installation

Posts tagged
with installation



Art Design

Light Leaks: A Shimmering Room Filled with Fifty Disco Balls and Hundreds of Reflected Points of Light

April 10, 2018

Laura Staugaitis

Installation at The Music Center LA

Kyle McDonald and Jonas Jongejan filled a darkened room with fifty disco balls and created colored and timed lighting sequences to cast mesmerizing reflections that surround visitors. However, rather than simply relying on scattershot reflections, McDonald and Jongejan used hundreds of structured light scans to capture the volumetric position of every pixel being projected by each of the three projectors. The pair then used SketchUp to predict the reflected pixel positions.

The designers describe Light Leaks as “a curious space that alternates between a meditative state, and an uneasy imbalance. An experiment in combining a found object with computer vision to create a profound and unusual experience.” It has since been installed at La Gaîté Lyrique (Paris, 2014) and Scopitone Festival (Nantes, 2015), and most recently at The Music Center LA (2018).

Based in Los Angeles, McDonald is an artist working with code. He has been an adjunct professor at NYU and an artist in residence at Carnegie Mellon. You can find more of his recent projects on his website and Twitter. Jongejan lives and works in New York City, where he is a creative technologist at Google Creative Lab, and previously worked in theater and television building interactive sets. He shares his work on his website and Twitter. Light Leaks was produced by Juliette Bibasse.

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installation at CLICK Festival 2013, photo by Kyle McDonald

Installing “Light Leaks” at La Gaîté Lyrique for the Capitaine Futur show, photo by Kyle McDonald

Installation at The Music Center LA

 

 



Art

A Live Plant Grows Through Walls in Ruben Bellinkx’s Site-Specific Installation

April 6, 2018

Kate Sierzputowski

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad is a repeating site-specific installation by Belgium-based artist Ruben Bellinkx that physically imbeds a common houseplant into the walls of galleries and homes. The plant calmly rests on one side of the wall as several of its leaves reach through layers of dry wall and wooden beams to grow on the other side.

“The plant literally grows through the wall,” Bellinkx told Colossal. “I make a hole in the wall and place the plant so that there are enough leaves on the other side. Then I close everything with wooden panels. When there is enough light on the other side, the place grows further and lasts for a maximum of four months.”

The artist is a guest professors at KASK, the University College in Ghent, Belgium in the department of Fine Arts (Drawing), and lives in Brussels. His work is currently included in the group exhibition The Raft. Art is (not) Lonely, curated by Jan Fabre and Joanna De Vos at Mu.ZEE in Ostend, Belgium through April 15. You can view documentation of the installation process for Philodendron Xanad below, and see more of Bellinkx’s temporary installations and photography on his website.

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7x11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

Philodendron Xanad II / Site specific installation in exhibition ‘7×11’ / 2008 / Heden, Den Hague (NL), Courtesy Ruben Bellinkx / Geukens & De Vil

 

 

 



Art Craft

Stitched Sculptural Installations of Everyday Objects and Gestures by Amanda McCavour

March 30, 2018

Laura Staugaitis

Toronto-based textile artist Amanda McCavour uses thread and a sewing machine to construct sculptural installations that dance between two and three dimensions. McCavour stitches on a special fabric that dissolves in water to create the surfaces of thread. Through renderings of objects like sofas, kitchen tables, and backpacks, as well as arms and hands engaged in work, she explores connections to home and the fibers of the body. In an artist statement McCavor states she is interested “in thread’s assumed vulnerability, its ability to unravel, and its strength when it is sewn together.”

McCavour holds an MFA from the Tyler School of Art in Philadelphia, and she exhibits widely. Currently, her Floating Garden installation is on display at the Cornell Art Museum in Florida as part of their Flora exhibition, which opens today, March 30th, and is on view through September 9, 2018. Flora also includes Tiffanie Turner (previously), and Miya Ando (previously). You can see more of McCavour’s work on her Facebook page and via Instagram.

 

 



Art

Lifelike Sculpted Figures and Immersive Monochrome Environments by Hans Op de Beeck

March 28, 2018

Kate Sierzputowski

The Collector's House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

The Collector’s House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

Belgian artist Hans Op de Beeck creates life-size figural sculptures and immersive environments from materials such as coated wood, polyester, and pigmented plaster. These chosen materials turn his constructed figures and installations into a uniform shade of matte gray, which makes the viewer feel as if the world around them has been zapped of color.

In his 2016 work The Collector’s House, Op de Beeck produced a 2,600-square-foot monochrome space in which visitors served as the only element of color. The museum-like installation contained several life-size sculpted figures in addition to a library, grand piano, furniture, scattered still lifes, and a lily pool positioned squarely at the work’s center. This work, like many in his practice aimed to stimulate the viewer’s senses and to “create a form of visual fiction that delivers a moment of wonder, silence and introspection,” he explained in an artist statement.

Op de Beeck currently works in both Brussels and Gooik, Belgium. Over the last decade, Op de Beeck has mounted institution-based solo exhibitions at museums across the US and Europe, including the Smithsonian’s Hirshhorn Museum and Sculpture Garden (2010), MOCA Cleveland (2014), and Kunstmuseum Wolfsburg (2017). You can view more of his lifelike figures and installations on his website.

