art is represented, among others, in the following museums:
Musee d'Art Wallon (Liege, Belgium)
Museo de Arte Moderna (São Paulo, Brazil)
Von der Heydt Museum (Wuppertal, Germany)
Wilhelm Hack Museum (Ludwigshafen, Germany)
Lembruck Museum (Duisburg, Germany)
Sculptors Museum (Glaskasten, Marl, Germany)
"Kunsthalle" exhibition hall Kiel (Kiel, Germany)
Neue Pinakothek, (Munich, Germany)
town gallery Lenbachhouse (Munich, Germany)
"Kunsthalle" exhibition hall Emden donation Henri Nannen (Emden, Germany)
Didrichsenin taidemuseo (Helsinki, Finland)
Musee National d'Art Modern (Paris, France)
Centre Pompidou (Paris, France)
Musee de Peinture et de Sculpture (Grenoble, France)
Musee des Beaux-Art (Rennes, France)
Fond National d'Art Contemporain (France)
Musee Rodin Paris (France)
Stedelijk Museum (Amsterdam, The Netherlands)
Kröller-Müller Museum (Otterlo, The Netherlands)
Nationalgalerie (Oslo, Norway)
Moderna Museet (Stockholm, Sweden)
Musee des Beaux-Art (La Chaux-de-Fonds, Switzerland)
Magyar Nemzeti Muzeum (Budapest, Hungary)
Museum of Art, Carnegie Institute (Pittsburgh, USA)
Hirshhorn Museum and Sculpture Garden (Washington, USA)
Fondation Herzog (New York, USA)
Carnegie Institute (Philadelphia, USA)

Olga Kisseleva (Russian: Ольга Игоревна Киселёва; born 1965 in Saint-Petersburg) is a Russian artist. Olga Kisseleva works mainly in installation, science and media art. Her work employs various media, including video, immersive virtual reality, the Web, wireless technology, performance, large-scale art installations and interactive exhibitions.
Contents [hide]
1 Biography
2 Main Exhibitions
3 Bibliography
4 External links
5 Notes

As early as the beginning of the 1990s Olga Kisseleva became, thanks to an invitation by the Fulbright Foundation, part of a team of creators working on the development of numerical technologies in the United States. She primarily stays at Columbia University and University of California, where she participates in the adventure of the first start-ups of the Silicon Valley.
The work of Olga Kisseleva constantly interweaves actions that reveal themselves in the urban environments or in network with interventions in galleries and museums. For the 5th Dakar Contemporary Art Biennial, she presented « Une Voyante m’a dit… », an alarming method, where the artiste publicly exchanges her look with different participants to symbolically endorse their identity and see the world through their eyes. « Where are you? » places the phenomenon of the teleobjectivity to the centre of the project while proposing an immersion within reality, in environments that truly raise the imagination. Leaving one collects photographs accumulated during their peregrinations through the world; the artiste makes obvious the impressive gaps to which one attends in all contemporary megalopolis. Rewarded by the International Prize ProArte (Russia), Olga Kisseleva works in collaboration with The Academy of Sciences « Hybrid Space », a body of twelve interactive installations, a perilous game, that explores the capacity of the spectator to reveal the presence of a border, that separates reality and the imagination.[1]
[edit]Main Exhibitions

The artist’s exhibitions include: Modern Art Museum (Paris, France), State Russian Museum, (Saint-Petersburg, Russia), KIASMA (Helsinki, Finland), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), Moscow Biennial (2007), Dakar Biennial (2002), La Fondation Cartier for contemporary art (Paris, France), Centre Georges Pompidou (Paris, France) Art Institute of Chicago (Chicago, USA), National Centre for Contemporary Arts (Moscow, Russia).
Olga Kisseleva teaches New media art and Art&Science in the University Paris 1 Pantheon-Sorbonne. She is a member of the High Scientific Committee of Sorbonne.

Jack Lembeck (born in 1942 in St. Louis, Missouri) is an American painter and sculptor known for his Abstract Illusionism paintings and installation art.
One of the most celebrated of the Abstract Illusionists in the 1970s and 1980s, Lembeck received a BFA from Kansas University and an MFA from Yale in 1970, where he remained as an instructor in Yale's art department until 1972. Lembeck then established a career in SoHo as a professional artist, exhibiting his paintings with the Louis K. Meisel Gallery and nationally and internationally. His works are included in the permanent collections of the Guggenheim Museum, The Phoenix Art Museum, the Detroit Institute of Arts, and the Orlando Museum of Art, among others.
In 1994 Jack Lembeck in collaboration with Jeremy Gardiner and Susan Banks established LANDMIND. The goal of LANDMIND was to create a method for artists to become an influential and integral part of Miami's ever evolving environment by providing a forum of collaboration between artists, students and community members to share ideas, design and execute environmental art projects. Two key projects was the Brittle Star Park project where a vacant lot was then transformed into an environmental art park a project named Windscape in Bayfront Park, Florida.

Richard Long (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists. Long is the only artist to be shortlisted for the Turner Prize four times, and he is reputed to have refused the prize in 1984. He was nominated in 1984, 1987, 1988 and he then won the award in 1989 for White Water Line.[1]
Contents [hide]
1 Early life
2 Art Work
2.1 A Line Made by Walking (1967)
2.2 Forms
2.3 Stone, Driftwood and Mud
2.4 Nature v.s. Gallery
3 Solo Exhibitions
4 Group Exhibitions
5 Select Honors And Awards
6 See also
7 Notes
8 References
9 External links
[edit]Early life

Born in Bristol, England; Long studied at the University of the West of England's College of Art during the years of 1962-5, then to St Martin’s School of Art and Design, London during 1966-68.[2] Within a year after he graduated from St Martin’s, the artist became closely associated with the emergence of Land Art; he also participated in the first international manifestations of both Arte Povera, in Amalfi, Italy in 1968, and Earth Art, at Cornell University, New York in 1969.[3]
[edit]Art Work

Long made his international reputation during the 1970s with sculptures made as the result of epic walks, these take him through rural and remote areas in Britain, or as far afield as the plains of Canada, Mongolia and Bolivia.[4] He walks at different times for different reasons. At times, these are predetermined courses and concepts; yet equally, the idea of the walk may assert itself in an arbitrary circumstance.[3] Guided by a great respect for nature and by the formal structure of basic shapes, Long never makes significant alterations to the landscapes he passes through. Instead he marks the ground or adjusts the natural features of a place by up-ending stones for example, or making simple traces. He usually works in the landscape but sometimes uses natural materials in the gallery. Different modes of presentation, sometimes combined, were used to bring his experience of nature back into the museum or gallery. From 1981 he also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations, establishing a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.[4] Nearly forty years on, his work continues the dialectic between working freely and ephemerally wherever in the wide world, and bringing it back into the public domain of art spaces and books in the form of sculptures of raw materials such as stones, mud and water and photographic and text works.[3]
[edit]A Line Made by Walking (1967)
Richard Long, then twenty two years old and a student at Saint Martin's School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white.[5] The work, taken as the milestone in contemporary art, balances on the fine line between the performance (action) and the sculpture (object).[6]
'Nature has always been a subject of art, from the first cave paintings to twentieth-century landscape photography. I wanted to use the landscape as an artist in new ways. First I started making work outside using natural materials like grass and water, and this led to the idea of making a sculpture by walking. This was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking – as art – provided a simple way for me to explore relationships between time, distance, geography and measurement. These walks are recorded in my work in the most appropriate way for each different idea: a photograph, a map, or a text work. All these forms feed the imagination.' − Richard Long[7]
The consistent employment of archetypal shapes, mostly circle, line, cross and spiral, is immediately noticeable in the artist's body of work. Much as the appearance could evoke ancient monumental connotation, the force of Long's oeuvre lies in its conceptual simplicity. The work is just as it is staged. Nonetheless, Long doesn't withdraw himself from believing his actions of connecting simple geometric structures such as circles with organic elements, may reach across cultural and generational boundaries:
'I think circles have belonged in some way or other to all people at all times. They are universal and timeless, like the image of a human hand. For me, that is part of their emotional power, although there is nothing symbolic or mystical in my work.’ - Richard Long[8]
[edit]Stone, Driftwood and Mud
Long works with indigenous materials, such as stone, wood and mud, collected from his numerous walks around the world. Stone is one of the earliest material used by man to fashion tools; and one of his preferred materials. Delabole Slate Circle, a solid circle made on the floor with slate from the Delabole quarry in Cornwall, was constructed by slate roughly cut to retain as much of its natural character as possible. The circular arrangement is an imposed order, but the flatness of each piece is characteristic of slate, representing a natural order.[9] River Avon Driftwood (1976) seemed to hold chance and order in equal sway, as in much of Long's work. It is made up of bits of driftwood which he gathered from the banks of the River Avon below Leigh Woods, near the Clifton Suspension Bridge, Bristol. These are used randomly, and spaced approximately but within the precise form of an anti-clockwise spiral. Objects which arrived at a given point by chance, through the flow of the river, are organized into a logical, and ancient, pattern.[10] From 1981 he also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations. Mud has represented the ground he stepped through his walks and the realization of these "murals" establishes a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.[11]
Bringing together the unevenly shaped raw materials in the geometric structure, Long's works illustrate a recurrent theme, the relationship between man and nature, as he has explained, 'You could say that my work is a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work.’
[edit]Nature v.s. Gallery

MacDuff Circle (2002), by Richard Long in the grounds of the Dean Gallery, Edinburgh (National Galleries of Scotland).
Long usually works in the landscape but sometimes uses natural materials in the gallery. The scale of his sculptures is determined by his response to each particular place or landscape locality.
‘The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received 'indoors' and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition 'second hand' works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it's not possible to say "everything" in one way.'
'I like the fact that every stone is different, one from another, in the same way all fingerprints, or snowflakes (or places) are unique, so no two circles can be alike. In the landscape works, the stones are of the place and remain there. With an indoor sculpture there is a different working rationale. The work is usually first made to fit its first venue in terms of scale, but it is not site-specific; the work is autonomous in that it can be re-made in another space and place. When this happens, there is a specific written procedure to follow. The selection of the stones is usually random; also individual stones will be in different places within the work each time. Nevertheless, it is the 'same' work whenever it is re-made.’ - Richard Long[12]
At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a folly to the east of the house. Long's land art consists of a circle of Cornish slate at the end of a path mown through the grass.[13]
A permanent installation is on view in the main lobby of Hearst Tower (New York City) entitled Riverlines. Completed during the summer of 2006 and the biggest wall work he had ever made - about 35 x 50 feet (11 x 15 meters).[14]
Another permanent installation, Planet Circle (1991), can be seen in museum De Pont in Tilburg, The Netherlands.
He is represented by the James Cohan Gallery, located in New York City.
[edit]Solo Exhibitions

