JESUS RAFAEL SOTO Venezuelan op and kinetic artist, sculptor and painter 1923 - 2005
https://youtube.com/watch?v=976Ghk1Ue4E&feature=share&utm_source=EKLEiJECCKjOmKnC5IiRIQ (Accessed 02.11.2022)
“Soto’s sculptures and environments often play with the juxtaposition of solid and void, deliberately unsettling the act of viewing by blurring the distinction between reality and illusion.” TRACES: Jesús Rafael Soto dreamideamachine ART VIEW [online] At: http://www.dreamideamachine.com/?p=13668 (Accessed 02.11.2022)
Form. Colour?
Soto's materiality is highly variable. It is not stable and changes from interaction with it. The environment, created from a certain material, usually carries a recognizable pattern or shape. The distinguishing element of the form is the color difference. It turns out that the material itself is not so important here, but its shape and color are important.
EVA HESSE German-born American sculptor 1936 - 1970
“Vinculum I’, it took a very short time. It was a very complex piece…” Eva Hesse, Vinculum I, March 1969 (fiberglass, rubber tubing, staples and metal screen) © The Estate of Eva Hesse [online] At: https://www.hauserwirth.com/news/14479-interview-eva-hesse/ (Accessed 31.10.2022)
Texture. Physicality.
The materiality of this work, so to speak, is obvious. It is narrative. But here, rather, the form dominates the material, since the name of the work is link, tie, and this is rendered into the form of the material.
RICHARD LONG English sculptor 1945
“It was a good photo but it wasn’t a great photo. The photo wasn’t the artwork. Nor was the line he’d made, which wouldn’t last. The artwork was the walking. This was a landmark in conceptual art.
"I’m not there just to take photographs," he explains. "I like to move stones around, carry stones in my pocket, make circles, make lines..."” I walk the line: How Richard Long turns epic journeys into art 10 May 2018 [online] At: https://www.bbc.co.uk/programmes/articles/1lwlwQLyGK4FR0lTPTklBh9/i-walk-the-line-how-richard-long-turns-epic-journeys-into-art (Accessed 02.11.2022)
Time. Motion.
RICHARD LONG CIRCLE IN ALASKA, 1977 [online] At: https://www.inglebygallery.com/content/feature/86/57819/ (Accessed 02.11.2022)
The materiality of Long's work in motion. Movement and activity. The artist exists physically, so he moves stones, walks, takes pictures - does something. These actions captured in the photograph become a confirmation of the artist's movement from one point to another. The human matter moved in space and leaving a temporary trace is one of the forms of materiality.
SUSAN PHILIPSZ Scottish artist 1965
https://youtube.com/watch?v=EGR1kb2OAlc&feature=share&utm_source=EKLEiJECCKjOmKnC5IiRIQ (Accessed 02.11.2022)
Sound.
Confirmation of the materiality of sound is possible only in the presence of a person. If all people die on earth - will there be a sound? And this applies to all other materialities - colour, texture, time, movement... A monkey, for example, will perceive colour, sound, taste, and so on, but will it be aware of this perception?
JAMES TURRELL American artist 1943
https://youtube.com/watch?v=g0g6JFYRKxQ&feature=share&utm_source=EKLEiJECCKjOmKnC5IiRIQ (Accessed 02.11.2022)
Light.
DAVID HAMMONS American artist 1943
“was thus not only a decidedly ephemeral counterproposal to the art world and material lust of the ’80s. It must also be recognized in the context of an era when countless black men and women were pushed even further into the margins of society.” THE SNOWBALL EFFECT. Bruce Hainley on Elena Filipovic’s David Hammons: Bliz-aard Ball Sale [online] At: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed 02.11.2022)
David Hammons, Bliz-aard Ball Sale, 1983. Performance view, Cooper Square, New York, 1983. Photo: Dawoud Bey. [online] At: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed 02.11.2022)
Norms. Actions.
In Amsterdam, opposite the Stedelijk Museum stands one of the works of Richard Serra. So this iron sculpture smelled so strong that it was impossible to get close. Question - what is the difference between the repeatedly pissing actions of people to Serra's performance from Pissed Off, 1981?
The artist, by his actions, emphasizes problems or states doubtful facts, asks a question or challenges society. In the actions of Hammons, it is difficult to determine the form of materiality, perhaps these are actions itself which was provoked by the norm. Consumption, recognizing something as art, racism...
JOHN GERRARD Irish artist 1974
“The work Western Flag (Spindletop, Texas) 2017 ... recreates the place where in 1901 the world’s first oil well, known as Lucas Gusher, was drilled at Spindletop Hill (Texas, USA), a place that is now barren and exhausted.
The installation, ... comprises a digital simulation in which a black smoke flag is projected over real images of Spindletop that transmit the changing atmospheric conditions there throughout the year.” John Gerrard: Western Flag (Spindletop, Texas) 2017 From 2 to 13 December2019 [online] At: https://www.museothyssen.org/en/exhibitions/john-gerrard-western-flag-2017 (Accessed 02.11.2022)
hamburg maschine stadtkuratorin john-gerrard Western Flag (Spindletop, Texas), 2017 foto kay riechers highres [online] At: https://stadtkuratorin-hamburg.de/de/kunst/john-gerrard/ (Accessed 02.11.2022)
Bacteria, atoms, trace elements and much more that exist but can only be seen with the help of special tools. For an artist, imagination and powerful equipment are enough to create a simulation of basically everything in the modern world. How would one imagine carbon dioxide in the atmosphere? You can't see it or hear it, but it's there. The representation of the materiality of such invisible substances is perceived much clearer and more understandable on the example of its accumulation.
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