The Collector's House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

The Collector’s House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

The Collector's House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

The Collector’s House, sculptural installation, 2016. Coated wood, coated polyester, pigmented plaster, PU, metal, glass, 20 × 12.5 × 4 m

Tatiana (Soap Bubble), sculpture, 2017. Polyester, wood, polyamide

Tatiana (Soap Bubble), sculpture, 2017. Polyester, wood, polyamide

Sleeping Girl, sculpture, 2017. Mixed Media

Sleeping Girl, sculpture, 2017. Mixed Media

Brian, sculpture, 2018. Polyester, glass, coating

Brian, sculpture, 2018. Polyester, glass, coating

Tatiana (Butterfly), sculpture, 2017. Polyester, wood, polyamide

Tatiana (Butterfly), sculpture, 2017. Polyester, wood, polyamide

The Garden Room, sculptural installation, 2017

The Garden Room, sculptural installation, 2017

 

 



Art

Oversized Crocheted Doilies by Ashley V Blalock Climb Up Trees and Gallery Walls

March 21, 2018

Laura Staugaitis

Artist Ashley V Blalock crochets enormous red doilies that she then installs in site-specific configurations ranging from galleries to stairwells to trees outside. Her ongoing project, Keeping Up Appearances, began in 2011 and has been installed at museums, galleries, and gardens across the United States.

The artist describes the meaning behind Keeping Up Appearances: “Although non-threatening in a domestic setting, in the gallery and at this scale the [doilies] overtake the viewer and cover the walls… Inherent is a compulsion to arrange and place and decorate in order to control or influence a perceived outward appearance. The red color gives away the futility of such an act and hints at the unease that lurks below the surface of an obsessive need to control and arrange.”

Blalock is based in Southern California. She received a bachelor’s and two master’s degrees in sculpture and art history. You can see more of her installation work on her website.

 

 



Design

Larger Than Life Guerrilla Sign Installations by Trevor Wheatley and Cosmo Dean

February 21, 2018

Laura Staugaitis

Trevor Wheatley and Cosmo Dean work together to create large installations based around phrases and logos that are part of the common lexicon. Casually used terms like “all good” and the shrug emoji take on larger-than-life dimensions in the duo’s three dimensional versions, which are suspended from cables, integrated into chain link fences, toted in truck beds, and painted alongside graffiti. Wheatley and Dean have partnered with music festivals, fashion brands, and the creative house Justkids to install their work. Up next, the artists will be embarking on a trip to Mexico to create new paintings in rural areas. You can see more installations on their website.

 

 



Art Design

Art in Ad Places: A New Book Collects 52 Public Artworks Installed in Pay Phones Across NYC

February 20, 2018

Kate Sierzputowski

Artwork by Andrea Sonnenberg, all installation images by Luna Park

Artwork by Andrea Sonnenberg, all installation images by Luna Park

Frustrated by the daily bombardment of advertising on the streets of New York City, artist Caroline Caldwell and writer RJ Rushmore decided to produce a project that would dampen the sheer volume of visual marketing strewn throughout their environment. The pair didn’t have the budget to prompt an entire overhaul, but they did have the incentive to construct an intervention that would offer an alternative glimpse to the city’s high volume of print-based advertisements.

For their 2017 project, Art in Ad Places, the pair recruited 55 artists and collectives from across the country to produce 55 works to be temporarily displayed on pay phone booths across New York City. The installations were each presented for a week, and documented by their collaborator, street art photographer Luna Park.

“Pay phones were a perfect choice because they’re disappearing from the streets,” Rushmore told Colossal. “So I’d like to say that our ad takeovers were intended as a swan song for pay phones. Plus, contemporary pay phones serve no real function except to serve advertising, and that feels wrong. Nobody’s using pay phones to make calls, so why do we put up with their ads?”

The 52-week campaign ended in December of last year, however it has recently been compiled into a new book that documents the year-long installation. Art in Ad Places: 52 Week of Public Art Across New York City is available through Rushmore’s street art blog Vandalog and features statements from each artist alongside essays written by the project’s three collaborators. You can see the entire range of poster-sized artworks produced for Art in Ad Places on the project’s website or Instagram.

Bones Not Bombs by Pat Perry

Bones Not Bombs by Pat Perry

My Ad is No Ad by John Fekner

My Ad is No Ad by John Fekner

Artwork by For Freedoms with Hank Willis Thomas

Artwork by For Freedoms with Hank Willis Thomas

"I HATE THE SOUND OF SILENCE" by Cheryl Pope

“I HATE THE SOUND OF SILENCE” by Cheryl Pope

Artwork by Martha Cooper

Artwork by Martha Cooper

The Ecstasy of St Katsuhiro Otomo by Nomi Chi

The Ecstasy of St Katsuhiro Otomo by Nomi Chi

Stop Telling Women to Smile by Tatyana Fazlalizadeh

Stop Telling Women to Smile by Tatyana Fazlalizadeh

Artwork by Louise Chen aka Ouizi

Artwork by Louise Chen aka Ouizi

Blue Lady by Parker Day

Blue Lady by Parker Day