2009 Richard Long: Heaven and Earth, Tate Gallery, UK
2009 Richard Long Exhibition no 277, Haunch of Venison, Berlin, Germany
2008 Richard Long, Galleria Lorcan O'Neil, Rome, Italy
2008 Musée d'Art Moderne et d'Art Contemporain, Nice, France
2007 Richard Long: Not Vital, Galerie Tschudi, Zuoz, Switzerland
2007 Richard Long: Walking and Marking, National Galleries of Scotland, Edinburgh
2006 Richard Long, Lismore Castle, Lismore, Ireland
2006 Richard Long: The Path is the Place is the Line, San Francisco Museum of Modern Art, San Francisco, CA
2005 Galleria Lorcan O'Neill, Rome, Italy
2004 Richard Long: The Human Touch - O toque humano, Galeria Mário Sequeira, *2004 Braga Kukje Gallery, Seoul, Korea
2003 Galleria Lorcan O'Neill, Rome, Italy
2003 Richard Long: Here and Now and Then, Haunch of Venison, London, UK
2002 A Moving World, Tate St. Ives
2002 James Cohan Gallery, New York
2001 On Site: Richard Long, Milwaukee Art Museum, Milwaukee, MI
2000 Royal West of England Academy, Bristol, UK
2000 Guggenheim Bilbao, Bilbao, Spain
2000 James Cohan Gallery, New York, NY
2000 The Public Art Fund, New York Projects, New York, NY
1999 Kunstverein Hannover, Hannover, Germany
1999 Bernier/Eliades, Athens, Greede
1998 Yorkshire Sculpture Park, Bretton Hall, Yorkshire, Wakefield, UK
1997 The Henry Moore Institute, Leeds, UK
1997 Benesse Museum of Contemporary Art, Naoshima, Japan
1997 Bristol City Museum and Art Gallery, Bristol, UK
1996 The National Museum of Modern Art, Kyoto, Japan
1996 Modern Art Museum of Fort Worth, Texas
1995 Sala de Exposiciones de la Diputacion de Huesca, Spain
1995 Anthony d'Offay Gallery, London, UK
1995 Konrad Fischer, Düsseldorf, Germany
1994 Kunstsammlung Nordrhein Westfalen, Düsseldorf, Germany
1994 Philadelphia Museum of Art, Philadelphia, PA
1994 São Paulo Biennale, São Paulo, Brazil
1994 Museum of Contemporary Art, Sydney, Australia
1994 ARC, Musee d'Art Moderne de la Ville de Paris, Paris, France
1992 Jean Bernier Gallery, Athens, Germany
1992 Konrad Fischer Gallery, Düsseldorf, Germany
1991 Tate Gallery Liverpool, Liverpool, UK
1991 Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt, Germany
1991 Hayward Gallery, London, UK
1991 Scottish National Gallery of Modern Art, Edinburgh, Scotland
1990 Arnolfini Gallery, Bristol, UK
1990 Tate Gallery, London, UK
1990 Magasin 3 Konsthall, Stockholm, Sweden
1989 Kunstverein St Gallen, St. Gallen, Switzerland
1989 Jean Bernier Gallery, Athens, Greece
1989 Sperone Westwater Gallery, New York, NY
1989 Henry Moore Sculpture Trust Studio, Dean Clough, Halifax, Nova Scotia
1988 Konrad Fischer Gallery, Düsseldorf
1988 Neue Galerie – Sammlung Ludwig, Aachen
1988 Anthony d'Offay Gallery, London, UK
1987 Musee Rath, Geneva, Switzerland
1987 Donald Young Gallery, Chicago, IL
1987 Jean Bernier Gallery, Athens, Greece
1986 Palacio de Cristal, Madrid, Spain
1986 Gallery Crousel-Hussenot, Paris, France
1986 Solomon R. Guggenheim Museum, New York, NY
1985 Gallery Buchmann, Basel, Switzerland
1985 Anthony d'Offay Gallery, London, UK
1985 Malmo Konsthall, Malmo
1985 Padiglione d'Arte Contemporanea, Milan, Italy
1984 Coracle Press, London, UK
1984 Dallas Museum of Art, Dallas, TX
1984 Anthony d'Offay Gallery, London, UK
1984 Konrad Fischer Gallery, Düsseldorf
1983 Arnolfini Gallery, Bristol, UK
1983 Anthony d'Offay Gallery, London, UK
1983 Art Agency Tokyo, Tokyo, Japan
1982 Art and Project Gallery, Amsterdam, Netherlands
1982 Sperone Westwater Fischer Gallery, New York, NY
1982 National Gallery of Canada, Ottawa, Canada
1981 Sperone Westwater Fischer Gallery, New York, NY
1981 Konrad Fischer Gallery, Düsseldorf, Germany
1981 Anthony d'Offay Gallery, London, UK
1981 CAPC, Musee d'Art Contemporain deBordeaux, Bordeaux, France
1980 Karen and Jean Bernier Gallery, Athens, Greece
1980 Fogg Art Museum, Harvard University, Cambridge, MA
1979 Anthony d'Offay Gallery, London, UK
1979 Museum of Modern Art, Oxford, UK
1978 Art and Project Gallery, Amsterdam, Netherlands
1978 Sperone Westwater Fischer Gallery, New York, NY
1978 Austellungsraum Ulrich Ruckriem, Hamburg, Germany
1977 Whitechapel Art Gallery, London, UK
1977 Lisson Gallery, London, UK
1977 Kunsthalle, Berne
1977 National Gallery of Victoria, Melbourne, Australia
1976 Gian Enzo Sperone Gallery, Rome, Italy
1976 British Pavilion, Venice Biennale, Venice, Italy
1976 Arnolfini Gallery, Bristol, UK
1976 Sperone Westwater Fischer Gallery, New York, NY
1975 Konrad Fischer Gallery, Düsseldorf, Germany
1974 John Weber Gallery, New York, NY
1974 Scottish National Gallery of Modern Art, Edinburgh, Scotland
1973 Lisson Gallery, London, UK
1973 Wide White Space, Antwerp, Belgium
1973 Konrad Fischer Gallery, Düsseldorf, Germany
1973 Stedelijk Museum, Amsterdam, Netherlands
1972 The Museum of Modern Art Projects, New York, NY
1972 Yvon Lambert Gallery, Paris, France
1971 Gian Enzo Sperone Gallery, Torino, Italy
1971 Art and Project Gallery, Amsterdam, Netherlands
1971 Whitechapel Art Gallery, London, UK
1971 Museum of Modern Art, Oxford, UK
1970 Konrad Fischer Gallery, Düsseldorf, Germany
1970 Stadtisches Museum, Monchengladbach
1970 Dwan Gallery, New York
1969 John Gibson Gallery, New York, NY
1969 Konrad Fischer Gallery, Düsseldorf, Germany
1969 Museum Haus Lange, Krefeld
1969 Yvon Lambert Gallery, Paris, France
1969 Konrad Fischer Gallery, Düsseldorf, Germany

Louise Nevelson (August 23, 1899 – April 17, 1988) was an American sculptor known for her monumental, monochromatic, wooden wall pieces and outdoor sculptures. Born in Czarist Russia, she emigrated with her family to the United States in the early 20th century when she was three years old. Nevelson learned English at school, as she spoke Yiddish at home. By the early 1930s she was attending art classes at the Art Students League of New York, and in 1941 she had her first solo exhibition. A student of Hans Hofmann and Chaim Gross, Nevelson experimented with early conceptual art using found objects, and dabbled in painting and printing before dedicating her lifework to sculpture. Usually created out of wood, her sculptures appear puzzle-like, with multiple intricately cut pieces placed into wall sculptures or independently standing pieces, often 3-D. A figure in the international art scene, Nevelson was showcased at the 31st Venice Biennale. Her work is seen in major collections in museums and corporations. Louise Nevelson remains one of the most important figures in 20th-century American sculpture.
Contents [hide]
1 Early personal life
2 Artistic career
2.1 1930s
2.2 First exhibitions and the 1940s
2.3 Mid-career
2.4 Later career and life
3 Style and works
4 Legacy
4.1 Feminism and Nevelson's influence on feminist art
5 See also
6 Notes
7 References
8 Further reading
9 External links
[edit]Early personal life

Nevelson (fourth from left) posing for a class portrait with her classmates, 1913, unidentified photographer. Louise Nevelson papers, Archives of American Art, Smithsonian Institution.
Louise Nevelson was born Leah Berliawsky in 1899 in Perislav, Kiev Oblast, Russian Empire, to Minna[2][3] Sadie[4] and Isaac Berliawsky,[3] a contractor and lumber merchant.[4] Even though the family lived comfortably, Nevelson's relatives had begun to leave the Russian Empire for America in the 1880s. The Berliawskys had to stay behind as Isaac, the youngest brother, had to care for his parents. While still in Europe, Minna gave birth to two of Nevelson's siblings: Nathan (born 1898) and Anita (1902).[5] On his mother's death,[5] Isaac moved to the United States in 1902.[4] After he left, Minna and the children moved to the Kiev area. According to family lore, young Nevelson was so forlorn about her father's departure that she became mute for six months.[5]
In 1905 Minna and the children emigrated to the United States, where they joined Isaac in Rockland, Maine.[3] Isaac initially struggled to establish himself there, suffering from depression while the family settled into their new home. He worked as a woodcutter before opening a junkyard.[5] Eventually he became a successful lumberyard owner and realtor.[4] The family had another child, Lillian, in 1906.[5] Nevelson was very close to her mother, who suffered from depression, a condition believed to be brought on by the family's migration from Russia and their minority status as a Jewish family living in Maine. Minna overly compensated for this, dressing herself and the children up in clothing "regarded as sophisticated in the Old Country".[5] Her mother wore flamboyant outfits with heavy make-up; Nevelson described her mother's "dressing up" as "art, her pride, and her job", also describing her as someone who should have lived "in a palace".[2]
Nevelson's first experience of art was at the age of nine at the Rockland Public Library, where she saw a plaster cast of Joan of Arc.[6] Shortly thereafter she decided to study art, taking drawing in high school, where she also served as basketball captain.[2][3] She painted watercolor interiors, in which furniture appeared molecular in structure, rather like her later professional work. Female figures made frequent appearances. In school, she practiced her English, her second language, as Yiddish was spoken at home.[2][5] Unhappy with her family's economic status, language differences, the religious discrimination of the community, and her school, Nevelson set her sights on moving to high school in New York.[7]
She graduated from high school in 1918,[3] and began working as a stenographer at a local law office. There she met Bernard Nevelson, co-owner with his brother Charles of the Nevelson Brothers Company, a shipping business. Bernard introduced her to his brother, and Charles and Louise Nevelson were married in June 1920 in a Jewish wedding at the Copley Plaza Hotel in Boston. Having satisfied her parent's hope that she would marry into a wealthy family, she and her new husband moved to New York City,[7] where she began to study painting, drawing, singing, acting and dancing.[4] She also became pregnant, and in 1922 she gave birth to her son Myron (later called Mike), who grew up to be a sculptor.[2][4] Nevelson studied art, despite the disapproval of her parents-in-law. She commented: "My husband's family was terribly refined. Within that circle you could know Beethoven, but God forbid if you were Beethoven."[7]
In 1924 the family moved to Mount Vernon, New York, a popular Jewish area of Westchester County. Nevelson was upset with the move, which removed her from city life and her artistic environment.[7] During the winter of 1932–1933 she separated from Charles, unwilling to becoming the socialite wife he expected her to be.[4] She never sought financial support[4] from Charles, and in 1941 the couple divorced.[3]
[edit]Artistic career

Starting in 1929, Nevelson studied art full-time under Kenneth Hayes Miller and Kimon Nicolaides at the Art Students League.[3] Nevelson credited an exhibition of Noh kimonos at the Metropolitan Museum of Art as a catalyst for her to study art further.[2] In 1931 she sent her son Mike to live with family and went to Europe, paying for the trip by selling a diamond bracelet that her now ex-husband had given her on the occasion of Mike's birth.[2] In Munich she studied with Hans Hofmann[4] before visiting Italy and France. Returning to New York in 1932 she once again studied under Hofmann, who was serving as a guest instructor at the Art Students League. She met Diego Rivera in 1933 and worked as his assistant on his mural Man at the Crossroads at Rockefeller Plaza. The two had an affair which caused a rift between Nevelson and Rivera's wife, Frida Kahlo, an artist Nevelson greatly admired.[2] Shortly thereafter, Nevelson started taking Chaim Gross's sculpture classes at the Educational Alliance. She continued to experiment with other artistic mediums, including lithography and etching, but decided to focus on sculpture. Her early works were created from plaster, clay and tattistone. During the 1930s Nevelson began exhibiting her work in group shows. In 1935, she taught mural painting at the Madison Square Boys and Girls Club in Brooklyn as part of the Works Progress Administration (WPA). She worked for the WPA in the easel painting and sculpture divisions until 1939.[3] For several years, the impoverished Nevelson and her son walked through the streets gathering wood to burn in their fireplace to keep warm; the firewood she found served as the starting point for the art that made her famous.[2] Her work during the 1930s explored sculpture, painting and drawing. Early ink and pencil drawings of nudes show the same fluidity seen in the works of Henri Matisse. Nevelson also created terra-cotta semi-abstract animals and oil paintings.[8]
[edit]First exhibitions and the 1940s

