Found object | Tate Appropriation | Tate
Found objects (sometimes referred to by the French term for Appropriation can be tracked back to the cubist collages and constructions of Pablo
found object ‘objet trouvé’) may be put on a shelf and treated as Picasso and Georges Braque made from 1912 on, in which real objects such as newspapers
works of art in themselves, as well as providing inspiration for the were included to represent themselves. The practice was developed much further in
artist. The sculptor Henry Moore for example collected bones and the readymades created by the French artist Marcel Duchamp from 1915. Most notorious
flints which he seems to have treated as natural sculptures as of these was Fountain, a men’s urinal signed, titled, and presented on a pedestal.
well as sources for his own work. Found objects may also be Later, surrealism also made extensive use of appropriation in collages and objects such
modified by the artist and presented as art, either more or less as Salvador Dalí’s Lobster Telephone. In the late 1950s appropriated images and objects
intact as in the dada and surrealist artist Marcel appear extensively in the work of Jasper Johns and Robert Rauschenberg, and in pop art.
Duchamp’s readymades, or as part of an assemblage. However, the term seems to have come into use specifically in relation to certain American
As so often, Picasso was an originator. From 1912 he began to artists in the 1980s, notably Sherrie Levine and the artists of the Neo-Geo group
incorporate newspapers and such things as matchboxes into particularly Jeff Koons. Sherrie Levine reproduced as her own work other works of art,
his cubist collages, and to make his cubist constructions from including paintings by Claude Monet and Kasimir Malevich. Her aim was to create a new
various scavenged materials. situation, and therefore a new meaning or set of meanings, for a familiar image.
Extensive use of found objects was made by dada, surrealist Appropriation art raises questions of originality, authenticity and authorship, and belongs
and pop artists, and by later artists such as Carl Andre, Tony to the long modernist tradition of art that questions the nature or definition of art itself.
Cragg, Bill Woodrow, Damien Hirst, Sarah Lucas and Michael Appropriation artists were influenced by the 1934 essay by the German philosopher Walter
Landy among many others. Benjamin, The Work of Art in the Age of Mechanical Reproduction, and received
Browse the slideshow below and read the image captions to contemporary support from the American critic Rosalind Krauss in her 1985 book The
explore some of the ways artists have used found objects in their Originality of the Avant-Garde and Other Modernist Myths.
work. Appropriation has been used extensively by artists since the 1980s.
Minimalism | Tate Land art | Tate Transavanguardia | Tate
Minimalism or minimalist art can be seen as extending the abstract idea Land art was part of the wider conceptual The Transavanguardia movement
that art should have its own reality and not be an imitation of some other art movement in the 1960s and 1970s. The most was part of the international
thing. We usually think of art as representing an aspect of the real world (a famous land art work is Robert Smithson’s Spiral phenemenon of a revival
landscape, a person, or even a tin of soup!); or reflecting an experience Jetty of 1970, an earthwork built out into the of expressionist painting in the
such as an emotion or feeling. With minimalism, no attempt is made to Great Salt Lake in the USA. Though some artists late 1970s and 1980s.
represent an outside reality, the artist wants the viewer to respond only to such as Smithson used mechanical earth-moving The term, which literally means
what is in front of them. The medium, (or material) from which it is made, equipment to make their artworks, other artists ‘beyond the avant-garde’, was
and the form of the work is the reality. Minimalist painter Frank made minimal and temporary interventions in coined by the critic Achille Oliva
Stella famously said about his paintings ‘What you see is what you see’. the landscape such as Richard Long who simply in his texts for an exhibition he
Minimalism emerged in the late 1950s when artists such as Frank Stella, walked up and down until he had made a mark in organised in 1979 in Genanzzano
whose Black Paintings were exhibited at the Museum of Modern Art in the earth. titled Le Stanze.
