Tag: installation

Damien Hirst, Adam and Eve (Banished from the Garden, )19992210 x 4267 x 1219 mm | 87 x 168 x 48 in, Glass, painted steel, silicone rubber, autopsy tables, drainage buckets, mannequins, chicken skins, autopsy equipment, cotton sheets, surgical instruments, needle and thread, latex gloves and sandwich, Vitrines

Yoko Ono, Stone Piece, from The Riverbed, 2015

Since the early 1960s, audience participation has been a crucial aspect of Ono’s work. To make a village is a political gesture, as well as a formal one. Audience participation is key to completing the THE RIVERBED through everyday action coupled with contemplation; they are collaborators with the artist, similar to the collaboration between the artist and the two galleries. Additionally, it is significant to Ono that all three “principals”— the artist and two gallery leaders—are female; the support and participation of women in power is one of Ono’s longstanding concerns.

Conceived as two room-sized installations shown in two spaces—a whole in two parts— visitors are encouraged, via instructions, to visit both spaces in order to experience and fully understand THE RIVERBED. Both galleries will have a pile of large river stones that Ono has selected and gathered. She will inscribe the words like remember, dream, and wish on the stones, which have been honed and shaped by water over time. Visitors may pick up a stone and hold it in their lap, concentrating on the word and letting go of their anger or fear, transforming the stone into an emotional object to be placed upon the pile of stones in the center of the room.

“Untitled” (Portrait of the Cincinnati Art Museum), 1994, Felix Gonzalez-Torres

Description
From the Certificate of Authenticity/Ownership:
A portrait consisting of words and numbers (events and their dates)… Ideal installation:  this text is to be painted directly on a wall(s) just below the point where the wall meets the ceiling, in metallic silver paint on a background color to the owner’s liking, in Trump Medieval Bold Italic typeface.  If necessary, the size of the text may be altered to fit the available wall space each time this work is re-installed.
The current installation of the work in the front lobby has the list of events and dates arranged in two rows of text that completely circle the lobby in a band just below the ceiling and just above a decorative molding near the top of the walls.
Although the certificate of ownership stipulates that dates can be added and removed as the museum sees fit, the current installation matches the original list faxed by the artist to the museum during the commissioning process.  That list is as follows:

Though this list presents the possibility of a “correct order” in which the dates should be read, the installation forms a continuous circle with no clear beginning point and no clear end.  As the dates are not in chronological order (or, indeed, any apparent order), the assumption is that the viewer may begin reading at any point.

Source: matchcut.blogspot.com