Clown tight rope walker by Louise Nevelson, 1942? / John D. Schiff, photographer. Louise Nevelson papers, Archives of American Art, Smithsonian Institution.
In 1941, Nevelson had her first solo exhibition at Nierendorf Gallery. Gallery owner Karl Nierendorf represented her until his death in 1947. During her time at Nierendorf, Nevelson came across a shoeshine box owned by local shoeshiner Joe Milone. She displayed the box at the Museum of Modern Art, bringing her the first major attention she received from the press. An article about her appeared in Art Digest in November 1943.[9] In the 1940s, she began producing Cubist figure studies in materials such as stone, bronze, terra cotta, and wood. In 1943, she had a show at Norlyst Gallery called "The Clown as the Center of his World" in which she constructed sculptures about the circus from found objects. The show was not well received, and Nevelson stopped using found objects until the mid-1950s.[3] Despite poor reception, Nevelson's works at this time explored both figurative abstracts inspired by Cubism[8] and the exploitative and experimental influence of Surrealism. The decade provided Nevelson with the materials, movements, and self-created experiments that would mold her signature modernist style in the 1950s.[10]
During the 1950s, Nevelson exhibited her work as often as possible. Yet despite awards and growing popularity with art critics, she continued to struggle financially. To make ends meet she began teaching sculpture classes in adult education programs in the Great Neck public school system.[3] Her own work began to grow to monumental size, moving beyond the human scale sized works she had been creating during the early 1940s. Nevelson also visited Latin America, and discovered influences for her work in Mayan ruins and the steles of Guatemala.[10] In 1955 Nevelson joined Colette Roberts' Grand Central Modern Gallery, where she had numerous one-woman shows. There she exhibited some of her most notable mid-century works: Bride of the Black Moon, First Personage, and the exhibit "Moon Garden + One", which showed her first wall piece, Sky Cathedral, in 1958.[3] The 1958 series of exhibitions were described by critic Hilton Kramer as "remarkable and unforgettable."[11] That year the Museum of Modern Art purchased one of Nevelson's Sky Cathedral works, and in 1959 Nevelson was included in MoMA's Sixteen Americans exhibition.[12] During this period, she painted her wood black and put on entirely black shows.[3] In the early 1960s, she began creating white and gold pieces, and enclosing her small sculptures in wooden boxes.[3] The change in scale of her sculptures, the influence of Latin American ancient art, and her gallery activity during this time is credited with bringing "Nevelson's sculpture in league with the grand scale of Abstract Expressionist painting, as well as the earlier mural painting of Rivera."[10]
From 1957 to 1958, she was president of the New York Chapter of Artists' Equity and in 1958 she joined the Martha Jackson Gallery, where she was guaranteed income and became financially secure. That year, she was photographed and featured on the cover of Life.[13] In 1960 she had her first one-woman show in Europe at Galerie Daniel Cordier in Paris. Later that year a collection of her work, grouped together as "Dawn's Wedding Feast", was included in the group show, "Sixteen Americans", at the Museum of Modern Art alongside Robert Rauschenberg and Jasper Johns. In 1962 she made her first museum sale to the Whitney Museum of American Art, who purchased the black wall, Young Shadows. That same year, her work was selected for the 31st Venice Biennale and she became national president of Artists' Equity, serving until 1964.[3]
In 1962 she left Martha Jackson Gallery, had a brief stint at the Sidney Janis Gallery, and then joined Pace Gallery in the fall of 1963. Nevelson had shows at Pace about every two years until the end of her career. In 1967 the Whitney Museum hosted the first retrospective of Nevelson's work, showing over one hundred pieces, including drawings from the 1930s and contemporary sculptures.[3] In 1964 she created two works: Homage to 6,000,000 I and Homage to 6,000,000 II as a tribute to victims of The Holocaust.[14] Nevelson hired several assistants over the years: Teddy Haseltine, Tom Kendall, and Diana Mackown, who helped in the studio and handled daily affairs. By this time, Nevelson had solidified commercial and critical success.[3]
[edit]Later career and life
Nevelson continued to utilize wood in her sculptures, but also experimented with other materials such as aluminium, plastic and metal. In the fall of 1969 she was commissioned by Princeton University to create her first outdoor sculpture.[3] After completion of her first outdoor sculptures, Nevelson stated: "Remember, I was in my early seventies when I came into monumental outdoor sculpture ... I had been through the enclosures of wood. I had been through the shadows. I had been through the enclosures and come out into the open." Nevelson also praised new materials like plexiglas and cor-ten steel, which she described as a "blessing".[15] She embraced the idea of her works being able to withstand climate change and the freedom in moving beyond limitations in size. These public artworks were created by the Lippincott Foundry. Nevelson's public art commissions were a monetary success, but art historian Brooke Kamin Rapaport states that these pieces were not Nevelson's strongest works, and that Nevelson's "intuitive gesture" is not evident in the large steel works.[16]
In 1973 the Walker Art Center curated a major exhibition of her work, which traveled for two years. In 1975 she designed the chapel of St. Peter's Lutheran Church in midtown Manhattan.[3] When asked about her role as a Jewish artist creating Christian-themed art, Nevelson stated that her abstract work transcended religious barriers.[14] During the last half of her life, Nevelson solidified her fame and her persona, cultivating a personal style for her "petite yet flamboyant" self[17] that contributed to her legacy: dramatic dresses, scarves and large false eyelashes.[1] When Alice Neel asked Nevelson how she dressed so beautifully, Nevelson replied "Fucking, dear, fucking", in reference to her sexually liberated lifestyle. The designer Arnold Scaasi created many of her clothes.[2] Nevelson died on April 17, 1988.[3]
[edit]Style and works

Louise Nevelson's hands at work, between 1964 and 1975, Lewis Brown, photographer. Louise Nevelson papers, Archives of American Art, Smithsonian Institution.
When Nevelson was developing her style, many of her artistic colleagues – Alexander Calder, David Smith, Theodore Roszak – were welding metal to create their large-scale sculptures. Nevelson decided to go in the opposite direction, exploring the streets for inspiration and finding it in wood.[13] Nevelson's most notable sculptures are her walls; wooden, wall-like collage driven reliefs consisting of multiple boxes and compartments that hold abstract shapes and found objects from chair legs to balusters.[18] Nevelson described these immersive sculptures as "environments".[11] The wooden pieces were also cast-off scraps, pieces found in the streets of New York.[19] While Marcel Duchamp caused uproar with his Fountain, which was not accepted as "art" at the time of its release due to Duchamp's attempt to mask the urinals true form, Nevelson took found objects and by spray painting them she disguised them of their actual use or meaning.[10] Nevelson called herself "the original recycler" owing to her extensive use of discarded objects, and credited Pablo Picasso for "giving us the cube" that served as the groundwork for her cubist-style sculpture. She found strong influence in Picasso and Hofmann's cubist ideals, describing the Cubist movement as "one of the greatest awarenesses that the human mind has ever come to."[8] She also found influence in Native American and Mayan art, dreams, the cosmos and archetypes.[2]
As a student of Hans Hofmann she was taught to practice her art with a limited palette, using colors such as black and white, to "discipline" herself. These colors would become part of Nevelson's repertoire.[8] She spray painted[19] her walls black until 1959.[18] Nevelson described black as the "total color" that "means totality. It means: contains all ... it contained all color. It wasn't a negation of color. It was an acceptance. Because black encompasses all colors. Black is the most aristocratic color of all. The only aristocratic color ... I have seen things that were transformed into black, that took on greatness. I don't want to use a lesser word."[2] In the 1960s she began incorporating white and gold into her works.[18] Nevelson said that white was the color that "summoned the early morning and emotional promise." She described her gold phase as the "baroque phase", inspired by the idea being told as a child that America's streets would be "paved with gold", the materialism and hedonism of the color, the sun, and the moon. Nevelson revisited the Noh robes and the gold coin collections at the Metropolitan Museum of Art for inspiration.[20]
Nevelson explored three themes in her work: complicated past, factious present, and anticipated future.[19] A common symbol that appears in Nevelson's work is the bride, as seen in Bride of the Black Moon (1955). The symbol of the bride referred to Nevelon's own escape from matrimony in her early life, and her own independence as a woman throughout the rest of her life.[21] Her Sky Cathedral works often took years to create; Sky Cathedral: Night Wall, in the collection of the Columbus Museum of Art, took 13 years to build in her New York City studio. On the Sky Cathedral series, Nevelson commented: "This is the Universe, the stars, the moon – and you and I, everyone."[18]

Louise Nevelson, ca. 1979, Basil Langton, photographer. Louise Nevelson papers, Archives of American Art, Smithsonian Institution.
Louise Nevelson constructed her sculpture much as she constructed her past: shaping each with her legendary sense of self as she created an extraordinary iconography through abstract means. – The Jewish Museum, 2007[19]

A sculpture garden, Louise Nevelson Plaza, is located in downtown New York City and features a collection of works by Nevelson.[4] Nevelson donated her papers in several installments from 1966 to 1979. They are fully digitized and in the collection of the Archives of American Art.[3] The Farnsworth Art Museum, in Nevelson's childhood home of Rockland, Maine, houses the second largest collection of her works, including jewelry she designed.[6] In 2000, the United States Postal Service released a series of commemorative postage stamps in Nevelson's honor.[22] The following year, friend and playwright Edward Albee wrote the play Occupant as a homage to the sculptor. The show opened in New York in 2002 with Anne Bancroft playing Nevelson, but it never moved beyond previews owing to Bancroft's illness. Nevelson's distinct and eccentric image has been documented by photographers such as Robert Mapplethorpe, Richard Avedon, Hans Namuth and Pedro E. Guerrero.[2] Nevelson has a place setting in Judy Chicago's 1974–1979 masterpiece The Dinner Party.[23]
Upon Nevelson's death her estate was worth at least $100 million. Her son, Mike Nevelson, removed 36 sculptures from her house. Documentation showed that Nevelson had bequeathed these works, worth millions, to her friend and assistant of 25 years Diana MacKown, yet Mike Nevelson claimed otherwise. Proceedings began about the estate and will, which Mike Nevelson claimed did not mention MacKown. There was talk of a potential palimony case, but despite public speculation that the two women were lovers, MacKown maintained that she had never had a sexual relationship with Nevelson, as did Mike Nevelson.[24]
[edit]Feminism and Nevelson's influence on feminist art
I'm not a feminist. I'm an artist who happens to be a woman. – Louise Nevelson[7]
Louise Nevelson has been a fundamental key in the feminist art movement. Credited with triggering the examination of femininity in art, Nevelson challenged the vision of what type of art women would be creating with her dark, masculine and totem-like artworks.[1] Nevelson believed that art reflected the individual, not "masculine-feminine labels", and chose to take on her role as an artist, not specifically a female artist.[25] Reviews of Nevelson's works in the 1940s wrote her off as just a woman artist. A reviewer of her 1941 exhibition at Nierendorf Gallery stated: "We learned the artist is a woman, in time to check our enthusiasm. Had it been otherwise, we might have hailed these sculptural expressions as by surely a great figure among moderns." Another review was similar in its sexism: "Nevelson is a sculptor; she comes from Portland, Maine. You'll deny both these facts and you might even insist Nevelson is a man, when you see her Portraits in Paint, showing this month at the Nierendorf Gallery."[26]
Even with her influence upon future generations of feminist artists, Nevelson's opinion of discrimination within the art world bordered on the belief that artists who were not gaining success based on gender suffered from a lack of confidence. When asked by Feminist Art Journal if she suffered from sexism within the art world, Nevelson replied "I am a woman's liberation."[2

