
Sophy Rickett
To The River (Archive) 14

Sophy Rickett
To The River (Archive) 14

Mona Hatoum. (British of Palestinian origin, born in Beirut, Lebanon, 1952). + and -. 1994-2004. Sand , steel, aluminum, and electric motor, 10 5/8″ (27 cm) high x 13′ 1 ½” (400.1 cm) diameter. Fractional and promised gift of Jerry Speyer and purchase. © 2007 Mona Hatoum
“This work is a large-scale re-creation of the kinetic sculpture Self-Erasing Drawing Hatoum made in 1979. Replacing conventional artists’ tools (pencil and paper, paint and canvas) with a motorized, toothed metal arm and a circular bed of sand, Hatoum mechanizes the practices of mark-making and erasure. At a rate of five rotations per minute, the sculpture’s hypnotic and continual grooving and smoothing of sand evokes polarities of building and destroying, existence and disappearance, displacement and migration.“
–MoMA

Anya Gallaccio, Epiphany, 1994

Roger Hiorns, Benign, 2005, Untitled, 2009

‘Divine’, Sarah Lucas, 1991 | Tate

Doris Salcedo, Shibboleth, 2007-08, installation, Tate Modern
“Salcedo has offered few explanations beyond stating how the fissure represents the immigrant experience in Europe. Though this theme is apparent in the work, it is by no means the only issue raised. As photographs of the installation demonstrate, visitors contorted their bodies in infinite ways as they tried to see below the crack. In Shibboleth, Salcedo elaborates a complex socio-political topic in a work with a tremendous formal presence.
Coded identification
Salcedo’s installation requires attentive viewing. The rupture measures 548 feet in length but its width and depth vary (changing from a slight opening to one several inches wide and up to two feet in depth). The viewer’s perception into the crevice alters, as he or she walks and shifts to better glimpse inside the cracks and appreciate the interior space, notably the wire mesh embedded along the sides.
Change in perspective is one of Salcedo’s goals. She quotes the Frankfurt School theorist Theodor Adorno: “We should all see the world from the perspective of the victim, like Jewish people that were killed with their head down in the Middle Ages. So he wonders, what is the perspective of a person that is agonizing in this position?”

Felix Gonzalez-Torres, Untitled (Passport #11)

Louise Bourgeois, PILLAR (edition of 6 + 1 AP), 1947 – 1949, Xavier Hufkens, Sculpture, Bronze, painted white, and stainless steel, 156.0 × 30.0 × 30.0 Size (cm)61.4 × 11.8 × 11.8 Size (in)

Nan Goldin, Matt and Lewis on the Bed, Cambridge (1988), Cibachrome print; 50.8 x 60.8 cm

Richard Long
LINE OF LAKE STONES
ANTONIO TUCCI RUSSO TURIN 1984

Roni Horn. “When Dickinson Shut Her Eyes” (1993-2004)

Louise Bourgeois