#site specific art

[itscolossal]

A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart

[abstrakshun]

Tommy Mitchell (Australian, 1943 - 2013)

Walu Mural - 2008

Giles Weather Station shed doors, Western Australia

Photos: © Pamela Faye McGrath

more here

[artistsonthelam]

Stepped into an Enchanted Forest today. ✨ Site-specific textile art installations by Joana Vasconcelos at ArtisTree in Taikoo Place, Hong Kong. // (c) Jenny Lam 2024

[cyberenice]

Elpida Hadzi-Vasileva, Fragility (2015)

"Taking over the length, breadth and height of the church the installation, Fragility, utilises Hadzi-Vasileva’s appropriation of unusual materials, in this case pigs caul fat. Exploring the expérience de mort imminente or near death experience, Elpida has focused upon the light seen and discussed by those effected, employing the architecture of Fabrica to route light through animal membrane - juxtaposing experience and materiality."

[ohwhatpiscese]

Statue of Aphrodite of Knidos, 2nd Century, Roman.

Statue of Meleager, 1st-2nd Century, Roman.

Woman in Tub, 1988, Jeff Koons.

All edited to reflect trans bodies for a project proposal assignment, if y'all wanna read the whole essay explaining why i thought this was a good idea it's beneath the 'more':

T4AIC: Trans for Art Institute of Chicago

The purpose of this project is to use gender queer clothing, chizels, and paint to recontextualize classic nude sculptures in the Art Institute of Chicago to reflect transgender bodies. Binary gender systems are tools of white supremacy that establish anything outside of traditional and idealized concepts of man and woman as dangerous or unnatural. They have resulted in a lack of representation in the Art Institute of Chicago of the massive diversity found within gender identities and presentations. Additionally, the vast majority of these sculptures are of naked women, created by men. The T4AIC project would vocalize queerness as inherent to all human populations; whereas binary gender social constraints that reject the existence of queer identities is both intentionally hierarchical and relatively novel in the Ojibwe, Odawa, and Potawatomi land currently known as Chicago, Illinois. It draws inspiration from the Polychrome Reconstruction of the Prima Porta Statue of Augustus created by Vatican Conservators in 2004, and the Guerrilla Girls’ 1989 poster Do Women Have to Be Naked to Get Into the Met. Museum? which speaks to the lack of gender diversity in the art world. The Guerilla Girls reissued the print in 2005 and 2012, attesting to its continued resonance (The Met Museum, par. 1).

(image at bottom of text)

Do Women Have to be Naked to Get Into the Met. Museum?, Guerrilla Girls, 1989, Lithograph, 11 x 28 inches,

The Metropolitan Museum of Art, New York.

(image at bottom of text)

Polychrome reconstruction of the Prima Porta statue of Augustus, 2004. Painted plaster cast made after a prototype by P. Liverani, Vatican Museums, Rome, height 2.2 m. Ashmolean Museum of Art and Archaeology, Oxford.

This project would permanently damage multiple ancient artworks within the Art Institute of Chicago. The necessity of that disrespect is due to transgender existence being an inherently transgressive act; it tears a hole in the fabric of a phantasm when people exist outside of two dimensional constraints and are living happy, functional lives. I intend for cisgender viewers to feel threatened. I hope their ideas of societal gender and personal security in their gender feels attacked. My goal is not to give transgender bodies a seat at the metaphorical table-for-two as an awkward third wheel. It is to highlight how gender is used as a political tool, and that a binary gendered system is not inherent. With the recent confirmation of Trump’s second term as president, access to gender affirming care for transgender people is at risk. Evidence of gender affirming health care needs to be cemented in visual culture, in the event that it becomes illegal or otherwise difficult to access in the coming years.

The objects chosen for this project proposal are Greco-Roman marble sculptures and a modern work currently on view in the Contemporary Art section of the Art Institute of Chicago. The Roman Empire was racially, ethnically, and culturally diverse; spanning from the westmost point of Europe to modern day Azerbaijan in the east, from Northern Africa to England. Marble statues were made to imitate life, and fully painted to reflect the people they were modeled after. Bronze statues had gems inlaid in the eyes, and contrasting metals to accent bleeding wounds. In their original form, they were not modest or sleek. To maintain an unbroken connection to white western culture, and increase the collectability of marble statues some were intentionally scrubbed of paint, or the faded original pigment was ignored (Talbot, par. 23). The myth of colorless classical sculpture dates back to the Renaissance, but was solidified by Enlightenment art historian and Archeologist Johann Winckelmann who stated, "The whiter the body is, the more beautiful it is," and, "Color contributes to beauty, but it is not beauty,” (Hucal, par.9). The Enlightenment created our modern concepts of race, so it is unsurprising that Winckelmann preferred his sculptures white. White supremacist and alt-right groups are drawn to classical sculpture as emblematic of white exceptionalism, which is the genesis of the anti-trans rhetoric being seen in conservative political campaigns around the nation.