Andrew Rogers is a sculptor whose works may be found in many plazas and buildings around the world. He is a leading contemporary artist.
Rogers is the creator of the world’s largest contemporary land art undertaking. Titled “Rhythms of Life,” the project commenced in 1998 and at present comprises 48 massive stone structures (Geoglyphs) across 13 countries in seven continents and has involved over 6,700 people.
These Geoglyphs range in size up to 40,000 sq m/430,560 sq ft – and are commanding worldwide attention. They are situated in the Arava Desert - Israel, the Atacama Desert - Chile, the Bolivian Altiplano, Kurunegala - Sri Lanka, Victoria -Australia, the Gobi Desert - China, Akureyri - Iceland, Rajasthan - India, Cappadocia - Turkey, Jomson and Pokhara in Nepal, Spissky and the High Tatras in Slovakia, the Mohave desert in the USA, near the Chyulu Hills in Kenya and an ephemeral installation in Antarctica near the Dakshin Gangotri Glacier. Individually and together the Geoglyphs form a unique set of drawings upon the Earth stretching around the globe, connecting people with history and heritage.
Of particular note is the site in Cappadocia, Turkey, where in September 2011 Rogers completed the “Time and Space” geoglyph park. The thirteen structures comprise more than 10,500 tons of stone and, in total, the walls measure approximately 4 miles (7 km) in length. The structures that lie furthest apart are separated by a distance of 1.25 miles (2 km).
The title of the project, the “Rhythms of Life” is derived from Rogers’ early bronze sculptures.
Rogers’ works have been presented to leading world figures such as John Howard, Vincent Fox, Efraim Katzir, Richard Butler and Simon Wiesenthal. Andrew Rogers lives in Melbourne Australia and is a full time artist.
[edit]Rhythms of Life project

Bunjil geoglyph at the You Yangs, Lara, Australia, by Andrew Rogers. The creature has a wing span of 100 metres and approximately 1500 tons of rock was used to construct it.
Rogers' “Rhythms of Life” project is the largest contemporary land-art undertaking in the world, forming a chain of stone sculptures, or geoglyphs, around the globe – 13 sites – in disparate exotic locations (from below sea level and up to altitudes of 4,300 m/14,107 ft). Up to three Geoglyphs (ranging in size up to 40,000 sq m/430,560 sq ft) are located in each site. The project has involved over 6,700 people in 13 countries across seven continents.
Monumental geoglyphs have been constructed in thirteen countries since 1998: Israel, Chile, Bolivia, Sri Lanka, Australia, Iceland, China, India, Turkey, Nepal, Slovakia,the USA and Kenya which are part of a chain of 13 sites created around the world. Outside the City of Melbourne, in Geelong, a “Rhythms of Life” site was commissioned in association with the Commonwealth Games 2006. In China the “Rhythms of Life” walls stretch 2.1 km/1.3 miles.
To date, the project has involved over 6,700 people on seven continents (550 in Bolivia, 852 in Sri Lanka, 1000 in China and in India, 450 in Nepal and 1,270 in Kenya).
According to Hannes Sigurdsson, Director of the Akureyri Art Museum in Iceland1,
“The Rhythms of Life project by Australian artist Andrew Rogers is the largest contemporary land-art project in the world, forming a chain of stone sculptures, or geoglyphs, around the globe. Monumental geoglyphs have been constructed in ten countries to date: Israel, Chile, Bolivia, Sri Lanka, Australia, Iceland, China, India, Turkey and Nepal. Future locations will include the United States, United Kingdom, Eastern Europe and Africa. By completion, the project will have involved over 5,000 people on six continents. The Rhythms of Life sculptures are optimistic metaphors for the eternal cycle of life and regeneration, expressive and suggestive of human striving and introspection. The geoglyphs embrace a wide cultural vision that links memory and various symbols derived from ancient rock carvings, paintings and legends in each region; they punctuate time and extend history into the distant future while delving into the depths of our heritage in pursuit of the spiritual. The exhibition at the Akureyri Art Museum in Iceland is the first general survey of the project.”
Lilly Wei, an independent curator based in New York writes:2
“Rogers believes that accelerating environmental changes with their potentially catastrophic consequences are much less avoidable these days and therefore much more heeded. Hopefully, he is right. Since the inception of his geoglyphs, it has been one of the artist's purposes to point to the irreplaceable beauties of the earth, both existent and man-made. By creating contemporary megaliths as markers, Rogers insists on the need to preserve this natural and artistic heritage for ourselves and for the future.”
1, 2Catalogue: Rhythms of Life 1-V11 ISBN 978-9979-9632-7-1, 2007.
Three good examples of 'The Rhythms of Life' are:
1 "The Ancients" This geoglyph is derived from a 6000 year old "pictureglyph" known as "El Señor de los Báculos" located in the Rio Loa area near Calama, Chile. The geoglyph is located at an altitude of 2469 m (8100 ft) above sea level, on the Llano de la Paciencia (Plain of Patience), 13 km from the town of San Pedro de Atacama.
The stone walls forming this geoglyph, constructed from volcanic rock and clay, are 1200 m (3936 ft) in length.
This image forms part of the pastoral cosmology. The sun cuts across this "pictureglyph" at the solstice.
2 "The Rhythms of Life" This geoglyph is located at 2603 m (8500 ft) on the Cordillera de la Sal (Salt Mountains), which rise from the Llano de la Paciencia, and form the head of the Valle de la Luna (Valley of the Moon), a geological formation of lunar appearance, approximately 14 km from the town of San Pedro de Atacama.
3 "Ancient Language" This geoglyph is about 80 m long by 2.8 m high, and is inspired by a 4800 year old petroglyph iconography, carved into stone in the surrounding area, Yerbas Buenas, 20 km from the Rio Grande.he now lives in england

Solo exhibitions & displays
2011 Chalabi Art Gallery, Istanbul, Turkey: Andrew Rogers Time and Space
2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth
2011 18th Street Arts Center, Santa Monica, USA: Time and Space
2009 New York, USA: Andrew Rogers: Odysseys and Sitings (1998–2008)
2008 William Mora Galleries, Richmond, Australia
2007 Poprad, Slovakia: Rhythms of Life I-VII
2007 Akureyri Art Museum, Akureyri, Iceland: Rhythms of Life I-VII
2007 James Gray Gallery, Santa Monica, USA
2007 William Mora Gallery, Richmond, Australia
2005 Victorian Arts Centre, Melbourne, Australia
2004 Grounds for Sculpture, New Jersey, U.S.A.
2004 Gomboc Sculpture Park, W.A. Australia
2003 Deakin University "Rhythms of Life" Survey Exhibition, Victoria, Australia
2002 Auronzo di Cadore, Italy
2002 Le Venezie, Treviso, Italy
2002 Mudima Foundation, Milan , Italy
1999 Boritzer Gray Hamano, Santa Monica, California, USA "Rhythms of Life"
1998 Embassy of Australia, Washington, United States of America, "Rhythms of Life"
1997 Lauraine Diggins Fine Art, Victoria, Australia, "Rhythms of Life"
1994 Meridian Gallery, Victoria, Australia "Of Freedom & Will"
1993 Meridian Gallery, Victoria, Australia "Mankind in the Gesture of an Individual"
Selected group exhibitions
2011 The Sculpture Foundation and the City of West Hollywood, California USA: Elemental
2011 Scope Basel, Switzerland
2011 Rassegna Internazionale Di Scultura Di Roma
2010 Art Basel, Miami, USA
2010 Scope Basel, Switzerland
2010 Art Karlsruhe, Germany
2009 Yeshiva University Museum, New York, USA
2008 Soho Galleries, Sydney, NSW, Australia
2007 Soho Galleries, Sydney, NSW, Australia
2007 Corniche Art Fair, Venice, Italy
2006 Soho Galleries, Sydney, NSW, Australia
2005 Soho Galleries, Sydney, NSW, Australia
2004 Soho Galleries, Sydney, NSW, Australia
2004 Geelong Art Gallery, Victoria, Australia
2003 Soho Galleries, Sydney, NSW, Australia
2002 Art Singapore - Contemporary Asian Art, Singapore
2002 Soho Galleries, Sydney, NSW, Australia
2001 Sofa, Chicago, USA
1998 Grounds for Sculpture, New Jersey, USA
1998 Latrobe University, Victoria, Australia
1997 Sculpture at Heidelberg Medical Centre, Victoria, Australia
1994 4th Australian Contemporary Art Fair
Awards - finalist
2011 Sculpture by the Sea, Sydney, NSW, Australia
2011 Sculpture by the Sea, Aarhus, Denmark
2010 Sculpture by the Sea, Sydney, NSW, Australia
2007 Contempora2, Sculpture Award at Docklands, Melbourne, Australia
2007 Sculpture by the Sea, Cottesloe, WA, Australia
2006 Sculpture by the Sea
2005 McClelland Contemporary Sculpture Survey & Award
2004 Chicago Navy Pier Walk
2004 Helen Lempriere National Sculpture Award
2003 McClelland Survey and Sculpture Park,Victoria, Australia
2002 Sculpture by the Sea, Sydney, NSW, Australia

George Segal (November 26, 1924 – June 9, 2000) was an American painter and sculptor associated with the Pop Art movement. He was presented with a National Medal of Arts in 1999.
Contents [hide]
1 Works
2 Life
3 Films
4 Honors and awards
5 See also
6 References
6.1 Notes
6.2 Bibliography
7 External links

Segal's Street Crossing (bronze, 1992) in permanent installation at Montclair State University
Although Segal started his art career as a painter, his best known works are cast lifesize figures and the tableaux the figures inhabited. In place of traditional casting techniques, Segal pioneered the use of plaster bandages (plaster-impregnated gauze strips designed for making orthopedic casts) as a sculptural medium. In this process, he first wrapped a model with bandages in sections, then removed the hardened forms and put them back together with more plaster to form a hollow shell. These forms were not used as molds; the shell itself became the final sculpture, including the rough texture of the bandages. Initially, Segal kept the sculptures stark white, but a few years later he began painting them, usually in bright monochrome colors. Eventually he started having the final forms cast in bronze, sometimes patinated white to resemble the original plaster.
Segal's figures had minimal color and detail, which gave them a ghostly, melancholic appearance. In larger works, one or more figures were placed in anonymous, typically urban environments such as a street corner, bus, or diner. In contrast to the figures, the environments were built using found objects. An example of this work is the sculpture, Chance Meeting, which sold in 2001 for US $600,000. It was one of his highest selling works. The work was created in 1989 and was cast in bronze.[1]

From the 1950s until his death Segal lived on a chicken farm in South Brunswick Township, New Jersey.[2] He only ran the chicken farm for a few years, but he used the space to hold annual picnics for his friends from the New York art world. His location in central New Jersey also led to friendships with professors from the Rutgers University art department. Segal introduced several Rutgers professors to John Cage, and took part in Cage's legendary experimental composition classes. Allan Kaprow coined the term Happening to describe the art performances that took place on Segal's farm in the Spring of 1957. Events for Yam Fest also took place there. Segal was married to Helen Segal from 1946 until his death in 2000.

George Segal (1979). Directed by Michael Blackwood. Documentary about Segal, who discusses and is shown creating his bronze sculpture Abraham and Isaac, which was originally intended as a memorial for the Kent State shootings of 1970.
George Segal: American Still Life (2001). Directed by Amber Edwards. Documentary about the life and work of the internationally acclaimed sculptor, whose trademark life-size plaster casts are familiar to art lovers and ordinary citizens all over the world. USA Today called him "a cultural icon." Segal's sculptures are in major museums and public spaces throughout the country, from the FDR Memorial in Washington to the Holocaust Memorial in San Francisco. Through scenes of him at work casting a model in his studio, interviews with fellow artists, critics and historians, Segal's own thoughtful analysis, and rare archival footage of the Pop Art movement in the '60s, the documentary tells the story of one man's search for a unique way to express himself.
[edit]Honors and awards

(1992) Lifetime Achievement in Contemporary Sculpture Award, International Sculpture Center, Hamilton, NJ, USA.[3]

Richard Serra (born November 2, 1939) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement.
Contents [hide]
1 Early life and education
2 Work
2.1 Sculpture
2.2 Memorials
2.3 Performance and Video Art
2.4 Prints and Drawings
3 In popular culture
4 Exhibitions
5 Recognition
6 Art market
7 See also
8 References
9 External links
[edit]Early life and education

His father was Spanish native of Mallorca and mother was Russian in Odessa (committed suicide in 1979).[1] Serra was born in San Francisco and he went on to study English literature at the University of California, Berkeley and later at the University of California, Santa Barbara between 1957 and 1961. While at Santa Barbara, he studied art with Howard Warshaw and Rico Lebrun. On the West Coast, he helped support himself by working in steel mills, which was to have a strong influence on his later work. Serra discussed his early life and influences in an interview in 1993. He described the San Francisco shipyard where his father worked as a pipe-fitter as another important influence to his work, saying of his early memory: “All the raw material that I needed is contained in the reserve of this memory which has become a reoccurring dream.”[2]
After studying painting with Josef Albers at the Yale University School of Art and Architecture between 1961 and 1964, Serra continued his training abroad, spending a year each in Florence and Paris. In 1964, he was awarded a Fulbright Scholarship for Rome. Since then, he has lived in New York, where he first used rubber in 1966 and began applying his characteristic work material lead in 1968.[3] In New York, his circle of friends included Carl Andre, Walter De Maria, Eva Hesse, Sol LeWitt, and Robert Smithson.[4]
He is the brother of famed San Francisco trial attorney Tony Serra. Serra lives in Tribeca, New York and on Cape Breton Island in Nova Scotia.