New York in 1959, began to turn away from the gestural art of the Land art, which is also known as earth art, was The leading Italian
previous generation. It flourished in the 1960s and 1970s with Carl usually documented in artworks using Transavanguardia artists
Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin and Robert photographs and maps which the artist could were Sandro Chia, Francesco
Morris becoming the movement’s most important innovators. exhibit in a gallery. Land artists also made land Clemente, Enzo Cucchi, Nicolo de
The development of minimalism is linked to that of conceptual art (which art in the gallery by bringing in material from the Maria and Mimmo Paladino.
also flourished in the 1960s and 1970s). Both movements challenged the landscape and using it to create installations. • See also neo-expressionism
existing structures for making, disseminating and viewing art and argued As well as Richard Long and Robert Smithson, key
that the importance given to the art object is misplaced and leads to a land artists include Nancy Holt, Walter de
rigid and elitist art world which only the privileged few can afford to enjoy. Maria, Michael Heizer and Dennis Oppenheim.
Installation art | Tate
Installation artworks (also sometimes described as ‘environments’) often occupy an entire room or gallery space
that the spectator has to walk through in order to engage fully with the work of art. Some installations, however,
are designed simply to be walked around and contemplated, or are so fragile that they can only be viewed from a
doorway, or one end of a room. What makes installation art different from sculpture or other traditional art
forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus
on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant
theme in installation art. As artist Ilya Kabakov said:
The main actor in the total installation, the main centre toward which everything is addressed, for which
everything is intended, is the viewer.
Installation art emerged out of environments which artists such as Allan Kaprow, made from about 1957 onward,
though there were important precursors, such as Kurt Schwitters’s Merzbau 1933, an environment of several
rooms created in the artist’s own house in Hanover. In an undated interview published in 1965 Allan Kaprow said
of his first environment:
I just simply filled the whole gallery up … When you opened the door you found yourself in the midst of an entire
environment … The materials were varied: sheets of plastic, crumpled up cellophane, tangles of Scotch tape,
sections of slashed and daubed enamel and pieces of coloured cloth … five tape machines spread around the
space played electronic sounds which I had composed.
From the 1960s the creation of installations has become a major strand in modern art. This was increasingly the
case from the early 1990s when the ‘crash’ of the art market in the late 1980s led to a reawakening of interest
in conceptual art (art focused on ideas rather than objects). Miscellaneous materials (mixed media), light and
sound have remained fundamental to installation art.
Neo-expressionism | Tate Public art | Tate
It was seen as a reaction to Usually, but not always, public art is commissioned
the minimalism and conceptual art that had specifically for the site in which it is situated. Monuments,
dominated the 1970s. memorials, and civic statues and sculptures are the most
In the USA leading figures were Philip established forms of public art, but public art can also be
Guston and Julian Schnabel, and in transitory, in the form of performances, dance, theatre,
Britain Christopher Le Brun and Paula Rego. poetry, graffiti, posters and installations.
There was a major development of neo- Public art can often be used as a political tool, like the
expressionism in Germany, as might be propaganda posters and statues of the Soviet Union or
expected with its expressionist heritage, but the murals painted by the Ulster Unionists or the Irish
also in Italy. In Germany the neo- Republicans in Northern Ireland. Public art can also be a
expressionists became known as Neue form of civic protest, as in the graffiti sprayed on the side of
Wilden (i.e. new Fauves). In Italy, neo- the New York subway in the 1980s.
expressionist painting appeared under the
banner of Transavanguardia (beyond the
avant-garde). In France a group called
Figuration Libre was formed in 1981 by Robert
Combas, Remi Blanchard, Francois Boisrond
and Herve de Rosa.
Social sculpture / Joseph Beuys, 7000 Oak Trees (1982 )

