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Article

Sofia Hernández Chong Cuy

American installation artists, active also in Puerto Rico. Jennifer Allora (b Philadelphia, Mar 20, 1974) graduated with a bachelor’s degree in art from the University of Richmond, Virginia (1996), and Guillermo Calzadilla (b Havana, Cuba, Jan 10, 1971) graduated with a Bachelor of Fine Arts from the Escuela de Artes Plastica in San Juan, Puerto Rico (1996). Allora and Calzadilla met in Italy in 1995 during a study abroad program in Florence. They then lived together in San Juan for a year before moving to New York City where they started working collaboratively while each participated in different residency and study programs. In 1998–1999, Allora participated in the year-long Whitney Independent Study Program, while Calzadilla participated in the P.S.1 Contemporary Arts Center National Studio Program.

Allora & Calzadilla’s first important international exhibition was the XXIV Bienal de São Paulo in 1998 curated by Paulo Herkenhoff, which investigated the idea of cultural cannibalism known in Brazilian literature as ...

Article

Margo Machida

(b New York, Aug 16, 1949).

American printmaker and installation artist. Born and raised in New York City, Arai, a third-generation Japanese American printmaker, mixed-media artist, public artist and cultural activist, studied art at the Philadelphia College of Art and The Printmaking Workshop in New York. Since the 1970s, her diverse projects have ranged from individual works to large-scale public commissions (see Public art in the 21st century). She has designed permanent public works, including an interior mural commemorating the African burial ground in lower Manhattan and an outdoor mural for Philadelphia’s Chinatown. Other works include Wall of Respect for Women (1974), a mural on New York’s Lower East Side, which was a collaboration between Arai and women from the local community. Her art has been exhibited in such venues as the Bronx Museum of the Arts, the Whitney Museum of American Art, the Museum of Modern Art, International Center for Photography, P.S.1 Museum, the Brooklyn Museum, the Museum of Contemporary Hispanic Art, all New York and the Library of Congress, Washington, DC. She is the recipient of awards and fellowships from National Endowment for the Arts, New York Foundation for the Arts, and Joan Mitchell Foundation....

Article

revised by Margaret Barlow

(b Harrisburg, PA, Nov 20, 1946).

American sculptor, draughtswoman, and installation and environmental artist. She studied liberal arts at Rutgers University, New Brunswick, NJ (1964–8), and obtained an MA in studio art at Hunter College, City University of New York (1968–71), where she worked under Robert Morris and became familiar with systems theory. From the 1960s Aycock developed phenomenologically site-orientated works to include metaphor and simile, referring to machinery and construction sites, archaeological sites, models, children’s play areas and funfairs, and other public or social settings. For example in A Simple Network of Underground Wells and Tunnels (1975) six concrete wells (1.62 sq. m) with connecting tunnels were sunk into an area of ground c. 6.1×12.2 m at Merriewold West, Far Hills, NJ (destr.). The curious sense of authority within her sophisticated, well-made structures is simultaneously articulated and undermined by a nonsensical, non-functional, and fantastical element. Her works are often a synthesis of diverse elements. The imagery of the ...

Article

Anne K. Swartz

(Francisca )

(b East Los Angeles, CA, Sept 20, 1946).

American muralist, activist and teacher. Born to Mexican–American parents, Baca is recognized as one of the leading muralists in the USA. She was involved from a young age in activism, including the Chicano Movement, the antiwar protest and Women’s Liberation. She studied art at California State University, Northridge, where she received Bachelor’s and Master’s degrees. Baca started teaching art in 1970 in East Los Angeles for the Los Angeles Department of Recreation and Parks and became interested in the ways murals could involve youth, allowing them to express their experiences. She founded the City of Los Angeles Mural Program in 1974, which evolved into the Social and Public Resource Center, a community arts organization, where she served as artistic director. She held five summer mural workshops from 1976 through 1983 for teenagers and community artists to help her paint a huge mural on the ethnic history of Los Angeles, called the ...

Article

Banksy  

Elizabeth K. Mix

(b Bristol, ?1974).