In 1966, Serra made his first sculptures out of nontraditional materials such as fiberglass and rubber.[4] Serra's earliest work was abstract and process-based made from molten lead hurled in large splashes against the wall of a studio or exhibition space. Still, he is better known for his minimalist constructions from large rolls and sheets of metal (COR-TEN-Steel). Many of these pieces are self-supporting and emphasize the weight and nature of the materials. Rolls of lead are designed to sag over time. His exterior steel sculptures go through an initial oxidation process, but after 8–10 years, the patina of the steel settles to one color that will remain relatively stable over the piece's life. Serra often constructs site-specific installations, frequently on a scale that dwarfs the observer. Serra's site-specific works often challenge viewers’ perception of their bodies in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures.[5][6]
In 1981, Serra installed Tilted Arc, a gently curved, 3.5 meter high arc of rusting mild steel in the Federal Plaza in New York City. There was controversy over the installation from day one, largely from workers in the buildings surrounding the plaza who complained that the steel wall obstructed passage through the plaza. A public hearing in 1985 voted that the work should be moved, but Serra argued the sculpture was site specific and could not be placed anywhere else. Serra famously issued an often-quoted statement regarding the nature of site-specific art when he said, "To remove the work is to destroy it." Eventually on 15 March 1989, the sculpture was dismantled by federal workers and taken for scrap. In May 1989 the piece was cut into three parts and consigned to a New York warehouse where it has languished ever since.[7] William Gaddis satirized these events in his 1994 novel A Frolic of His Own.
In 2002, a similar installation titled Vectors was to be built at the California Institute of Technology from the bequest of Eli Broad. The piece, to be four steel plates of similar material as Tilted Arc zig-zagging across one of the few green spaces at the university, met significant opposition by the student body and professors as being a "'derivative” rehash of earlier works, or an 'arrogant' piece that [belied] Institute values."[8] The piece was never installed.
Another famous work of Serra's is the mammoth sculpture Snake, a trio of sinuous steel sheets creating a curving path, permanently located in the largest gallery of the Guggenheim Museum Bilbao. In 2005, the museum mounted an exhibition of more of Serra's work, incorporating Snake into a collection entitled The Matter of Time. The whole work consists of eight sculptures measuring between 12 and 14 feet in height and weighing from 44 to 276 tons.[9]

The Matter of Time at the Guggenheim Museum Bilbao

Richard Serra's Tilted Spheres in Terminal 1 Pier F at Toronto's YYZ airport
He has not always fared so well in Spain, however; also in 2005, the Centro de Arte Reina Sofía in Madrid announced that a 38-tonne sculpture of his had been "mislaid".[10] In a recent development, a duplicate copy is going to be made and displayed in Madrid.[11]
In spring 2005, Serra returned to San Francisco to install his first public work in that city (previous negotiations for a commission fell through) – two 50-foot steel blades in the main open space of the new University of California, San Francisco (UCSF) campus. Weighing 160 tons, placing the work in its Mission Bay location posed serious challenges, since it is, like many parts of San Francisco, built on landfill. In 2000 he installed Charlie Brown, a 60-foot-tall sculpture in the new Gap Inc. headquarters in San Francisco. To encourage oxidation, or rust, sprinklers were initially directed toward the four German-made slabs of steel that make up the work (see External links).
Work similar to that of his in the Netherlands (pictured) can be found in Storm King Art Center in Upstate New York.[12]
From May 7 to June 15, 2008 Richard Serra showed his installation Promenade at the Grand Palais, Paris. "A radical, poetic landscape of steel, minimalist yet full of movement." Serra was the second artist, after Anselm Kiefer, who was invited to fill the 13,500 m² nave of the Grand Palais with a group of new works created specially for the event.
Birmingham City Council is currently considering a proposal for an outdoor installation by Richard Serra in front of their new Library of Birmingham to replace the destroyed Forward sculpture by Raymond Mason in Centenary Square.[13]
In December 2008, after almost 20 years in storage, his steel sculpture Slat was re-anchored in La Défense, the Parisian business district. The sculpture spent five years in a nearby Paris suburb, Puteaux, but in 1989 vandalism and graffiti prompted that town’s mayor to remove it. “Slat” has five 25-ton steel plates that lean on one another to form a tall, angular tepee. because of its weight, officials chose to ground it in a traffic island behind the Grande Arche.
In 1987, Serra created Berlin Junction as a memorial to those who lost their lives to the Nazis' genocide program. First shown at the Martin-Gropius-Bau, the sculpture was installed permanently at the Berliner Philharmonie in 1988. After initially joining with architect Peter Eisenmann to submit a design for Berlin's Memorial to the Murdered Jews of Europe, Serra abruptly pulled out of the project for "personal and professional reasons" in 1998.[14]
[edit]Performance and Video Art
Serra was one of the four performers in the premiere of the Steve Reich piece Pendulum Music on May 27, 1969 at the Whitney Museum of American Art. The other performers were Michael Snow, James Tenney and Bruce Nauman.[citation needed]
Hand Catching Lead (1968) was Serra's first film and features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.[15] In Boomerang (1974), Serra taped Nancy Holt as she talks and hears her words played back to her after they have been delayed electronically.
Serra has made a number of films concerning the manufacture and use of his favorite material, steel. Steelworks is shot inside a German steelworks and includes an interview with a steelworker, while Railroad Turnbridge is a series of shots taken on the Burlington and Northern bridge over the Willamette River near Portland, Oregon, as it opens to let a ship pass. These films can be viewed in a room off the Arcelor gallery in the Guggenheim museum in Bilbao.
He also produced the classic 1973 short film "Television Delivers People", a critique of the corporate mass media with elevator music as the soundtrack.
Serra appears in Matthew Barney's 2002 film Cremaster 3 as Hiram Abiff ("the architect"), and later as himself in the climactic The Order section – the only part of a Cremaster film commercially available on DVD. [16]
[edit]Prints and Drawings
Since 1971, Serra has focused not only on sculptural works, but also on large-scale drawings on paper using various techniques. His drawing material is the paintstick, a wax-like grease crayon. Serra melts several paintsticks to form large pigment blocks. In the mid-1970s, Serra made his first "Installation Drawings" — monumental works on canvas or linen pinned directly to the wall and thickly covered with black paintstick, such as Abstract Slavery, Taraval Beach, Pacific Judson Murphy, and Blank. The drawings Serra has executed since the 1980s continue the experiments with innovative techniques but are less monumental physically.[17] In the late 1980s he explored how to further articulate the tension of weight and gravity by placing pairs of overlapping sheets of paper saturated with paintstick in horizontal and vertical compositions.
Major presentations of Serra’s graphic oeuvre include exhibitions at the Bonnefantenmuseum, Maastricht, in 1990; at Serpentine Gallery, London, in 1992; and at Kunsthaus Bregenz, Bregenz, in 2008. At the 2006 Whitney Biennial, Serra showed a simple litho crayon drawing of an Abu Ghraib prisoner with the caption "STOP BUSH."[18] This image was later used by the Whitney Museum to make posters for the Biennial. The posters featured an altered version of the text that read "STOP B S ." Serra also created a variation on Goya's Saturn Devouring His Son featuring George W. Bush's head in place of Saturn's. This was featured prominently in an ad for the website (now defunct) on the back cover of the July 5, 2004 issue of The Nation.
Colby College recently acquired 150 works on paper by Serra, making it the second largest collection of Serra's work outside of the Museum of Modern Art in New York.
The Metropolitan Museum of Art is currently hosting a retrospective exhibit focusing on Richard Serra's Drawings. April 13, 2011 through August 28, 2011 the exhibit "Richard Serra Drawing: A Retrospective" will be on view and presents a comprehensive overview of Richard Serra's drawings and traces the development of his drawing as an art form independent from yet linked to his sculptural practice.[19]
[edit]In popular culture

The drone band Sunn O))) used "Out-of-Round X" (1999) as the cover of their seventh studio album released in 2009, called Monoliths & Dimensions.
Mugstar have a song on their third album, "Lime", called 'Serra', named after Richard Serra. This was also remixed by Robert Hampson of Loop making it a 39 minute track.
The Vampire Weekend song "White Sky" mentions a "Richard Serra Skate Park"

Serra had his first solo exhibitions at the Galleria La Salita, Rome, 1966, and in the United States at the Leo Castelli Warehouse, New York. The Pasadena Art Museum organized a solo exhibition of Serra’s work in 1970. Serra has since participated in Documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987), in Kassel, the Venice Biennales of 1984 and 2001, and the Whitney Museum of American Art's Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, and 1995.[20] Serra was honored with further solo exhibitions at the Kunsthalle Tübingen, Germany, in 1978; the Musée National d'Art Moderne, Paris, in 1984; the Museum Haus Lange, Krefeld, Germany, in 1985; and the Museum of Modern Art, New York, in 1986. From 1997 to 1998 his Torqued Ellipses (1997) were exhibited at and acquired by the Dia Center for the Arts, New York. In 2005 eight major works by Serra were installed permanently at Guggenheim Museum Bilbao.[21]
In the summer of 2007 the Museum of Modern Art presented a retrospective of Serra's work in New York. Intersection II (1992–1993) and Torqued Ellipse IV (1998) were included in this show along with three new works.[22] The retrospective consisted of 27 of Serra's works, including three large new sculptures made specifically for the second floor of the museum, two works in the garden, and earlier pieces from the 1960s through the 1980s.[23]
A retrospective is an occasion to reflect and take stock, but it’s double edged in that it puts me into a nostalgic relationship to my own history, which I’d rather not dwell upon. The rearview mirror perspective is not one that I’d take if there wasn’t a retrospective pending. I would rather think about the work that I am doing and the work that’s in front of me to do and not have to look over my shoulder. It’s obvious to me that I am not the same person that I was 40 years ago, nor are the issues that I am concerned with the same. A retrospective might give the impression of a seamless linearity of development, but my work does not evolve that way. It evolves in fits and starts. Oftentimes, the solution to a problem leads to an altogether different idea.[23]
Serra continues to produce large-scale steel structures for sites throughout the world, and has become particularly renowned for his monumental arcs, spirals, and ellipses, which engage the viewer in an altered experience of space. He was invited to create a number of artworks in France: Philibert et Marguerite in the cloister of the Musée de Brou at Bourg-en-Bresse (1985), Octagon for Saint Eloi (1991) in the village of Chagny in Burgundy, and Threats of Hell at the CAPC (Centre d'arts plastiques contemporains de Bordeaux) in Bordeaux.[24]

His work was featured on BBC One in "Imagine...Richard Serra: Man of Steel" on Tuesday 25 November 2008 which described him as "Sculptor and giant of modern art Richard Serra discusses his extraordinary life and work. A creator of enormous, immediately identifiable steel sculptures that both terrify and mesmerise, Serra believes that each viewer creates the sculpture for themselves by being within it." Contributors include Chuck Close, Philip Glass and Glenn D Lowry, Director of MoMA. He was interviewed at length by the BBC's Alan Yentob.
Serra was awarded an honorary Doctor of Fine Arts by Williams College in 2008 and by Harvard University in 2010. In 1994, he was honored with the Praemium Imperiale.
[edit]Art market

