Wind Farms

Cloud Ballon

Clouds

I found these images when I typed in 'cloud sculptures' in to google. Theve given me the idea of making a gallery pice.

What I imagen it would look like would the walls of the gallery being wight, and there bing these cloude shaped ballons on the floor. There would be many of them which would make the veiwer have to walk through them cassing them to beging to flot and move constantly. There would also be some kind of smock machine, that would make the room more misty as well as a blower which would also keep the moveing around the room.

Anish Kapoor

http://www.anishkapoor.com/

I love his work. I like how the sulptors thats he makes are uselly of softer, corvashos shapes . Almost feminin. He has also used mirioed surfaces in a cupple of peices of his work. I like this as it inisholy grabs the attention of the viewer. As well as that i think it also makes it look bigger than it all ready is, however it sort of blends into its sorundings as it reflects its soundings, which I can amagin would only compalment them as it gives the veiwer a differnt veiw on its srowndings.

From the Garden:

Kapoor stands alone in the British art world: he is a touch younger than the so-called New British Sculptors such as Richard Deacon and Richard Wentworth, though he has often been spoken of in the same breath since he is represented by the Lisson, the gallery indelibly associated with that group of artists. And, when he won the Turner prize in 1991, aged 37, he was the senior artist on the shortlist, a decade or so older than the other contenders, who included Rachel Whiteread - this was a new generation of Young British Artists snapping at his heels. But he also stands apart because his work is entirely sui generis: strongly voiced, unmistakably his.

Kapoor is very interested in negative space, in spaces filled with a nothingness that is, paradoxically, deeply present. He recalls: "I made a work at Documenta [the five-yearly sculpture exhibition at Kassel, Germany] many years ago. You walked inside a building like a bunker, and inside there was a hole in the ground. It was completely dark - so dark that the hole resembled a carpet on the ground. One person was let in at a time. And there was a man who waited for 45 minutes, and when he went in he was absolutely furious. 'I've done many things in the cause of contemporary art,' he said, 'but I have never stood in line for all that time to look at a piece of carpet.' And he took his glasses off and flung them on to the carpet - and, of course, they disappeared down the hole. And then he was truly terrified. That's what I am interested in: the void, the moment when it isn't a hole, it is a space full of what isn't there."

Figures such as Damien Hirst represent one branch of post-Duchampian art; Kapoor, however, takes on that history in a rather different way. "If Duchamp declared that all the objects in the world are art," he says, "then I am interested in the next stage of that argument, which may have been prompted by Beuys in some way - that all the objects in the world are symbolic. Now Duchamp, to be fair, was very careful about what was the found object; the found object was always deeply symbolic. So the arguments in fact come together and they don't get confused by the idea that you can put anything in a glass case and it's art. It isn't. It is the artist's duty to find poetic meaning in things." More baldly, he declares of the Hirsts on sale recently at Sotheby's: "It's just stuff , you know. It's not an artistic challenge. it's just stuff ... It's completely irrelevant." Later he adds: "It's almost not art. I'm going to go as far as to say it's not art."

Mariel Neudecker

Rabecca Horn

http://www.rebecca-horn.de/pages/biography.html

Made in 1994 the Turtle Singing Tree emits a piercing scream, and one has only to stand near any of the funnels to hear a barely audible voice detailing the miseries of contemporary life. At regular intervals, these monologues are abruptly interrupted by a resounding crash, as the turtle-shaped platform shifts its weight and the tree tilts precariously to one side.

copper, steel, motors, wire, audio, 14x27x31 feet

I like this as it relates to my pice of wanting to make a sculpture that makes a noise or has an effect by the wind.

Looking at hur work also gave me the idea of using wind-up clock mecanisans to make more dielict suctpturs or even wind-up cars to make an interactive pice where if it were to be in a park that it would allow the public to interact with it.

Caspar David Friedrichs

Caspar David Friedrich (September 5, 1774 – May 7, 1840) was a 19th-century German Romantic landscape painter, generally considered the most important of the movement.^[2] He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's work characteristically sets the human element in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension.