English graffiti and interventionist artist. Banksy is best known for stencilled graffiti that sometimes mimics government posts. His graffiti, both freehand and stencil, started appearing on trains and walls around Bristol in 1992–4. He apparently left Bristol for London late in 1999. The name ‘Banksy’ became formally associated with his work with the publication of his first book, Banging Your Head Against a Brick Wall (2001).

Banksy’s text-based graffiti has included the phrase, ‘caution, concealed trap doors in operation’, on London’s Millennium Bridge; ‘designated riot area’ in Trafalgar Square, and ‘this is not a not a photo opportunity’ at various tourist sites including Big Ben, the Eiffel Tower, and the Sydney Opera House. Many were fooled by his official-looking stencilled declaration that walls on Marylebone and Bayswater Roads in Westminster were ‘a designated graffiti area’. Other works contained unusual appropriations of public property—vandalized street signs, traffic cones, telephone booths, vehicles, and even farm animals. Banksy has termed his appropriation and manipulation of public advertisements ‘Brandalism’. A subtle use of found objects involves the painting of frames or dotted lines and scissors around the edges of objects, making the outlined objects appear to be either artworks or coupons ready to be clipped. In addition, Banksy has mimicked British pound notes (‘Banksy notes’ featuring Princess Diana) and oil paintings by William Bouguereau and Claude Monet, among other artists, by inserting incongruous objects (bombs, iPods, shopping trolleys) into copies of well-known paintings in a series of ‘Vandalized Oil Paintings’....

Article

(b Brooklyn, NY, Nov 4, 1940).

American graphic designer, installation artist and design educator. De Bretteville attended Abraham Lincoln High School in Brooklyn, NY, and was included in the school’s Art Squad by teacher and artist Leon Friend, who submitted his students’ work to national competitions. She received a prestigious Alex Award, named after the designer Alex Steinweiss, also a former member of the Art Squad. She received a BA in art history from Barnard College, New York in 1962 and received her MFA in the graphic design program at Yale University’s School of Art in 1964. She joined the faculty of the California Institute of the Arts (CalArts) and founded the first design programme for women in 1970. In 1981 she founded the communication design programme at the Otis Art Institute in Los Angeles (now the Otis College of Art and Design), which was at the time affiliated with the Parsons School of Design in New York. In ...

Article

Mary M. Tinti

(b Houston, TX, 1951).

American sculptor, installation and conceptual artist. His multimedia works investigate the pathology of contemporary culture. Mel Chin was born and raised in Houston, Texas to parents of Chinese birth and received his BA in 1975 from the Peabody College in Nashville, Tennessee. The works in Chin’s oeuvre are diverse in both medium and subject, but a consistent undercurrent of social, political, and environmental responsibility runs throughout. Whether a sculpture, film, video game, installation, public project or earthwork, Chin’s artworks consistently targeted a broad spectrum of pressing cultural and ecological interests and spread their message in subtle, if not viral ways.

In the 1980s, Chin produced a number of sculptures that set the stage for his ever-evocative artistic journey. The Extraction of Plenty from What Remains: 1823 (1988–9) is a frequently referenced piece from this period. It is a symbolic encapsulation of the effects of the Monroe Doctrine, referencing the complicated dealings between the US (represented by truncated replicas of White House columns) and Central America (represented by a cornucopia of mahogany branches, woven banana-tree fiber, and a surface layer of hardened blood, mud, and coffee grinds). From the 1990s, however, Chin moved away from strictly gallery-based installations and began creating works that directly engaged contemporary culture in a variety of physical and theoretical landscapes....

