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Leamos el primer capítulo de este libro. GENEALOGY OF SITE SPECIFICITY

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proyecto con "encuentros arqueológicos" en Bog

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Leyla Cárdenas.
Excision
2012
Plaster, recovered wallpaper, peeled paint, wood furniture, steel
Measurements: 4.50mts x 3.20mts x 12 cms aprox.

Home-So Different, So Appealing. Edited by Chon A. Noriega, Mari Carmen Ramírez, and Pilar Tompkins Rivas. [Excision (2012) on the cover of the catalog]. Los Angeles County Museum of Art (LACMA) - UCLA CSRC 2017.

**
"Curators of "Home: So Different, So Appealing" at the Los Angeles County Museum of Art (summer 2017), delineate a porous border around the home-affiliated artworks of several generations of Latin American and American Latino artists, and then divide these into further loose categories. Of perfect metaphorical pitch is Excision, by Leyla Cárdenas - which is at once souvenir, monument, frame, picture, spatially inescapable, and almost invisible - as intimate and specific and somehow therefore universal as any memory. The piece is a literal archaeological extraction of a four centimeter strip of a room, from its exterior façade to the spindles of chairs to the emptiness of air between. It was taken from a house about to be demolished in Bogotá in the name of urban renewal.

Excision has something materially and sociopolitically to do with the other work in the category it shares in this show, but as much or more to do with Rachel Whiteread's House of 1993 than it does with its neighbors in its current exhibition. House was a sculpture made in London's working class East End: a life-sized cast of the interior of a condemned terraced house made by spraying liquid concrete into the building's empty shell before its external walls were removed. House was a monument to lost domestic space and to a whole way of life, evoking the former occupants through their very absence and through the entombment of the space. Its controversial creation and destruction made it a focus for public debate about the nature of contemporary art. In the way that it awakened an awareness of the community around it, House became more than a sculpture, or entered a more open space for what sculpture is. In a world where home is more elusive than ever, artists are among those on the move, sometimes by election but usually otherwise, and are searching for meaning along the way, using the house as the north star of metaphors."
The House in and as Contemporary Art
ART ESSAYS by Farrah Karapetian
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* CATALOG INFO:
Home - signaling a dwelling, residence or place of origin - embodies one of the most basic concepts for understanding an individual or group within a larger physical and social environment. Yet home has been a little noted, although prevalent, feature in art since the 1950s, a period in which artists challenged the traditional "object" of the visual arts through the use of material and media culture, new forms, and performative actions and processes. This volume explores works by diverse U.S. Latino and Latin American artists whose engagement with the concept of "home" provides the basis for an alternative narrative of post-war art. Their work brings together an impressive array of formal languages, conceptual strategies, and art historical references with the varied social concerns characterizing both the postwar period in the Americas and an emerging global economy impacting day-to-day life.

The artists featured in this volume engage home as both concept and artifact. This can be seen in the use of building fragments or excisions (Gordon Matta-Clark, Gabriel de la Mora, and Leyla Cárdenas)*

Home-So Different, So Appealing. Edited by Chon A. Noriega, Mari Carmen Ramírez, and Pilar Tompkins Rivas. [Excision (2012) on the cover of the catalog]. Los Angeles County Museum of Art (LACMA) - UCLA CSRC 2017.
Catalog

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Leyla Cárdenas. Excision 2012 Plaster, recovered wallpaper, peeled paint, wood furniture, steel Measurements: 4.50mts x 3.20mts x 12 cms aprox. Home-So Different, So Appealing. Edited by Chon A. Noriega, Mari Carmen Ramírez, and Pilar Tompkins Rivas. [Excision (2012) on the cover of the catalog]. Los Angeles County Museum of Art (LACMA) - UCLA CSRC 2017.

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https://www.fredsandbackarchive.org/texts-1995-interview

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texts 1995 interview - Fred Sandback Archive

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Fred Sandback A work-one of mine-is on its one side, a reflection of, or a locus for, my various needs and desires to see things one way or the other. It must hold these things in focus. On its other side, it does the same thing for someone else-the viewer or participant.

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Do Ho Suh was born in Seoul, Korea, in 1962. After earning his BFA and MFA in Oriental Painting from Seoul National University, and fulfilling his term of mandatory service in the South Korean military, Suh relocated to the United States to continue his studies at the Rhode Island School of Design and Yale University. Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh draws attention to the ways viewers occupy and inhabit public space. In several of the artist's floor sculptures, viewers are encouraged to walk on surfaces composed of thousands of miniature human figures.