Friedrich was born in the Swedish Pomeranian town of Greifswald, where he began his studies in art as a youth. He studied in Copenhagen until 1798, before settling inDresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J.M.W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".^[4]

Friedrich’s work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape".^[5] Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip Miller, "half mad".^[6] As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich’s contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists andExistentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, misinterpreted as having a nationalistic aspect.^[7] It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

[Text from Wikipedia]

He links back to my last project, of the body as a sight of cultural represintaion. As my finished pice was of a person standing srouwnded by clowed.

David Smith

Image bellow, Cubie



Found this sculptor when looking on google, don't know much about him.

Some information from Wikipedia - Cubi XXVIII, executed in 1965, is the name of the last of the Cubi series of large metal sculptures created Smith. Formerly housed at the Solomon R. Guggenheim Museum, on November 9, 2005, the sculpture became the most expensive work of contemporary art ever sold at auction, selling for $23.8 million at Sotheby's Manhattan auction house to art dealer Larry Gagosian who was acting on behalf of billionaire art collector Eli Broad. "This exceedingly rare work was the pinnacle of a four-decade career," said Tobias Meyer, Sotheby's worldwide head of contemporary art and the auctioneer for the evening. It was the last significant work that Smith produced before he unexpectedly died in a car crash.

Pillar of Sundays, produced in August 1945, was inspired by Smith's memories of events, rituals, foods, and sounds associated with the Sundays of his teen years. His mother, Golda, was active in the Methodist Episcopal church two doors away from his home in small-town Paulding, Ohio. Some of the images, attached like leaves on a tree, are obvious, such as birds and an inscribed heart, but on the whole, the sculpture is ambiguous, suggestive, and intriguing. In a 1959 speech

at Ohio University, Smith state

"When I lived and studied in Ohio, I had a very vague sense of what art was. Everyone I knew who used the reverent word was almost as unsure and insecure. Mostly art was reproductions, from far away, from an age past and from some golden shore, certainly from no place like the mud banks of the Auglaze or the Maumee, and there didn’t seem much chance that it could come from Paulding County."

Susumu Shingu

Is a sculptor who works with water, wind. He was at the Friday event last term, where he showed some of his work where he made these abstract kenetic wind sculptures in vibrent coulirs and plasesed them in the 12 diffrent landscapes around the world changing the coulair of the canvise in each contry. During this he invited the local childern to take part some of them were, horse/raindeer rides in a cold country (think it was Alaska), A dance in a desert and kite making.

Jennifer Hall

Instrument for Mediated Terrain

Interactive SculptureSITE: Thorne-Sagendorph Art GalleryKeene State College, April, 2001

"We are interested in complex relational cycles of growth and death where human-made technology meets nature. Here, the garden is a meditation on the relationship of the viewer to the artwork and the temporal state of all forms of life. As we engage the slow process of mechanical impact to the growth within the garden, we may ask ourselves, Are we participating in a slow erosion or the reshaping of natures’ forms?"

This peice is a mose garden, with little arms that rack at the mose making it net and tidy. However when somebody gets close to it the little rakes go mentan and start to distruct the little gardens. Thats awsome...

http://www.dowhile.org/physical/projects/instrument/

She's also got cool stuff on hur websight.

http://www.jennifer-hall.com/prints.html

Christine Borland

Mariele Neudecker

I Like thise pice blow as it shows the sunlight coming in through what blooks like a chuch window. the light coming from the window is made up of thousands of strands of fish lines!

Mariele Neudecker was at a Friday Event last term or the term before. Where she showed some of hur work. Some of the pices that really stood out to me was this one above. Hear she made a landscape with in a large tank, made up of salt water, firberglass and functions to acted as a window into a miniture landscape. Over time within the tank it becomes cloudy as if a thick blancket of fog has decened out of nowhere. I really like this as it makes the landscape look masteriose and envites you in closer to have a better look at whats inside. It also reminds me of gohst flims where the fog plase a part to the mood of the story line. She did a serrios of these landscaps: Mountain ranges, woodland, underwater cliffes and seabeads.

She has done many solo exhabitions. One that I rember hur showing in the friday event was where she took a casting of part of a Yorkshier wook and took it to Japan. Everything from leaves to the soil on the ground. She recorded the reactions as they enter the room from behind a curtain, the majority of them were shocked. One lady skreamed! gess it must have been quite a saprize haveing part of Yorkshier in a garally.