Article

Margo Machida

Asian American mixed-media and installation artist and cultural activist. Ken Chu came to the United States from Hong Kong in 1971, settling in California where he received a BFA in film studies from San Francisco Art Institute (1986). Relocating to New York City after graduation, his encounters with local Asian American artists, activists and cultural organizations supported his artistic efforts, in which he often drew upon subjects that emerged organically from personal experience in the US as a gay Asian man. Adopting popular cultural idioms from film and comics, while also drawing upon symbols and motifs from Chinese and other Asian cultures, his imagery from this pivotal period featured Asian men cast as prototypically American masculine figures, such as California surfers and cowboys, who populate colorful, imaginary scenarios of cross-cultural contact, mixing and desire. In Western societies, where the dominant norms are non-Asian and few viable role models for Asian men exist, Chu’s art strongly asserted their collective presence and place. His socially inspired work has since also engaged matters of anti-Asian violence, internalized racism, stereotyping, homophobia and the impact of AIDS on Asian diasporic communities....

Article

Klaus Ottmann

(b Lima, OH, June 22, 1956).

American installation artist, photographer, and video artist. Hamilton is known for creating complexly structured, highly sensual, site-specific environments that investigate visual and aural relationships with the human body. Hamilton studied textile design at the University of Kansas in Lawrence and sculpture at Yale University School of Art in New Haven. Using a wide range of metaphorical and associative materials, her installations function in the chasm between immediate experience and memory and frequently address the antinomy of creation and destruction in art.

In Privations & Excesses (1989; San Francisco, CA, Capp Street Project), Hamilton sat in a room whose floor was covered with 750,000 pennies, while obsessively wringing her hands in a hat filled with honey and, in an barred space behind her, several sheep grazed. In topos (1993; New York, Dia Center for the Arts), a figure seated in the midst of an expansive sea of interwoven horsehair, fastidiously erased printed letters from a book with a heating coil. In ...

Article

Deborah A. Middleton

(b Berkeley, CA, Nov 4, 1944).

American sculptor, painter, and printmaker. Heizer’s earthworks erected in the vast desert expanses of the American Midwest marked the beginning of the Heizer, Michael movement of the 1960s and liberated art from the confines of the art gallery. Heizer’s early experience and exposure to desert landscapes and Native American culture was influenced by his father Robert Heizer, an important American archaeologist, and his maternal grandfather Olaf P. Jenkins, who was an important early American geologist. He attended the San Francisco Art Institute (1963–4) to study painting and moved to New York (1966). In 1967 Heizer left New York to return to the American Midwest with colleague Walter De Maria, and began artistic collaborations with James Turrell and Robert Smithson to explore the making of land art.

Heizer’s early paintings explored the interaction of two-dimensional and three-dimensional geometric forms influenced by the Abstract Expressionists of the late 1940s and 1950s. By ...

Article

Francis Summers

(b Worcester, MA, 1938; d New York, Feb 8, 2014).

American land artist. Holt completed a Bachelor of Science degree at Tufts University, Medford, MA, before becoming an artist. Her interest in science became a key element in her art, in which she investigated the physical attributes of perception. Early works, such as Views through a Sand Dune (1972; see T. Castle, ‘Nancy Holt, Siteseer’, A. America, March 1982, p. 88) were simple interventions into the landscape that enhanced or altered the viewer’s experience of that environment. Holt’s first major work, the mighty Sun Tunnels (1973–9, see ‘Sun Tunnels’, Artforum, 15, April 1977, pp. 32–7), was constructed in the Great Basin Desert in north-west Utah. Consisting of four huge tunnels made from highway conduit, they are aligned in an axis to frame the rising and setting sun on the horizon on the two yearly solstices. Continuing the astrological theme, each tunnel was drilled through with a pattern of holes, each in the configuration of a star constellation: Draco, Perseus, Columba, and Capricorn. Holt also made several videotapes and films, some with her husband, ...

Article

Margaret Barlow

(b Gallipolis, OH, July 29, 1950).

American installation and conceptual artist. Her studies included general art courses at Duke University, Durham, NC (1968–70), and then painting, printmaking, and drawing at the University of Chicago before completing her BFA at Ohio University, Athens (1972). In 1974 she took summer courses at the Rhode Island School of Design, Providence, entering its MFA programme in 1975 and beginning her first work with language, installation, and public art. Holzer moved to New York in 1977. Her first public works, Truisms (1977–9), appeared in the form of anonymous broadsheets pasted on buildings, walls, and fences in and around Manhattan. Commercially printed in cool, bold italics, numerous one-line statements such as ‘Abuse of power comes as no surprise’ and ‘There is a fine line between information and propaganda’, were meant to be provocative and elicit public debate. Thereafter Holzer used language and the mechanics of late 20th-century communications as an assault on established notions of where art should be shown, with what intention and for whom (e.g. ...