The record auction price for a Serra sculpture was paid at Sotheby’s in New York in 2008, where 12-4-8, a 1983 work consisting of three steel plates, sold for $1.65 million.[25]

David Roland Smith (March 9, 1906 - May 23, 1965) was an American Abstract Expressionist sculptor and painter, best known for creating large steel abstract geometric sculptures.
Contents [hide]
1 Biography
2 Major works
3 Recent Solo Exhibitions (Selection)
4 Notes
5 See also
6 References
7 Writings
8 External links

David Roland Smith was born on March 9, 1906 in Decatur, Indiana and moved to Paulding, Ohio in 1921, where he attended high school. From 1924-25, he attended Ohio University in Athens (one year) and the University of Notre Dame, which he left after two weeks because there were no art courses. In between, Smith took a summer job working on the assembly line of an automobile factory.
Moving to New York in 1926, he met Dorothy Dehner (to whom he was married from 1927 to 1952) and joined her painting studies at the Art Students League of New York. Among his teachers were the American painter John Sloan and the Czech modernist painter Jan Matulka, who had studied with Hans Hofmann. Matulka introduced Smith to the work of Picasso, Mondrian, Kandinsky, and the Russian Constructivists.
Through the Russian émigré artist John Graham, Smith met avant-garde artists such as Stuart Davis, Arshile Gorky and Willem de Kooning. He also discovered the welded sculptures of Julio González and Picasso, which led to an increasing interest in combining painting and construction. In 1932, he installed a forge and anvil in his studio at the farm in Bolton Landing that he and Dehner had bought a few years earlier. Smith started by making three-dimensional objects from wood, wire, coral, soldered metal and other found materials but soon graduated to using an oxyacetylene torch to weld metal heads, which are probably the first welded metal sculptures ever made in the United States.

Early Smith: Ancient Household of 1945, bronze, in the Hirshhorn Museum and Sculpture Garden
In 1940, the Smiths distanced themselves from the New York art scene and moved permanently to Bolton Landing. Just a year later, Smith sculptures were included in two traveling exhibitions organized by the Museum of Modern Art and were shown at the Whitney Museum of American Art's Annual exhibition in New York.
During World War II, Smith worked as a welder for the American Locomotive Company, assembling locomotives and M7 tanks. He taught at Sarah Lawrence College.[1]
After the war, with the additional skills that he had acquired, Smith released his pent-up energy and ideas in a burst of creation between 1945 and 1946. His output soared and he went about perfecting his own, very personal symbolism.
Traditionally, metal sculpture meant bronze casts, which artisans produced using a mold made by the artist. Smith, however, made his sculptures from scratch, welding together pieces of steel and other metals with his torch, in much the same way that a painter applied paint to a canvas; his sculptures are almost always unique works.
Smith, who often said, "I belong with the painters," made sculptures of subjects that had never before been shown in three dimensions. He made sculptural landscapes (e. g. Hudson River Landscape), still life sculptures (e. g. Head as Still Life) and even a sculpture of a page of writing (The Letter). Perhaps his most revolutionary concept was that the only difference between painting and sculpture was the addition of a third dimension; he declared that the sculptor's "conception is as free as a that of the painter. His wealth of response is as great as his draftsmanship."[2]

David Smith's signature
Smith was awarded the prestigious Guggenheim Fellowship in 1950, which was renewed the following year. Freed from financial constraints, he made more and larger pieces, and for the first time was able to afford to make whole sculptures in stainless steel. He also began his practice of making sculptures in series, the first of which were the Agricolas of 1951-59. He separated from Dehner in 1950, with divorce in 1952.[3]
David Smith represented the United States in the 1951 International Biennale in Sao Paulo, Brazil, and at the Venice Biennial in 1954 and 1958. He gained increasingly recognition, lecturing at universities and participating in symposia; six of his sculptures were included in an exhibition organized by the Museum of Modern Art, New York, that traveled to Paris, Zurich, Düsseldorf, Stockholm, Helsinki, and Oslo in 1953-54; he was given a retrospective exhibition by MoMA in 1957.
Beginning in the mid 1950s, Smith explored the technique of burnishing his stainless steel sculptures with a sander, a technique that would find its fullest expression in his Cubi series (1961–65). The scale of his works continued to increase – Tanktotem III of 1953 is 7’ tall; Zig I from 1961 is 8’; and 5 Ciarcs from 1963 is almost 13’ tall.
Smith’s family was also getting bigger, Smith re-married and had two daughters, Rebecca (born 1954) and Candida (born 1955). He named quite a few of his later works in honor of his children (e.g., Bec-Dida Day, 1963, Rebecca Circle, 1961, Hi Candida, 1965).
The February 1960 issue of Arts magazine was devoted to Smith’s work and later that year he had his first West Coast exhibition, a solo show at the Everett Ellin Gallery in Los Angeles. The following year he rejected a third place award at the Carnegie International, saying “the awards system in our day is archaic.”[4] Also in 1961, The Museum of Modern Art, New York, organized an exhibition of fifty Smith sculptures that traveled throughout the United States until the spring of 1963.
In 1962, the Italian government invited Smith to make sculptures for the Festival of Two Worlds in Spoleto. Given open access to an abandoned steel mill and provided with a group of assistants, he produced an amazing 27 pieces in 30 days. Not yet finished with the themes he developed, he had tons of steel shipped from Italy to Bolton Landing and over the next 18 months he made another 25 sculptures known as the Voltri-Bolton series.
In 1964 he received a Creative Arts Award from Brandeis University and in February 1965 was appointed by Lyndon B. Johnson to the National Council on the Arts. He died in a car crash on May 23 of that year. He was 59 years old.
[edit]Major works

Smith is perhaps best known for the Cubis, which were among the last pieces he completed before his death. The sculptures in this series are made of stainless steel with a hand-brushed finish reminiscent of the gestural strokes of Abstract Expressionist painting. The Cubi works consist of arrangements of geometric shapes, which highlight his interest in balance and the contrast between positive and negative space.
Prior to the Cubis, Smith gained widespread attention for his sculptures often described as “drawings in space.” Originally trained as a painter and draftsman, Smith’s sculptures, such as Hudson River Landscape (1950) and The Letter (1950), blurred the distinctions between sculpture and painting. These works make use of delicate tracery rather than solid form, with a two-dimensional appearance that contradicts the traditional idea of sculpture in the round.
As with many artists from the Modernist period, including Jackson Pollock and Mark Rothko, much of Smith’s early work was heavily influenced by Surrealism. Some of the best examples are seen in the Medals for Dishonor, a series of bronze reliefs that speak out against the atrocities of war. Images from these medals are strange, nightmarish, and often violent. His own descriptions give a vivid picture of the medals and strongly express condemnation of these acts, such as this statement about Propaganda for War (1939–40):
The rape of the mind by machines of death – the Hand of God points to atrocities. Atop the curly bull the red cross nurse blows the clarinet. The horse is dead in this bullfight arena – the bull is docile, can be ridden.[5]
[edit]Recent Solo Exhibitions (Selection)

2011–2012: Touring exhibition David Smith: Cubes and Anarchy
January 28–April 15, 2012: Wexner Center for the Arts. Columbus, OH.
October 6, 2011–January 8, 2012: Whitney Museum of American Art. New York City, NY.
April 3–July 24, 2011: Los Angeles County Museum of Art. Los Angeles, CA.
February–May 28, 2011: David Smith: Paintings and Works on Paper from the 1950s, American Contemporary Art Gallery, Munich, Germany.
February 12–May 15, 2011: David Smith Invents, The Phillips Collection, Washington, D.C.[6]

Tony Smith (September 23, 1912 – December 26, 1980) was an American sculptor, visual artist, architectural designer, and a noted theorist on art. He is often cited as a pioneering figure in American Minimalist sculpture.
Contents [hide]
1 Education
2 Career
3 Public artworks
4 See also
5 References
6 External links

Anthony Peter Smith, "Tony," was born in South Orange, New Jersey to a waterworks manufacturing family started by his grandfather and namesake, A. P. Smith. Tony contracted tuberculosis as a youth and his family constructed an isolation ward in the backyard in an effort to protect his fragile immune system. He was attended to by a nurse to maintain his health and tutors to keep up with his schoolwork. The medicine he was given came in little boxes which he used to form cardboard constructions and when he could, he visited the waterworks factory to marvel at the machines and fabrication processes. After the TB cleared up, Tony attended a Jesuit high school and spent two years at Georgetown University. He was disillusioned and felt no direction at Georgetown so he returned to New Jersey and opened a bookstore, worked at the family factory and attended evening courses at the Art Students League of New York. In 1937, he moved to Chicago to attend the New Bauhaus but again found himself disillusioned. The following year, Smith began working for Frank Lloyd Wright as an office clerk, a position that allowed the young designer to discover his own unique artistic sensibilities.

While with Wright, Smith worked with other apprentices on the Gunning House (aka Glenbrow) before deciding to strike out on his own. Despite his lack of formal architectural training or a license, he was commissioned to design and build several homes including studios for Theodoro Stamos, Betty Parsons and a sprawling compound for Fred Olsen. Despite these successes, the architect/client relationship frustrated Smith enough that he gravitated toward his artwork. Smith continued to paint in abstract geometric composition and found himself teaching a basic design course at Hunter College. One class assignment consisted of forming maquettes out of cigarette box cardboard, he then asked his students to increase the scale of their designs by 5 times with regular cardboard which startled students and teacher alike as powerful objects began to take shape. In 1956, while sitting in a colleagues office, he was drawn to the form of a simple file cabinet. He phoned a local fabricator and commissioned a box 2' x 3' x 2' in size. Although the welders assumed he was crazed, they treated the project with the utmost craftmanship and the result was a stunning form to Smith. He had discovered a sculpting process that he continued to hone. His first exhibitions were in 1964.
Allied with the minimalist school, Tony Smith worked with simple geometrical modules combined on a three-dimensional grid, creating drama through simplicity and scale. During the 1940s and 1950s Smith became close friends with Barnett Newman, Jackson Pollock, Mark Rothko, and Clyfford Still, and his sculpture shows their abstract influence.
Smith was also a teacher in various institutions including New York University, Cooper Union, Pratt Institute, Bennington College and Hunter College and was a leading sculptor in the 1960s and 1970s, typically associated with the Minimal art movement. He was asked to anchor the seminal 1966 show at the Jewish Museum in New York entitled Primary Structures.
Smith was asked to teach a sculpture course at the University of Hawaii in Manoa during the summer of 1969. He designed two unrealized works, Haole Crater(a recessed garden) and Hubris but eventually created The Fourth Sign that was sited on the campus. His Hawaii experience also generated fodder for his "For..." series whose initials are friends and artists he met during his time in Manoa.
A major retrospective, "Tony Smith: Architect, Painter, Sculptor," was held at the Museum of Modern Art in New York in 1998.
Tony met his wife, opera singer, Jane Lawrence, in New York in 1943. They were married in Santa Monica with Tennessee Williams as his best man.
He was the father of artists Chiara "Kiki" Smith, Seton Smith, and the underground actress Beatrice (Bebe) Smith (Seton's twin), who died in 1988.
In 1961, Smith was injured in a car accident and subsequently developed a blood condition which produces a large number of red blood cells called polycythemia. His health was always questionable and deteriorated until he succumbed to a heart attack at age 68.
The Estate of Tony Smith is represented by the Matthew Marks Gallery in New York.

Alan Sonfist is a New York City based American artist most often associated with the Land or Earth Art movement.[1]

Disappearing Forest of Germany (2009) in Germany
He is best known for his "Time Landscape" found on the corner of West Houston Street and LaGuardia Place in New York City's Greenwich Village.[2][3] Proposed in 1965, "Time Landscape" the environmental sculpture took over ten years of careful planning with New York City. It was eventually landmarked by the city. It has often been cited as the first urban forest of its kind. More recently, Sonfist has continued to create artworks within the natural landscape, inaugurating a one acre (4,000 m²) landscape project titled "The Lost Falcon of Westphalia" on Prince Richard's estate outside Cologne, Germany in 2005.
His most recent environmental sculpture 'Birth By Spear' was created in 2010, in Tuscany, Italy.

