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Dust to dust
- 14. CaiGuoQiang
Editor's Notes
- Bones turn to ash- 5 to 10 lbs, depending on height and bone mass of individual.
- Rice House, 2007black Indian granite, black smoke, sunflower oil and rice6 5/8 x 7 1/2 x 14 5/8 inches (17 x 19 x 37 cm)
- Laib spent part of his youth in southern India and the experience had a profound impact on his life and work. Having studied medicine, it was through his exposure to temple offerings in Tamil Nadu that he realised how he could begin to make art as a form of devotion. His signature works with pollen are good examples: the pollen is sometimes shown in jars but most popularly sprinkled onto the floor to form a glowing yellow rectangle which has the quality of a horizontal Rothko except that it also has a marvellous fragrance. Other works such as the 4.5 metrehight Ziggurat are made from bees wax while he also works with bronze temple bowls, milk, marble, rice and bronze.
- Uberorgan 2005The offsite installation of Tim Hawkinson’s signature construction, Überorgan opens February 11, 2005. The deeply sonorous piece, too large to be shown at the Whitney itself, is on view in the Sculpture Garden at 590 Madison Avenue (between 56th and 57th Streets), where it remains up through May 29, concurrent with the run of the Whitney exhibition of Hawkinson’s work. The Sculpture Garden at 590 Madison Avenue is open to the public from 8 am to 10 pm daily.Überorgan, created from multiple bus-size biomorphic balloons, each with its horns tuned to a different note in an octave, is a gargantuan self-playing organ. Its musical score consists of a 200-foot-long scroll of dots and dashes encoding old hymns, pop classics, and improvisational ditties. Tim Hawkinson explains: “The score is deciphered by the organ’s brain—a bank of light-sensitive switches—and then reinterpreted by a series of switches and relays that translate the original patterns into nonrepeating variations of the score.”
- Feather, hair and superglue (1997)Egg, ground fingernails and hair
- Tiny and delicate, almost diaphanous, this little bird skeleton at first seems remarkable simply because it is so well preserved despite the fragility of bird bones. But those aren’t bones at all – they’re the fingernail clippings of the artist, Tim Hawkinson, carefully arranged into the 2-inch-tall sculpture.
- Janine Antoni, Butterfly Kisses, 1996-99 Cover Girl Thick Lash Mascara 32 1/4 x 32 1/4 inches (81.92 x 81.92 cm) (image source: http://www.luhringaugustine.com)
- Friedman: 1996’s Untitled (Polystyrene Tower)Untitled, 1995, toothpicks, 26 x 30 x 23 inches: A starburst construction made with 30,000 toothpicks.
- Tom Friedman1,000 Hours of Staring1992-97stare on paper32 1/2 x 32 1/2 in.he had to pull like 17 hours a month. which is only 2+ hours a week,
- CaiGuoQiang
- RivaneNeuenschwander's "I Wish Your Wish," 2003
- RivaneNeuenschwanderEudesejooseudesejo, 2003 Colored textile ribbons printed with people's wishesDimensions variable The tradition of traveling to São Salvador’s church, NossoSenhor do Bonfim in, the northeastern region of Brazil known as Bahia inspired RivaneNeuenschwander’s installation Eudesejooseudesejo (I wish your wish). Visitors to the church select a ribbon and tie it with three knots, making a wish with each knot. According to tradition, the wishes come true when the ribbon tears apart and falls off the wrist. Originally, part of a religious practice, the ribbons are today also sold as souvenirs. The artist asked forty people for their wishes and then assembled sentences that were printed onto thousands of colored ribbons similar to those with saints’ names that express devotion or hope. Thus, the wishes can be appropriated by visitors and the intimate desires are shared. After selecting someone else’s wish by removing the ribbon from the wall, the visitor places it around his or her wrist. Conversely, visitors are encouraged to write their own wishes on pieces of paper and place them in the holes in the wall from which the ribbons are removed and bringing their aspirations and concerns into the work. Neuenschwander effectively asks the visitors to perpetuate the work that hasn’t been completed. She concedes control over its meaning by permitting one person to wish someone else’s wish and incorporating new wishes into the installation.