I think the tree is an element of regeneration, which in itself is a

concept of time. The oak is especially so because it is a slowly growing
tree with a very solid heartwood. It has always been a form of
sculpture, a symbol for this planet ever since the Druids, who are called
after the oak. Druid means oak. They used their Druids to define their
holy places. I can see such a use for the future. The tree planting
enterprise provides a straightforward but radical possibility for this
when we start with the seven thousand oaks.
The planting of seven thousand oak trees is only a symbolic beginning.
Contrary to its initiative, progressive features such as a symbolic Sakarin Krue-On, Terraced Rice
beginning require a marker, in this instance, a basalt column. Future Fields, ca. 7000 sqm, Schloss
goals for the project include: Wilhelmshoehe, Kassel, Germany,
1. An ongoing scheme of tree planting to be extended throughout the Documenta 12 (2007)
world. This was envisioned as a part of a global mission to foster
environmental and social change.
2. Growth of awareness within the urban environment of human
dependence on the more extensive ecosystem educational outreach.
3. An ongoing process whereby the society would be activated by
means of human creative will social sculpture. Joseph Beuys
For me, a landscape is never a landscape, it’s the memory of history. You see the ruins of history in the landscape. I'm a storyteller with a broken history. There is no separation between nothingness and something. Anselm Kiefer
Anselm Kiefer, Ramanujan Summation – 1/12 (2019)
Language as Landscape, Anselm Kiefer and the Poetry of Paul Celan | Contemporary Art | Sotheby’s (sothebys.com)
Why do you often paint destroyed landscapes?
I cannot see landscape without war, because for me the landscape is often impregnated by the traces of war and battles.
Battlefields that mean bloodshed and broken flowers?
Flowers denounce that. They are included in this idea that landscapes are battlefields. Battlefields of yesterday, of a thousand years ago and
of the future too.
Are you a new symbolist or a new expressionist, as they say?
No. I hope I am more than just an expressionist, because to be an expressionist is to do something spontaneously, direct, without too much
reflection. I reflect all the time. I am impulsive, but this is not visible in the result.
Can we say that your work is a denunciation of humanity?
I think human beings have something not well constructed. There is definitely something wrong, because our conflicts continue ceaselessly.
Anselm Kiefer - Alain Elkann Interviews
Creation and destruction are one and the same. Anselm Kiefer

Anselm Kiefer | Die Argonauten (The Argonauts) (2014) | Available for Sale | Artsy

Anselm Kiefer, Icarus—Sand of the Brandenburg March, 1981, oil, emulsion, shellac, sand, and Anselm Kiefer, Seraphim, 1983–84, oil, straw, emulsion, and shellac on
photograph on canvas, 114 ¼ × 141 ¾ inches (290 × 360 cm) canvas, 126 ¼ × 130 ¼ inches (320.7 × 330.8 cm)

https://uk.phaidon.com/agenda/art/articles/2017/may/30/the-weird-numerology-behind-anselm-kiefer-s-new-show/

https://gagosian.com/quarterly/2019/02/11/interview-anselm-kiefer-uraeus/

A life in art: Anselm Kiefer | Anselm Kiefer | The Guardian

Anselm Kiefer review – remembrance amid the ruins | Anselm Kiefer | The Guardian

Anselm Kiefer Shows a Detritus Walhalla at White Cube | artnet News

Die Argonauten, 2017, Glass, metal, wood, burlap, clay, lead, fabric and gold leaf,
292 x 570 x 230 cm
Anselm Kiefer, The Ages of the World (2014) Reverse architecture

Anselm Kiefer, The Seven Heavenly Palaces, 2004-2015, installation, Pirelli Hangar Bicocca, Milan, Italy,
Studio Anselm Kiefer, Croissy (2014) 2018

Anselm Kiefer: Beneath The Crumbling Pillars Of The

Divine - Paul Black - Artlyst

Inside Anselm Kiefer's astonishing 200-acre art

studio | Anselm Kiefer | The Guardian

Anselm Kiefer: Beneath The Crumbling Pillars Of The

Divine - Paul Black - Artlyst
 Painting, for me, is not
just about creating an
illusion. I don’t paint to
present an image of
something. I paint only
when I have received an
apparition, a shock, when
I want to transform
something. Something
that possesses me, and
from which I have to
deliver myself. Something
I need to transform, to
metabolize, and which
gives me a reason to
paint. Anselm Kiefer