Article

Courtney Gerber

(b Greenville, MI, Aug 6, 1945).

American painter and installation artist. She studied first at the Memphis Academy of Art (1965), then at the University of the Americas, Mexico City (1966–7) and finally at the St Martin’s School of Art, London (1968–9). She had her first solo exhibition in 1977 at the Holly Solomon Gallery in New York. Jaudon completed numerous permanent public art commissions and her paintings are represented in collections throughout the USA and Europe. In the 1970s Jaudon was linked most closely to the pattern and decoration movement (P&D). Her participation in this movement demonstrated her engagement with issues that were also understood as being at the core of the contemporaneous feminist art movement: disrupting the modernist definition of fine art as non-decorative, strictly formal, and, generally, produced by white men from Western cultures. In the painting Bellefontaine (1976; see 1996 exh. cat., p. 52), Jaudon fused modernism’s geometric abstraction with the interlacing curves and angles found in Islamic or Celtic ornamentation from the Middle Ages. She consciously takes care that the Western idiom of abstract painting does not overpower the non-Western decorative motifs, so that they coexist in a cross-cultural, non-hierarchical collaboration....

Article

Joan Marter

(b New York, Sept 8, 1940).

American environmental artist. Johanson is known for art projects created in the natural landscape that solve environmental problems. She is considered a pioneer in ecological art and has made permanent installations in gardens and parks in the United States and abroad. Johanson was born in New York City, where she was a frequent visitor to parks designed by Frederick Law Olmsted. She graduated from Bennington College where she studied with sculptor Tony Smith. While at Bennington (1958–62) she also met artists Kenneth Noland, David Smith, Helen Frankenthaler, Franz Kline and Philip Guston. In 1964 Johanson completed a master’s degree in art history at Hunter College.

A publishing project offered her the opportunity to catalogue the art of Georgia O’Keeffe, who became her mentor. Johanson’s paintings from the 1960s were Minimalist, as she explored the optical effects of colors. In 1966 she began producing large-scale sculpture, also Minimalist in style. ...

Article

Susan Snodgrass

(b Madrid, Spain, 1961).

Chicago-based American sculptor also working in photography, video and installation. He received a BA in art and art history and a BA in Latin American and Spanish literature from Williams College in 1983. In 1989 he earned a MFA from the School of the Art Institute of Chicago.

Manglano-Ovalle’s hybrid practice emerged with Tele-vecindario: A Street-Level Video Block Party, a public art project created for Culture in Action, a community-based art program in Chicago in 1992–3. Working with Latino youth in Chicago’s West Town community, an area often challenged by substandard housing, drugs and gang violence, the artist facilitated a multimedia portrait of their lives in which these youth constructed their own images and concept of self. Issues of identity, community and migration, as they relate to both cultural and geographic borders, have been explored throughout his prestigious career that includes collaborative modes of working, as well as individual works sited within the museum or gallery. For Manglano-Ovalle, culture encompasses a broad network of systems—artistic, political, environmental, scientific—in constant dialogue, negotiated by both artist and viewer....

Article

(b New York, May 27, 1944).

American sculptor, draughtsman, film maker, and environmental artist. As a child she was taken by her father on many visits to early forts, Native American sites, and abandoned mines. In Stuttgart with her family she saw the remains of demolished buildings as well as medieval towns and castle ruins, which left a strong impression. She studied at the University of California, Santa Barbara (BA, 1966), and at the Rhine Art School of Sculpture, Maryland Art Institute, Baltimore (MFA, 1968). On a summer sculpture course at Colorado College, Colorado Springs (1963), she became aware of the work of John Cage, Robert Rauschenberg, and Robert Morris, and of ideas initiated by contemporary Minimalist sculptors and land artists. Her early landscape works dealt primarily with the measurement of distances in relation to a specific location in a temporal work: for example, Untitled (wood, 12×6 ft [3.66×1.83 m] sections at 50 ft [15.25 m] intervals, ...

