"RUST" Renewed Urban Studio Tent
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"RUST" Renewed Urban Studio Tent

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A Design Philadelphia 2011 Lecture about the need to renew the urban environment. Andy and Andy are making a wig-wam like studio made of recycled materials found in the city to be installed on Broad ...

A Design Philadelphia 2011 Lecture about the need to renew the urban environment. Andy and Andy are making a wig-wam like studio made of recycled materials found in the city to be installed on Broad Street, Philadelphia, summer 2012. Materials; glass bottles, concrete, and images of abandoned homes printed on ceramic tiles.

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"RUST" Renewed Urban Studio Tent "RUST" Renewed Urban Studio Tent Presentation Transcript

  • Renewed Urban Studio Tent (RUST) By Andy Heisey and Andy Walker
  • The Sublime is a knowledge of something greater than oneself. The HudsonRiver artists understood this notion and understood this force represent the handof God. The artist duty was to represent this “Sublime” world and in doing so the viewer can also become closer to God. Man is in charge of this world.
  • “God
blessed
them,
saying:
‘Be
fertile
and
multiply;
;ill
the
earth
and
subdue
it.
Have
dominion
over
the
;ish
of
the
sea,
the
birds
of
the
air
and
all
the
living
things
that
move
on
the
earth…See
I
give
you
every
seed‐bearing
plant
all
over
the
earth…”
(Genesis
1,
chapter
1,
line
28)
Most
of
the
artists
of
the
Hudson
River
School
didn’t
acknowledge
what
was
happening
to
America
and
its
wild
lands
but
some
did
such
as
Edith
Wilkinson
Cook.
Having
man
in
charge
of
our
environment
can
be
a
challenging
problem. View slide
  • Joseph Beuys and Social Sculpture The work of art is the greatest riddle of all, but man is the solution. Here is the threshold, which I want to call the end of modernity, the end of all traditions. Together we will develop the social concept of art as a newborn child of the old disciplines. We view the traditional disciplines as entailing architecture, sculpture, painting, music, and poetry, the group of muses which here too appear from behind an iron curtain so that a child may be born: social art, social sculpture, which sets itself the task of apprehending more than just physical material. We also need the spiritual soil of social art, where every single person experiences and recognizes himself as a creative, world-determining being, for building, sculpture in bronze or stone, theatrical presentations, and our speech (p. 44). Joseph Beuys as quoted in a book In Memoriam Joseph Beuys Obituaries Essays Speeches.• Some of the 7,000 Oaks planted between 1982 and 1987 for Documenta 7 (1982)• Joseph Beuyss Honigpumpe am Arbeitsplatz (Honey Pump at the Workplace), 1977 View slide
  • Rozel Point, UtahSmithson was interested in entropy (the gradual decline into disorder). This a site created by both death and life. Today the Dia foundation is dealing with the problem of trying to restore the site or let it fall into an entropic state.
  • Mark Dion-“Neukom
Vivarium”
(2006),
a
permanent
outdoor
 installation
and
learning
lab
for
the
Olympic
Sculpture
Park,
was
 commissioned
by
the
Seattle
Art
Museum.
DION:
I
think
that
one
of
the
important
things
about
this
work
is
that
it’s
really
not
an
intensely
positive,
back‐to‐nature
kind
of
experience.
In
some
ways,
this
project
is
an
abomination.
We’re
taking
a
tree
that
is
an
ecosystem—a
dead
tree,
but
a
living
system—and
we
are
re‐contextualizing
it
and
taking
it
to
another
site.
We’re
putting
it
in
a
sort
of
Sleeping
Beauty
cof;in,
a
greenhouse
we’re
building
around
it.
And
we’re
pumping
it
up
with
a
life
support
system—an
incredibly
complex
system
of
air,
humidity,
water,
and
soil
enhancement—to
keep
it
going.
All
those
things
are
substituting
what
nature
does—emphasizing
how,
once
that’s
gone,
it’s
incredibly
dif;icult,
expensive,
and
technological
to
approximate
that
system—to
take
this
tree
and
to
build
the
next
generation
of
forests
on
it.
So
this
piece
is
in
some
way
perverse.
It
shows
that,
despite
all
of
our
technology
and
money,
when
we
destroy
a
natural
system
it’s
virtually
impossible
to
get
it
back.
In
a
sense
we’re
building
a
failure.
  • Henrik Håkansson, Fallen Forest, 2006.Courtesy the artist, Galleria Franco Noero,Turin and The Modern Institute/ TobyWebster Ltd, Glasgow. Photo: Yann Revol Henrik Hakansson turns nature on its side to show how nature has become unbalanced and made perform unnatural tasks.
  • Mel Chin takes the next step inthe development of the concept ofSocial Sculpture by working withscientists, corporations, artorganizations and everyday peopleto solve real life problems such astoxic waste. Mel Chin, Revival Field, 1990 until present, satorimedia.com
  • Rick Lowe’s idea of Social Sculpture goes further than the physical transformation of theneighborhood. As Ms. Richards said about her experience in the program as an unwedmother:Well, I had heard Rick was an artist when I got there, but I thought, what kind of art doeshe do? Then I realized we were his art. We came into these houses, and they didsomething to us. This became a place of transformation. That’s what art does. Ittransforms you. And Rick also treated us like artists. He would ask, ‘What’s your visionfor yourself?’ You understood that you were supposed to be making something new, andthat something was yourself .Lowe creates beauty where there once was ugliness when he transforms the olddilapidated shotgun houses and turns these houses to places of physical beauty. He takesthe next step by helping others to live creative lives. Ms. Richards is currently completingher Ph. D. in Sociology. Project Row Houses, Houston, photo by Stephen L. Clark, Dewan, 1995
  • Andy Heisey Reclaimed
  • Fallen
  • Fallen
  • Conglomerate
  • Conglomerate II
  • Conglomerate II
  • Lego Torso
  • Layers
  • Pressure Points
  • The Urban Egg Project
  • Andy Walker “Interiors on the Exterior” 2010 Hamilton Platforms Broad Street, Philadelphia PA
  • “Houses in Need of Help” 2011
  • “House in Need of Help” 2011
  • RUSTRenewed Urban Studio Tent
  • The Studio
  • The Studio
  • Kickstarter Project