Anselm Kiefer:
Monumental Paintings
Rising From An Industrial
Moonscape - PLANTA -
Paul Black - Artlyst

Anselm Kiefer - Alain Elkann

Interviews

Like other neo-expressive movements of this era, the work of the

Neuen Wilden (i.e. new Fauves), is characterised by bright, intense
colours and quick, broad brushstrokes, and can be seen to have arisen in
opposition to the then dominant avant-garde movements of minimal
art and conceptual art.
Neue Wilde artists Georg Baselitz and Anselm Kiefer have become
major international figures.

Anselm's alchemy | Blog | Royal Academy of Arts

 Was Neo-Expressionism Just a Trend of the Art World ? | Widewalls
Anselm Kiefer

Anselm Kiefer’s lead airplane sculptures loom large at Copenhagen Contemporary

(wallpaper.com)
Anselm Kiefer: Uraeus | Interview | Gagosian Quarterly

‘For Louis–Ferdinand Céline: Voyage au bout de la nuit’ at Copenhagen Contemporary Neo-expressionism | Tate

Anselm Kiefer: Beneath The Crumbling Pillars Of The Divine - Paul Black - Artlyst
Heroic Symbols Paintings: Lost and Found – In Focus | Tate
Anselm Kiefer - Exhibitions - Hall Art Foundation Anselm Kiefer, Narrow Are The Vessels

Maya Lin, Black Sea (Bodies of water series), 2006

maya lin renders underwater topography as wooden seascape sculptures (designboom.com)

Students install Maya Lin artwork - The Source - Washington University in St. Louis (wustl.edu)

Ai Weiwei, Straight (2008–2012)

Young British Artists (YBAs) | Tate
Cornelia Parker – Chisenhale Gallery
Cornelia Parker, Cold Dark Matter: An Exploded View (1991).
Installation view, Museum of Contemporary Art Australia,
2019. Blown up garden shed and contents, wire, light bulb.
Cornelia Parker: Landscape With Gun And Tree – Jupiter Artland
Cornelia Parker, Subconscious of a Monument, 2001–05. Installation
view, Museum of Contemporary Art Australia, 2019. Earth excavated
from underneath Leaning Tower of Pisa (to stop it falling).
Thomas Gainsborough, Mr and Mrs Andrews
Thomas Gainsborough - Wikipedia
Although certain broad trends both formal and thematic can be seen in YBA art, (such as the use of found
objects and imagery that is sometimes perceived as shocking); there is no one YBA style or approach. The era is
marked by a complete openness towards the materials and processes with which art can be made, and the form
that it can take.
Leading YBA artists have preserved dead animals (Damien Hirst); crushed found objects with a steamroller
(Cornelia Parker); appropriated objects from medical history (Christine Borland); presented her own bed as art
(Tracey Emin); made sculpture from fresh food, cigarettes, or women’s tights (Sarah Lucas). YBA artists have made
extensive use of film, video and photography; used drawing and printmaking in every conceivable way
(e.g. Michael Landy); increasingly developed the concept of the installation (a multi-part work occupying a single
space), and not least, refreshed and revitalised the art of painting (Gary Hume).
Found object | Tate
A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures,
and installations, through which he propagated an egalitarian, human-centered vision. Through art, he
counteracted what he saw as the dehumanizing forces of industrialization and consumerism. Together with
compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor
of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first
igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment,
and connection to nature. By 1970, the Fibonacci sequence became central to his work, shaping the tables and
spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought
limitlessness, against the confines of modern life.
Carlo Maria Mariani’s hyperrealistic allegorical
paintings constitute “a vital dialogue with
contemporary art, concerns of the day, and human
endeavor in a troubled world”. His elegant depictions
of Greco-Roman nudes allude as much to Marcel
Duchamp, René Magritte, and Joseph Beuys, as they
do to the antiquities that abound in his native Rome,
or to the 18th-century Neoclassicism that revived
those ideals of beauty. Ranging from enigmatic,
conceptual scenes that juxtapose different styles to
masterfully executed classical heads set against
abstract backdrops, Mariani’s work, writes David
Bourdon, “affirms his belief that certain ideals and
values transcend the time and place of their origin
and continue to exert a seductive appeal beyond the
framework of history.”
Transavanguardia - The Progressive Movement of the
Italian Modern Scene | Widewalls
 I feel skeptical about our time, it is often sloppy and ugly, very commercial. Mamma Andersson