Athena Tacha (born in Larissa,[1] Greece, 1936), is best known in the fields of environmental public sculpture and conceptual art, but has also worked extensively in photography, film and artists’ books. The best statement on her artistic philosophy, "Rhythms as Form", was first published in Landscape Architecture, May 1978, pp. 196–205.

Artist Athena Tacha in front of her 36 Years of Aging, Eclipse Gallery, Arlington, VA, 2008
Contents [hide]
1 Early life, education, and academic career
2 Work, exhibitions and museums
2.1 Latest executed commissions (2001-09)
2.2 Books, catalogs, and articles
3 References
4 External links
[edit]Early life, education, and academic career

Tacha was born in 1936 in Greece.[2] She received an M.A. in sculpture from the Athens School of Fine Arts in Greece; an M.A. in art history from Oberlin College, Oberlin, Ohio; and a Doctorate in aesthetics from the Sorbonne in Paris (1963). After her studies, she worked as Curator of Modern Art at the Allen Memorial Art Museum of Oberlin College, organized contemporary art exhibitions (including Art In The Mind, 1970), and published as A. T. Spear two books and various articles on Auguste Rodin, Brancusi, Nadelman and other 20th century sculptors. She married art historian Richard E. Spear in 1965. From 1973 to 2000, she was Professor of sculpture at Oberlin College. Since 1998, she has been an Affiliate of the University of Maryland, College Park, and lives in Washington, DC.[3]
[edit]Work, exhibitions and museums

One of the first artists to develop environmental site-specific sculpture in the early 1970s, Tacha has won over fifty competitions for permanent public art commissions, of which nearly forty have been executed throughout the U.S., including an entire city-block park in downtown Philadelphia. She has had six one-artist shows in New York—at the Zabriskie Gallery, the Max Hutchinson Gallery, Franklin Furnace, the Foundation for Hellenic Studies, and the Kouros Gallery - and has exhibited in numerous group shows throughout the world, including the Venice Biennale). Concurrently, she produced a body of textual and photographic conceptual works, many of which were published as artist's books.[4]

Athena Tacha, Connections, 1981-92, Philadelphia, aerial view 2009 (photo by Jim Fennell)
In 1989, a retrospective of more than 100 of Tacha's sculptures, drawings and conceptual photographic pieces was held at the High Museum of Art in Atlanta. It included large color photographs of her executed commissions and was accompanied by a fully illustrated catalogue, Athena Tacha: Public Works, 1970-88 (introductory essay by John and Catherine Howett). The same year, she had an exhibition of new work, over 50 sculptures and drawings, as well as two large temporary installations, at the Cleveland Center for Contemporary Art, also accompanied by a richly illustrated catalogue (with an essay by Thalia Gouma-Peterson). Her most recent museum solo show, Small Wonders: New Sculpture and Photoworks at the American University’s Katzen Arts Center, Washington, DC, 2006, had a fully illustrated catalogue with essays by Anne Ellegood and Brenda Brown (reinstalled in New York at Kouros Gallery in 2007). Since Tacha moved to Washington, DC, she has had two solo exhibitions at the Marsha Mateyka Gallery (2004 and 2008).
A 40-year retrospective (over 100 works), "Athena Tacha: From the Public to the Private," opened at the Contemporary Art Center (State Museum of Contemporary Art) in Thessaloniki, Greece, Jan. 16 - April 11, 2010. It presents for the first time all aspects of Tacha's art—from large outdoor commissions, to "body sculptures" and photoworks, to conceptual art and films—with a bilingual catalog (164 pp., 113 color illustrations). It is scheduled travel to Larissa and Athens through 2010.

Athena Tacha, Crossing - Corsica (2007), digichrome, 30"x54", Courtesy Marsha Mateyka Gallery, Washington
Tacha’s sculptures and photo-works are in many American museums and private collections, including the Albright-Knox Art Gallery, the Cleveland Museum of Art, the Hirshhorn Museum, the Nelson-Atkins Museum of Art, the Smithsonian American Art Museum, and the Agnes Gund Collection.
[edit]Latest executed commissions (2001-09)
Victory Plaza, 2000–02, a 40,000 sq ft (3,700 m2) plaza with fountains in front of the American Airlines Center (in collaboration with SWA), Dallas, Texas
STOP & GO: to Garrett Augustus Morgan, 2001–04, a plaza for Metrorail's Morgan Blvd. Station, Washington, DC
Hearts Beat, 2002–04, a 350-foot (110 m) long ceiling of animated LEDs for a sky bridge between Grosvenor Metro station and the Strathmore Music Center, N. Bethesda, Maryland.
Riding with Sarah and Wayne, 2004–06, a mile-long trackbed pavement for the Light Rail, Newark, New Jersey.
Waterlinks II, 2006–08, a 16x28 ft. granite water wall at the University of Wisconsin’s Business School, Madison, Wisconsin.

Athena Tacha, Dancing Steps amphitheater and Star Fountain (aerial view), Muhammad Ali Plaza, Louisville, KY

Athena Tacha, Star Fountain at night (7-minute RGB animation), Muhammad Ali Center Plaza, Louisville, KY (photo Richard Spear)
An amphitheater and two fountains[5] for the Muhammad Ali Center Plaza (ca. 5000 m2), 2002–09, in collaboration with EDAW, AGA and Color Kinetics, Louisville, KY.[6]

Athena Tacha, Light Obelisk Fountain with Light Riggings" arcade (4-minute RGB animation), Wisconsin Place, Bethesda, DC/MD (photo Richard Spear)

Athena Tacha, Friendship Plaza with Light Obelisk Fountain (aerial view), Wisconsin Place, Bethesda, DC/MD (photo Richard Spear)

Athena Tacha, WWW-Tower", day and night (animated LEDs), Wisconsin Place, Bethesda, DC/MD (photo Richard Spear)
A plaza pavement with a Light Obelisk Fountain in front of Bloomingdale's; an arcade ceiling, Light Riggings, with RGB animation; and a LED sculpture, WWW-Tower, 2001-09—in collaboration with Arrowstreet Inc., CRJA and Art Display Co. -- for Wisconsin Place, a 5-acre (20,000 m2) development at Friendship Heights Metro station, Bethesda, Maryland.
[edit]Books, catalogs, and articles
Books on Tacha's work:
Athena Tacha: Public Sculpture (1982), with introductory essays by Ellen H. Johnson and Theodore Wolff
Forms of Chaos: Drawings by Athena Tacha (1988)
Elizabeth McClelland, Cosmic Rhythms: Athena Tacha's Public Sculpture (1998),[7] in conjunction with an exhibition of the same title at the Beck Center for the Arts in Cleveland
Dancing in the Landscape: The Sculpture of Athena Tacha (2000), with an introduction by Harriet Senie and over 200 color reproductions.[8]
Main solo exhibition catalogs:
Athena Tacha: Public Works, 1970-88 (2009), with an introductory essay by Catherine M. Howett and John Howett, High Museum of Art, Atlanta, GA [9]
Athena Tacha: New Works, 1986-89 (1989), Cleveland Center for Contemporary Art, with an introductory essay by Thalia Gouma-Peterson[10]
Athena Tacha: Small Wonders - New Sculptures and Photoworks (2006), with introductory essays by Anne Ellegood and Brenda Brown, American University Museum, Katzen Arts Center, Washington, DC, Sept.6-Oct.29, 2006 [11]
Athena Tacha: From Public to Private (2010), a bilingual catalogue for a traveling 40-year retrospective, with essays by Katerina Koskina and Syrago Tsiara, CACT (State Museum of Modern Art), Thessaloniki, Greece [12]
Several of Tacha's New York exhibitions have illustrated catalogues -- Massacre Memorials (Max Hutchinson, 1984), with an essay by Lucy Lippard; Vulnerability: New Fashions (Franklin Furnace, 1994), a conceptual art piece critiquing the fashion industry; and Athena Tacha: Shields and Universes (Foundation for Hellenic Culture, 2001).
The most extensive articles on Tacha's art have appeared in Landscape Architecture (May 1978 & March 2007), Artforum (Jan. 1981), Arts Magazine (Oct. 1988), Art News (Sept. 1991) and Sculpture (June 1987, Nov. 2000 and October 2006).

James Turrell (born May 6, 1943) is an American artist primarily concerned with light and space. Turrell was a MacArthur Fellow in 1984. Turrell is best known for his work in progress, Roden Crater, located outside Flagstaff, Arizona, where he is turning a natural cinder volcanic crater into a massive naked-eye observatory.
Contents [hide]
1 Background
2 Works
3 Museum
4 Exhibitions
5 Awards
6 Books
7 Films
8 Interviews
9 References
10 Further reading
11 External links

Turrell was born in Pasadena, California.[1] His parents were Quakers. His father was an aeronautical engineer and educator. His mother trained as a medical doctor and later worked in the Peace Corps. Turrell obtained a pilot's licence when 16 years old. He subsequently flew supplies to remote mine sites and worked as an aerial cartographer. He received a BA degree from Pomona College in perceptual psychology in 1965 (including the study of the Ganzfeld effect) and also studied mathematics, geology and astronomy there. Turrell received a MA degree in art from Claremont Graduate School, University of California, Irvine in 1966.[2]

Main article List of James Turrell artworks
In 1966, Turrell began experimenting with light in his Santa Monica studio, the Mendota Hotel, at a time when the so-called Light and Space group of artists in Los Angeles, including Robert Irwin and Doug Wheeler, was coming into prominence.[3] By covering the windows and only allowing prescribed amounts light from the street outside to come through the openings, Turrell created his first light projections.[4] In Shallow Space Constructions (1968) he used screened partitions, allowing a radiant effusion of concealed light to create an artificially flattened effect within the given space.[5] That same year, he participated in the Los Angeles County Museum’s Art and Technology Program, investigating perceptual phenomena with the artist Robert Irwin and psychologist Edward Wortz. In 1969, he made sky drawings with Sam Francis, using colored skywriting smoke and cloud-seeding materials.[6]
Turrell is best known for his work in progress, Roden Crater. He acquired the crater in 1979.[2] Located outside Flagstaff, Arizona, Turrell is turning this natural cinder volcanic crater into a massive naked-eye observatory, designed specifically for the viewing of celestial phenomena. His other works usually enclose the viewer in order to control their perception of light.
In the 1970s, Turrell began his series of "skyspaces" enclosed spaces open to the sky through an aperture in the roof. A Skyspace is an enclosed room large enough for roughly 15 people. Inside, the viewers sit on benches along the edge to view the sky through an opening in the roof. As a lifelong Quaker, Turrell designed the Live Oak Meeting House for the Society of Friends, with an opening or skyhole in the roof, wherein the notion of light takes on a decidedly religious connotation. (See PBS documentary). His work Meeting (1986) at P.S. 1, which consists of a square room with a rectangular opening cut directly into the ceiling, is a recreation of such a meeting house.[7] Other Skyspaces include the Kielder Skyspace (2000) on Cat Cairn, England, and Second Wind (2005) in Vejer de la Frontera, Spain. Three Gems (2005) at the de Young Museum is Turrell's first Skyspace to adopt the stupa form.[8] At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a folly to the east of the great house. Turrell's "Skyspace" presents itself from the exterior as an oak-clad building raised on stilts. From the inside of the structure, the viewer's point-of-view is focused upwards and inevitably lured into contemplating the sky as framed by the open roof.[9]
Turrell is also known for his light tunnels and light projections that create shapes that seem to have mass and weight, though they are created with only light. His work Acton is a very popular exhibit at the Indianapolis Museum of Art. It consists of a room that appears to have a blank canvas on display, but the "canvas" is actually a rectangular hole in the wall, lit to look otherwise. Security guards are known to come up to unsuspecting visitors and say "Touch it! Touch it!"
Turrell's works defy the accelerated habits of people especially when looking at art. He feels that viewers spend so little time with the art that it makes it hard to appreciate.
“ I feel my work is made for one being, one individual. You could say that's me, but that's not really true. It's for an idealized viewer. Sometimes I'm kind of cranky coming to see something. I saw the Mona Lisa when it was in L.A., saw it for 13 seconds and had to move on. But, you know, there's this slow-food movement right now. Maybe we could also have a slow-art movement, and take an hour.[10] ”


