A selection of personal work in context.
Nancy Holt “Sun Tunnels: Sunset,” 1976
It is about 40 years since Nancy Holt began work on Sun Tunnels (1973-6): four massive concrete pipes deposited in Utah’s vast Great Salt Desert, aligned in pairs along the axis of the rising and setting sun on the summer and winter solstices.
Past Exhibition:Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s
Alice Adams, Alice Aycock, Lynda Benglis, Agnes Denes, Jackie Ferrara, Suzanne Harris, Nancy Holt, Mary Miss, Michelle Stuart, Jackie Winsor
focuses on work by women artists who made significant contributions to the development of sculptural practice in the 1970s. They explored the formal constructs of Post-Minimalism: altering notions of sculptural scale, introducing non-traditional mediums, as well as adapting unusual landscape and interior sites.
Jupiter and its moons Europa, Ganymede, Callisto, and the Earth’s moon all caught in the same photo.
Olafur Eliasson, The Weather Project, 2003
The subject of the weather has long shaped the content of everyday conversation. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’ In The Weather Project, the fourth in the annual Unilever Series of commissions for the Turbine Hall, Olafur Eliasson takes this ubiquitous subject as the basis for exploring ideas about experience, mediation and representation.
In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.
The Alchemists, 2005 (artwork detail)