In Some/One, the floor of the gallery is blanketed with polished military dog tags. Evocative of the way an individual soldier is part of a larger troop or military body, these dog tags swell to form a hollow, ghost-like suit of armor at the center of the room. Whether addressing the dynamic of personal space versus public space, or exploring the fine line between strength in numbers and homogeneity, Suh's sculptures continually question the identity of the individual in today's increasingly transnational, global society.

Do Ho Suh represented Korea at the 2001 Venice Biennale. A retrospective of the artist's work was held jointly at Seattle Art Museum and Seattle Asian Art Museum in 2002. Major exhibitions of Suh's work have also been held at Whitney Museum of American Art at Philip Morris (2001); Serpentine Gallery, London (2002); and Kemper Museum of Contemporary Art, Kansas City, Missouri (2002-03).

Conversation Starter

Like all people, artists grapple with the definition and memory of home.

Interview

Do Ho Suh discusses the role of place in his work, and his 1999 installation piece Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home.

Interview

Do Ho Suh discusses his time in the Korean military, and how it informed his 2001 sculptural installation Some/One.

Artist at Work

24 Images

Artwork Survey: 2000s

4 Images

Artwork Survey: 1990s

5 Images

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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This episode provides an in-depth look at the creation of Kara Walker's monumental public project, A Subtlety, or the Marvelous Sugar Baby (2014), at the Domino Sugar Factory in Brooklyn, NY.

Seated in her Manhattan studio, Walker explains how the molasses-covered space, along with her extensive research into the history of sugar, inspired her to create a colossal sugar-coated sphinx, as well as a series of life-sized, sugar and resin boy figurines. A team of artists and fabricators are shown constructing and coating the sphinx, which, as Walker says, gains its power by "upsetting expectations, one after the other."

Commissioned by Creative Time, A Subtlety, or the Marvelous Sugar Baby is the first large-scale public project by Walker who is best known for her cut paper silhouette installations, drawings, and watercolors. A Subtlety, or the Marvelous Sugar Baby was on view until July 6, 2014. Thereafter, the factory is scheduled to be demolished to make way for condominiums.

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Credits

Producer: Ian Forster. Consulting Producer: Wesley Miller & Nick Ravich. Interviewer: Ian Forster. Camera: Ian Forster, Rafael Salazar & Ava Wiland. Sound: Nicole J. Caruth, Wesley Miller & Ava Wiland. Editor: Morgan Riles. Music: Pinch Music. Artwork Courtesy: Kara Walker & Creative Time. Special Thanks: Sikkema Jenkins & Co. Theme Music: Peter Foley.

Art21 Exclusive is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker's multi-media work-which includes drawing, watercolor, video, and sculpture-often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends.

"If I've done the job well, then she gains her power by upsetting expectations one after the other."

Interview

Kara Walker talks about her interpretation of Gone with the Wind, and how it inspired her first silhouette piece, Gone, An Historical Romance of Civil War As it Occurred Between the Dusky Thighs of Young Negress and Her Heart.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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"A Subtlety, or the Marvelous Sugar Baby"Kara Walker

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Inspired by the teachings of Laotzi, by the modern artist Brancusi, and by formative experiences with his family in Germany and India, Wolfgang Laib's sculptures seem to connect the past and present, the ephemeral and eternal. His attention to human scale, duration of time, and his choice of materials give his works the power to transport us to unexpected realms of memory, sensory pleasure, and contemplation.

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Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Inspired by the teachings of the ancient Taoist philosopher Laozi, by the modern artist Brancusi, and the legacy of formative life experiences with his family in Germany and India, Wolfgang Laib creates sculptures that seem to connect that past and present, the ephemeral and the eternal. Working with perishable organic materials (pollen, milk, wood, and rice) as well as durable ones that include granite, marble, and brass, he grounds his work by his choice of forms-squares, ziggurats, and ships, among others. Laib's attention to human scale, duration of time, and his choice of materials give his work the power to transport us to expected realms of memory, sensory pleasure, and contemplation.

"It's not my task to explain this. That is the secret, and the beauty, and the power, and the potential of all this."

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Using Natural Materials

54:43

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Haunting the West, Michael Rakowitz — Art21

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Drawing upon his Iraqi-Jewish heritage, Michael Rakowitz critiques ongoing systems of colonization in his sculptural and participatory work.