NEW NATURE: Highly artificial and sterile environments are employed to create the ideal organic specimen. Today’s glass houses contain all the essential ingredients of life but none of the redundancies: sun, soil, and water are emulated, optimized, and finally automated.
STRIP SEARCH: AMO’s selection of unique and highly specific conditions distributed over the globe serves as a framework for their research and represents where the world is headed.
RIGIDITY ENABLES FRIVOLITY:
The frivolity of urban life has necessitated the organization, abstraction, and automation of the countryside at a vast and unprecedented scale.
Left: Mishka Henner, Feedlots, 2013. Right: Queen Elizabeth Olympic Park, London, 2018.
Donald Judd. Untitled. 1991. Enameled aluminum, 59″ × 24′ 7 1/4″ × 65″ (150 × 750 × 165 cm). The Museum of Modern Art, New York. Bequest of Richard S. Zeisler and gift of Abby Aldrich Rockefeller (both by exchange) and gift of Kathy Fuld, Agnes Gund, Patricia Cisneros, Doris Fisher, Mimi Haas, Marie-Josée and Henry R. Kravis, and Emily Spiegel. © 2019 Judd Foundation/Artists Rights Society (ARS), New York. Photo: John Wronn
Donald Judd. Untitled. 1967. Green lacquer on galvanized iron; twelve units, each 9 x 40 x 31″ (22.8 x 101.6 x 78.7 cm), installed vertically with 9″ (22.8 cm) intervals. The Museum of Modern Art, Helen Acheson Bequest (by exchange) and gift of Joseph Helman © 2020 Judd Foundation / Artists Rights Society (ARS), New York
Niki de Saint Phalle. Tarot Garden. 1991. Lithograph, 23.7 x 31.5″ (60.3 x 80 cm). © 2019 NIKI CHARITABLE ART FOUNDATION. Photo: Ed Kessler
Niki de Saint Phalle. Tarot Garden, Garavicchio, Italy. © 2019 FONDAZIONE IL GIARDINO DEI TAROCCHI.
Niki de Saint Phalle. Photo de la Hon repeinte. 1979. © 2019 NIKI CHARITABLE ART FOUNDATION. Photo: Katrin Baumann
Niki de Saint Phalle. Interior view of Empress, Tarot Garden, Garavicchio, Italy © 2019 FONDAZIONE IL GIARDINO DEI TAROCCHI.
Neri Oxman and The Mediated Matter Group. Silk Pavilion. 2013. View through Silk Pavilion apertures as the silk worms skin the structure.
Neri Oxman and The Mediated Matter Group. Aguahoja I. 2018. The Aguahoja Artifacts Display: A catalog of material experiments spanning four years of research shows the range of aesthetics and behaviors we have been able to elicit in medium-to-large-scale prints via performative geometric toolpaths, generative design, bio-composite distributions, and variable fabrication parameters.
James Turrell, VARDA (03), 2017, LED light, etched glass, shallow space,
71″ × 53″ (180.3 cm × 134.6 cm),
INSTALLATION, No. 70502
James Turrell,
Aquarius, Medium Circle Glass, 2019,
L.E.D. light, etched glass and shallow space,
56-inch diameter,
Runtime: 2 hours 30 minutes,
INSTALLATION,
No. 71800,
Alt # KGC.1921P,
format of photography: digital,
name of photographer: Damian Griffiths,
date of photography: 29/09/2019
James Turrell,
VARDA (03), 2017,
LED light, etched glass, shallow space,
71″ × 53″ (180.3 cm × 134.6 cm),
INSTALLATION,
No. 70502
Format of original photography: high res tiff
Yoshitomo Nara, I WANT TO SEE THE BRIGHT LIGHTS TONIGHT, 2017, Acrylic on canvas, 78 3/4 × 76 3/4 in. (200 × 194.9 cm), © Yoshitomo Nara 2017, Photo courtesy the artist
Steve McQueen, “Static” (2009). Video still © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery
L’Arc de Triumph, Wrapped (Project for Paris) Place de l’Etoile – Charles de Gaulle Collage 2019 11 x 8 1/2″ (28 x 21.5 cm) Pencil, wax crayon, enamel paint, photograph by Wolfgang Volz and tape.
Christo L’Arc de Triomphe, Wrapped (Project for Paris) Place de l’Etoile – Charles de Gaulle Collage 2019 17 x 22″ (43.2 x 55.9 cm) Pencil, wax crayon, enamel paint, photograph by Wolfgang Volz, architectural and topographic survey, hand-drawn map on vellum and tape.