Article

John-Paul Stonard

(b Minneapolis, MN, 1960).

American sculptor and installation artist. After studying at the University of Wisconsin (BFA, 1983) and the University of Chicago (MFA, 1986), Peterman worked as a sorter and shifter for the Resource Center, a Chicago-based recycling company. In 1994 he bought the building that had been vacated by the company and developed it as a centre for diverse community art projects, based on the idea of ecologically sustainable production processes. After the building was seriously damaged by fire in April 2001, it was renamed the Experimental Station and plans for rebuilding began. Peterman’s involvement with the centre formed the background to his interest in production cycles and the problems of over-consumption and waste generation. The early project Chicago Compost Shelter (1988), in which an old Volkswagen bus was renovated and then half-buried in active compost that produced heat as it decomposed, the whole serving as a shelter during the cold winter months, showed Peterman’s concerns with producing socially useful works of art. Such activities relate to Joseph Beuys’s belief that art could provide the solution to social and ecological problems, although the symbolic and aesthetic values that Beuys used to promote a utopian vision are transformed into entirely pragmatic values by Peterman, who rejected Beuys’s mandarin attitude. This concern with functional rather than solely symbolic intervention is demonstrated by public art projects such as ...

Article

Jeremy Hunt and Jonathan Vickery

At the turn of the millennium, public art was an established global art genre with its own professional and critical discourse, as well as constituencies of interest and patronage independent of mainstream contemporary art. Art criticism has been prodigious regarding public art’s role in the ‘beautification’ of otherwise neglected social space or in influencing urban development. Diversity and differentiation are increasingly the hallmarks of public art worldwide, emerging from city branding strategies and destination marketing as well as from artist activism and international art events and festivals. The first decade of the 21st century demonstrated the vast opportunity for creative and critical ‘engagement’, activism, social dialogue, and cultural co-creation and collective participation. New public art forms emerged, seen in digital and internet media, pop-up shops, and temporary open-access studios, street performance, and urban activism, as well as architectural collaborations in landscape, environment or urban design.

Intellectually, the roots of contemporary public art can be found in the ludic and the architectonic: in the playful public interventions epitomized in the 1960s by the ...

Article

Harriet F. Senie

Objects created to remind viewers of specific individuals or events (see also Public monument). At its inception, the United States faced fundamental questions of what the new nation should commemorate and what forms would be appropriate for its new form of government: democracy. Primary subjects were presidents as well as military leaders and wars that functioned as expressions of national values. Often realized long after their subject had died or ended, monuments frequently reflected the time in which they were actually built. As societal values changed, so did the form and emphasis of monuments.

National memorials to the most influential presidents, George Washington, Abraham Lincoln and Franklin Delano Roosevelt include an obelisk, a sculpture housed in a temple and a large complex defined by a series of outdoor spaces dedicated to key aspects of a presidency.

Initially there were no American sculptors capable of realizing a monumental project to George Washington (...

Article

Tom Williams

(b New York, 1946).

American land and environmental artist. He received a BA in painting and art education from Western Illinois University, Macomb in 1968. He subsequently enrolled at the Pratt Institute in New York and at Ohio State University before completing an MA from Hunter College in 1970. Between 1970 and 1974 he also attended MIT as a Research Fellow in the Architectural Department in the Center of Advanced Visual Studies. In addition to this formal education, he has often cited his early experiences at the American Museum of Natural History, the Bronx Zoo and the Hemlock Forest along the Bronx River as formative influences to his later artistic development. He is best known for environmentally themed earthworks that address the histories of their sites or stage a form of land reclamation by reversing the effects of industrial development and pollution.

Unlike many of his contemporaries in the earth art movement, such as ...