
laura shill

laura shill

Judith Braun
Sacred Order of the Burning Bush”, Xerox on paper, push pins, 30’ x 30’, 1993.
Kunztlerhaus Bethanian, Berlin, Germany

Rebecca Horn, High Noon 1991
:My machines are not washing machines. They have almost human characteristics and must change as well. They are nervous and sometimes have to stop too. (…) The tragic or melancholy aspect of the machines is important to me. “(Horn, in: Cat.No., New York 1993)

Felix Gonzalez-Torres, “Untitled” (Placebo), detail, candies individually wrapped in silver cellophane, 1991. Courtesy of Andrea Rosen Gallery, New York. ©The Felix Gonzalez-Torres Foundation.

louise bourgeois, cell I (detail), 1991, mixed media installation
JENNY HOLZER AT ACAA MELBOURNE

Felix Gonzalez-Torres
Untitled (Placebo Landscape for Roni)
1993
candies, endless supply
ideal weight: 1200 lbs

Felix Gonzalez-Torres, “Untitled” (Perfect Lovers), 1991 Wall clocks and paint on wall Overall dimensions vary with installation Clocks: 14 x 28 x 2 ¾ in. overall Two parts: 14 in. diameter each © The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery, New York

Felix Gonzalez-Torres
Untitled (“Loverboys”), 1991, Andrea Rosen Gallery.
Felix Gonzalez-Torres was not interested in making art that allowed the viewer to remain a spectator. His work offers the viewer an opportunity to contribute his or her own experiences, and to participate in the meaning of the work. In Untitled (Lover Boys), 1991, (on loan from the Goetz Collection, Munich), an “endless” supply of candy lies shimmering on the gallery floor, gathered together at an ideal weight of 355 pounds – alluding to the combined weight of Gonzalez-Torres and his partner. Without any sign stating so, the viewer is invited to take and eat a piece of candy. Every night the “spill” is replenished and lives on in a constant cycle of loss and regeneration.

Louise Bourgeois, ‘Cell III’, 1991