Flaws within this reasoning include the difference between current western concepts of race and the ones held in Ancient Rome. They would not have considered themselves white, and skin color was one of many physical characterizations considered when categorizing race in the ancient world (Lepinski, Peralta, par. 11). However flawed, the same rationale used to rob ancient works of their visual and cultural context is responsible for the recent attempts at banning transgender women from public women’s bathroom use and the overturning of Roe v. Wade. The connection between the white supremacist agenda of reproductive control and anti-trans ideology is put clearly by Florence Ashley and Blu Buchanon in their 2023 article ‘The Anti-Trans Panic is Rooted in White Supremacist Ideology’:

Transgender people pose a grave threat to this agenda, because they resist the idea that women are defined by an innate female essence rooted in reproductive biology, and that being mothers is, therefore, their nature and destiny. If someone born with ovaries and a uterus can escape the call of motherhood and if someone born without can be a woman, the white supremacist message falls apart. If gender is “just a feeling,” as some conservatives put it, then how can we say that women’s purpose is to bear and raise children? If people can “mess with” their reproductive organs, how can reproduction be the pinnacle of human life? Gender-affirming care poses a challenge to the reproductive imperative. It must be suppressed to sustain white supremacy, or, in the words of Conservative Political Action Conference speaker Michael Knowles: “For the good of society … transgenderism must be eradicated from public life entirely.”

When a recreation of the Emperor Augustus was shown at the Vatican Museum with accurate polychromy in 2008, Stanford art historian Fabio Barry responded by saying it looked “... like a cross-dresser trying to hail a taxi,” (Stewart, par.1). Altering the sculptures to have evidence of gender affirming care, queer clothing, and darker skin tones would invite the audience to reflect on their loyalty to the ‘clean’ white marble aesthetic, remember that gender variance existed in the ancient world as well as the modern one, and consider the policing of both gender and reproduction as an issue of race.

The T4AIC project can be replicated in any art institute, can be applied to modern works as well as classic pieces. Anywhere a human body is replicated and positioned in a place of viewing is political ground, the main difference between applying the project to modern works is the relationship to the original artist. Modern artists are more likely to resist additions to their works, on account of having a higher percent living compared to classical sculptors. The current gallery exposition of classical sculptures in its unintended whiteness already betrays the artists’ objective, as the intention was site-specific. The goal was for the sculpture to be so well suited to its environment that it fooled the viewer into thinking it was a real person; division between sculpture and reality was fluid and theatrical in Ancient Rome. As Mark Abbe, Associate Professor of Art History and Area Chair of Art History at the University of Georgia said of Roman sculpture, “The modern art gallery, you could say, kills these things—transforms them into something they’re not,” (Talbot, par. 36). With this in mind, changing the sculptures to be reflective of the lived reality surrounding them is a treatment more faithful to the original artists.

There are works in every art museum which embody cisgender male artists’ attempts at controlling, objectifying, and belittling female sexual and reproductive agency; and whiteness in classical sculpture is not the only aesthetic white supremacists and alt-right groups have adopted. Perpetuations of white supremacy can be seen in the cultural erasure and elevation of purity tied to American minimalist sculpture (Usackas, par. 1), as well as the discriminatory internal operations of museums. To challenge current installations of white supremacy in the art world, and turn museums into institutions reflecting the cultures that surround them instead of acting as keepers of cultural standards, current artworks and artists must also enter the conversation. Two digital representations of edited classical subjects are provided below, and a digitally edited version of Jeff Koons’ Woman in Tub.

Works Cited:

Ashley, Florence and Blue Buchanan. “The Anti-Trans Panic Is Rooted in White Supremacist Ideology.” Truthout, 19, May 2023.

“Do Women Have To Be Naked To Get Into the Met. Museum?” The Met, 2024.

Fiore, Julia. “These 5,000-Year-Old Sculptures Look Shockingly Similar to Modern Art.” Artsy, 30, Nov. 2018.

Guerilla Girls. “Do Women Have to be Naked to Get Into the Met. Museum?” The Metropolitan Museum of Art, New York, 1989.

Hucal, Sarah. “How the myth of whiteness in classical sculpture was created.” Deutsche Welle, 24, Jan. 2023.

Koons, Jeff. “Woman in Tub.” The Art Institute of Chicago, Chicago, 1988.

Lepinski, Sarah and Dan-el Padilla Peralta. “Debunking the Myth of Whiteness.” The Met, 7, July, 2022.

Liverani, P. and Vatican Museum Conservators. “Polychrome reconstruction of the Prima Porta statue of Augustus.” Ashmolean Museum of Art and Archaeology, Oxford, 2004.

Naselli, Mara. “Beyond the Gaze: Reclaiming the Female Form After Nochlin.” Los Angeles Review of Books, 28, Jan. 2018.

Rodin, Auguste. “Adam.” The Art Institute of Chicago, Chicago, Modeled 1881 cast 1924.

Roman. “Statue of Meleager.” The Art Institute of Chicago, Chicago, 1st-2nd Century.