In April 2009, The James Turrell Museum opened at the Bodega Colomé in the Province of Salta, in Argentina. It was designed by Turrell after Donald Hess, the owner of the Bodega and owner of a few of Turell's works, told him he wanted to dedicate a museum to his work. It contains 9 lights installation, including a skyspace (Unseen Blue), and some drawings and prints.[11][12]

Turrell's work is represented in numerous public collections including the Tate Modern, London; Los Angeles County Museum of Art; the Solomon R. Guggenheim Museum, New York and the Israel Museum, Jerusalem. He was given his first solo show at the Pasadena Art Museum in 1967.[6] His solo exhibitions include Stedelijk Museum (1976); Whitney Museum of American Art, New York (1980); Israel Museum (1982); Museum of Contemporary Art, Los Angeles (1984); MAK, Vienna (1998–1999); Mattress Factory, Pittsburgh (2002–2003).
In Japan, Turrell's works are exhibited at several large museums, including the 21st Century Museum of Contemporary Art, Kanazawa and a permanent installation at the Chichu Art Museum at Benesse Art-Site in Naoshima. At the latter, Turrell's work "Afrum - Pale Blue" (1968), "Open Field" (2000) and "Open Sky" (2004) are displayed. As part of the Naoshima town exhibitions, his Minamidera ("Southern Temple") was designed together with architect Tadao Ando. Also, in Tokamachi, Niigata, Turrell's "House of Light" has a view of the sunrise through the open roof that has been described as "the almost imperceptible change into deep blue was incredibly moving."[13]
In October 2009, the “Wolfsburg Project,” Turrell’s largest exhibition in Germany to date opened and continued through October 2010. Amongst the works featured in the “Wolfsburg Project” is a "Ganzfeld," a light installations that cover 700 square meters in area and 12 meters in height.[14] A major retrospective will open at the Solomon R. Guggenheim Museum, New York in 2012, traveling to the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston, among other venues.
City of Anhirit
Trace elements: Light into space
Ghost Wedge
Heavy Water
Into the Light
Milk Run
Unseen Blue
Big Red
Stuck Red and Stuck Blue

Wolf Vostell (14 October 1932 Leverkusen – 3 April 1998 Berlin) was a German painter and sculptor of the second half of the 20th century. Wolf Vostell is also considered one of the pioneers of Video art, Environment, Installation, Happening and the Fluxus Movement. Techniques such as blurring and the Dé-collage are characteristic of his work, as is embedding objects in concrete.
Contents [hide]
1 Biography
2 Selected works
3 Selected exhibitions
5 Honors
6 Further reading
7 External links
8 Footnotes
9 See also

Wolf Vostell was born in Leverkusen, Germany, and put his artistic ideas into practice from 1950 onwards. In 1953, he began an apprenticeship as a lithographer and studied at the Academy of Applied Art in Wuppertal. Wolf Vostell created his first Dé-collage in 1954. In 1955/56 he studied at the École Nationale Superieur des Beaux Arts in Paris and in 1957 he attended the Düsseldorf Academy of Arts. Wolf Vostell's philosophy was built around the idea that destruction is all around us and it runs through all of the twentieth century. He used the term Dé-coll/age, (in connection with a plane crash) in 1954 to refer to the process of tearing down posters, and for the use of mobile fragments of reality. His first Happening, Theater is in the Street, took place in Paris in 1958, and incorporated auto parts and a TV.[1]
In 1958, he took part in the first European Happening in Paris and he produced his first objects with television sets and car parts. He was impressed by the work of Karlheinz Stockhausen, which he encountered in 1964 in the electronic studios of the German radio station WDR, and in 1959 he created his electronic TV Dé-coll/age. It marked the beginning of his dedication to the Fluxus-Movement, which he co-founded in the 1960s.
At more or less the same time, he founded the Vostell Archive. With great fervour and strict consistency, Wolf Vostell collected photographs, artistic texts, private correspondence with colleagues such as Nam June Paik, Joseph Beuys, Dick Higgins and many others, as well as press cuttings, invitations to exhibitions and events or books and catalogues which document wolf Vostell's work and that of his contemporaries. In the early 1960s he was one of the activists involved in the Fluxus-Movement Happenings and in video art. In the 1960s and 1970s as today, the Vostell Archive therefore is a comprehensive source of information for authors, publishers and exhibition organisers from around the world. Vostell’s passion for collecting did not diminish in the 1980s and 1990s, and since then his private library with more than 6,000 books has formed part of the Archive. Wolf Vostell’s extensive oeuvre is documented in photographic form and makes up an important part of the archive. About 25,000 documents from four decades make the Vostell Archive a treasure of art history. Since 2005 the archive has been housed in the Museo Vostell Malpartida and is available to art historians, journalists and authors.
Wolf Vostell was behind many Happenings, in New York, Berlin, Cologne, Wuppertal and Ulm among others.[2]In 1962 he participated in the planning of the Festum Fluxorum, an international event in Wiesbaden together with Nam June Paik, and George Maciunas. In 1963 Wolf Vostell became a pioneer of Video art and Installation with his work 6 TV Dé-coll/age shown at the Smollin Gallery in New York, and now in the collection of the Museo Reina Sofía in Madrid. In 1967 his Happening Miss Vietnam dealt with the subject of the Vietnam war. In 1968 he founded Labor e.V., a group that was to investigate acoustic and visual events, together with Mauricio Kagel, and others.
Wolf Vostell was the first artist in art history to integrate a television set into a work of art. This installation was created in 1958 under the title Cycle Black Room/Deutscher Ausblick ("German view") is now part of the collection of the art museum Berlinische Galerie in Berlin. Early works with television sets are Transmigracion I-III from 1958 and Elektronischer De-coll/age Happening Raum[3], (E.D.H.R), ("Electronic De-coll/age Happening Room"), an Installation, from 1968. In 1974, his first major retrospective took place in the ARC 2 at the Musée d'Art Moderne de la Ville de Paris, an expanded version of which was shown at the Neue Nationalgalerie, in 1975.

VOAEX, 1976, Museo Vostell Malpartida.
In 1992, the town of Cologne honoured Wolf Vostell with a major retrospective of his work. His pieces were distributed over 6 exhibition venues: Stadtmuseum Köln, Kunsthalle Köln, Rheinisches Landesmuseum Bonn, Kunsthalle Mannheim, Schloss Morsbroich Leverkusen and Städtisches Museum Mülheim/Ruhr. Under the artistic direction of David Vostell, the documentary VOSTELL 60-RÜCKBLICK 92, ("VOSTELL 60-REVIEW 92") was created.
Wolf Vostell’s automobile-concrete-sculptures made from cars and concrete are to be found in Cologne Ruhender Verkehr ("Stationary traffic") from 1969, in Berlin Beton Cadillacs("Concrete Cadillacs") from 1987 as well as VOAEX (Viaje de Hormigón por la Alta Extremadura) from 1976 in the Museo Vostell Malpartida at Malpartida de Cáceres, Spain and Concrete Traffic from 1971 in Chicago.
Wolf Vostell also gained recognition for his drawings and objects, such as images of American B-52 bombers, published under the rubric "capitalist realism" and as a result of his inclusion of television sets with his paintings. Nam June Paik and Wolf Vostell were both participants in the Fluxus movement and the work of both artists involved a critique of the fetishization of television and the culture of consumption. The catalogue raisonné of his screen prints and posters has been published in the Nouvelles de l'estampe by Françoise Woimant and Anne Moeglin-Delcroix in 1982[4].
Wolf Vostells grave is at the Cementerio Civil de la Almudena in Madrid.
[edit]Selected works

„Korea“, 1953, Museum Fluxus+, Potsdam
„Deutscher Ausblick/Zyklus Schwarzes Zimmer“[5], 1958, Installation with TV, Berlinische Galerie
„Transmigracion“ I-III, 1958, Canvas with TV
„Ihr Kandidat“ [6] , 1961, Dé-coll/age, Haus der Geschichte der Bundesrepublik Deutschland
„Marilyn Monroe“, 1962, Dé-coll/age
„Kleenex“, 1963
„6 TV De-coll/age“[7], 1963, Installation, Museo Reina Sofía Madrid
„You“, 1964, Installation
„Goethe Heute“, 1967
„Elektronischer De-coll/age Happening Raum“, 1968, Installation with TV, Neue Nationalgalerie, Berlin
„Hours of fun“, 1968, De-coll/age, Berlinische Galerie, Berlin
„Miss Amerika“ [8] ,1968, Museum Ludwig, Köln
„Jetzt sind die Deutschen wieder Nr. 1 in Europa“, 1968, Germanisches Nationalmuseum
„Ruhender Verkehr“, 1969, Hohenzollernring, Köln
„Coca-Cola“[9] ,1969, Dé-coll/age, Museum Ludwig, Köln
„Heuschrecken“, 1971, MUMOK
„Auto-Fieber“, 1973, Installation, Museo Vostell Malpartida
„Die Winde“, 1981
„Die Steine“, 1981
„Taxistand“, 1983
„Mythos-Berlin“, 1987, Museo Vostell Malpartida
„2 Betoncadillacs in Form der nackten Maja“, 1987, Rathenauplatz, Berlin
„La Tortuga“, 1988, Marl
„Schule von Athen“, 1988, LVR-LandesMuseum, Bonn
„Tauromaquia mit BMW-Teil“, 1988
„Der Fall der Berliner Mauer“, 1989
„9.November 1989“ 1989
„Triptychon Berlin“, 1990
„Le Choc“, 1990
„Auto-TV-Hochzeit“[11], 1991, Zentrum für Kunst und Medientechnologie, Karlsruhe
„Die Weinende“/Hommage an Anne Frank, 1992
„Arc de Triomphe N°1“, 1993
„A-Z“, 1995, Museo Extremeño e Iberoamericano de Arte Contemporáneo
„Jesus-TV“ 1996
„Shoah“, 1997
„Ritz“, 1992/98
[edit]Selected exhibitions

1966 Bilder, Verwischungen, Happening-Notationen 1961-1966, Kölnischer Kunstverein, Köln
1970 happening & fluxus, Kölnischer Kunstverein, Köln
1974 Retrospektive, Musée d’Art Moderne de la Ville de Paris
1975 Retrospektive, Neue Nationalgalerie, Berlin
1977 La Quinta del Sorto (Environment), documenta 6, Kassel
1978 Bilder 1959–1974, Museo de Arte Contemporaneo, Madrid
1980 Bilder 1959–1979, Kunstverein Braunschweig
1980 FluxusZug in Nordrhein-Westfalen
1982 Die gesamte Druckgraphik, Bibliothèque National de France, Paris
1992 Retrospektive, Rheinisches Landesmuseum, Bonn, Josef-Haubrich-Kunsthalle, Köln, Kölnisches Stadtmuseum, Museum Morsbroich, Leverkusen, Städtische Kunsthalle Mannheim,
1999 out of actions, Museum of Contemporary Art, Tokyo
2006 Die gesamte Druckgraphik, Kunsthalle Bremen
2007 Mein Leben ist ein ständiger Kampf gegen den Tod, Rheinisches Landesmuseum, Bonn

„Art is Life, Life is Art.“ 1961
„I declare peace as the greatest work of art.“ 1979
„Every human being is a work of art.“ 1985

1982 Premio Pablo Igesias, Madrid
1990 Medaille de Paris [12]
1996 Berliner Bär (B.Z.-Kulturpreis)
1997 Hannah Höch Preis
1998 Medalla de Extremadura, Spaniem
1998 Ehrenbürger von Malpartida de Caceres, Spanien
2001 Wolf Vostell Strasse, Leverkusen

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