Roman. “Statue of Aphrodite of Knidos.” The Art Institute of Chicago, Chicago, 2nd Century.

Stewart, Peter. “The Polychrome Reconstruction of the Prima Porta Statue.” Frieze, 1, Oct. 2017.

Talbot, Margaret. “The Myth of Whiteness in Classical Sculpture.” The New Yorker, 22, Nov. 2018.

Usackas, Jack. “Minimalism & Crime – An Exploration of Cultural Identity.” Design TO, 21, Jan. 2022.

[random-delulum]

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[piizunn]

let's meet at the confluence (2024)

A little sneak peak of my work for The New Gallery and Billboard 208 that will be up from January 27th - June 28th, 2024. Images of it installed to come! <3

let’s meet at the confluence is a suggestion to all Calgarians to consider the site where the Elbow flows into the Bow river and question how settler-colonial history is privileged in public and site specific art. The piece references the different histories of gathering at the confluence of the waters, histories that long predate Calgary, Alberta. Despite histories of Indigenous uses of the land, queer cruising, sex work, trade, the arrival of the railway, and the North West Mounted Police, the site of the confluence is often overlooked and rarely used as the great meeting place that it once was. 

The simple map and text invites an audience of all backgrounds, Indigenous and non-Indigenous alike, to make their way from the The New Gallery along the Bow river to the confluence viewpoint and to consider their proximity to one another. The text is in English and the word confluence is repeated in multiple languages including Blackfoot, Cantonese, and Cree to honour the artist’s Michif roots and the specific location of the billboard on Treaty 7 and in China Town, pointing to the history of many different people living along the rivers.

[de-mykel]

JR. Anamorphose, Rome 2023, 2023.

four-color recto printing UVLED on PVC-free, ALUFLOOR, aluminum adhesive w/ R11 anti-slip certification

[seshgirlie]

Meg Webster, The Perfect Spiral, 1990

[itscolossal]

Thirteen Prodigious Sculptures Nestle Among the Trees in ‘La Forêt Monumentale’

[abstrakshun]

Arnaldo Pomodoro (Italian, b.1926)

Triade - 1997

more here

[ch33se-head]

A Kraft Cheese Singles commercial from 1986, the year I graduated high school. I've been watching a lot of these but this one has interesting background music and a sort of soothing tone...

[shibe-myths]

prologue vibes

A huntress sculpture in the forest woven from willow branches

[silokunnas]

Local Block. Summer 2024 @ Jyväskylän taidemuseo.

Jonna Suurhasko - Jukka Silokunnas.

[shikata]

“Growing in the ground / この地に生える” 2024

Video :

- Material : Stainless steel, Concret Size：≠8 x 8 x 2(m) 　*可変サイズ / Variable size 越後妻有2024 大地の芸術祭 冬 / Echigo-Tsumari Art Field 2024 Winter 会場： まつだい『農舞台』フィールドミュージアム (十日町 ) / Matsudai “NOHBUTAi” Field Museum / iTokamachi

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「大地がつくる」

この地に生えていくことを考えた作品です。

大地から生えてくるように、二股に裂かれた一枚の鏡面の板を地面から垂直に配置します。立体は風の動きによってゆらゆらと揺れ動きながら、時には重力に引っ張られたり雪や雨など様々な自然の刺激によって、現れる景色を変化させていきます。この地が、この立体とこの場所の「かたち」をつくっていくのです。

それは、自然だけでなく、もっと些細な周りの人の営みという人為的な場所の状況の変化にも影響を受け、二つに別れて捉えた景色を互いに追いかけ合いながら、情景を映し出します。風、雪、それらを含めた自然という大地の摂理と、この場所にいる人との関わりが、この立体そのものをつくるのです。 それは、この地がこの立体を育んでいくことでもあり、この地と相互に関係しながらこの風景の一部をになっていくことでもあります。その相互が関わり合う連鎖こそが、この場所となるのです。この作品が、これからこの場所と向き合い適応しながら、どのように風景の一部として、この大地を生きていくかを見つめていきたいと思います。

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‘Made by the earth’ This work is about growing out of the ground. A single mirrored board, torn in two, is placed vertically from the ground, as if growing out of the earth. The three-dimensional object shimmers with the movement of the wind, sometimes pulled by gravity or by various natural stimuli such as snow and rain, changing the landscape that emerges. This ground creates the ‘shape’ of this three-dimensional object and this place. It is affected not only by nature, but also by the more trivial changes in the human condition of the place, such as the activities of the people around it, and the two separate landscapes are projected onto the scene, following each other. The wind, the snow, the providence of nature including them, and the relationship between the people in this place create this three-dimensional object itself. This means that the land nurtures the three-dimensionality and becomes a part of the landscape through mutual relations with the land. The chain of mutual relations is what makes this place what it is. I would like to look at how this work will face and adapt to this place and how it will live on this land as part of the landscape.

[random-delulum]

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