Tick Tock (2011)

Sleeping Standing Up (2013)

Mamma Andersson “paints the artificiality of the image.”

Mamma Andersson’s extra ordinary art - Albert Mobilio -

Bookforum Magazine

About some of the works in the exhibition |

Moderna Museet i Stockholm
 Gerhard Richter

Gerhard Richter, 4 Panes of Glass, 1967

http://mediation.centrepompidou.fr/education/ressources/ENS-Richter-
EN/

Glass and Mirrors » Other » Gerhard Richter (gerhard-richter.com)

Gerhard Richter: About Painting - Announcements - e-flux

Gerhard Richter: ‘Our times are so unquiet’ | Gerhard Richter | The Guardian

‘11 Panes’, Gerhard Richter, 2004 | Tate

Dan Graham: Mirror Complexities – Border Crossings Magazine

My pavilions are very site

specific. They also involve
the clichés of the city. The
material of two-way mirror
glass was first used in the
’70s in America because of
the drop of gas prices, when
Jimmy Carter said that we
shouldn’t use extra energy.
So the outside of typical
glass buildings from the ’70s
becomes one-way mirror
because it gets the light. It
gives insulation and cuts
down on air conditioning
costs. It’s also about
surveillance, because people
inside can see outside
without being seen. The
outside just reflects the sky.
So what I do is that the
sunlight is on both sides of
the two-way mirror glass, so
Octagon for Münster (1987) Andy Goldsworthy
people can see each other
wherever they stand. In
other words, it undermines
surveillance and power use
of the material.

Skulptur Projekte Archiv

(skulptur-projekte-archiv.de)
Maya Lin, Ghost Forest, May 10 – November 14, 2021, Madison Square Park, New York

Daniel Buren's Rainbow Colored Forest (mymodernmet.com)

Maya Lin's Ghost Forest in Madison Square Park, New York | Pace Gallery Anish Kapoor's Massive Balloon Beast (mymodernmet.com)
 Understanding Pipilotti Rist’s Dreamworld in 10 Art Installations (thecollector.com)

New Oslo Installation Reflects Norwegian Landscape in Miniature | ArchDaily Jeppe Hein, Path of Silence

Pipilotti Rist, 4th Floor to Mildness

Interview with Kathryn Gustafson, FASLA | asla.org

National Museum of African American History and Culture, Washington City Center Washington

I still love my Diana fountain |

Art | The Guardian
ASLA 2005 Professional Awards
Kathryn Gustafson, Les Jardins de l’Imaginaire, Terrasson-La-Villedieu, Dordogne France (1996)

The concept of the Les Jardins de l’Imaginaire is fragments

of garden history. The goal was to take different structural
elements of historical gardens, like the axis, the
perspective, the plan, and translate those into
contemporary form. When somebody visits a historical
garden in France, or other places, they look for these
compositional elements. It's the basis of the garden itself.
Kathryn Gustafson
 Migrating Landscapes consists of a megastructure that
works as a model of the city on which it stands: a
topography made of architecture. The hard-pressed bricks
that make up this urban landscape are made of soil from
different regions across Europe, offering a sort of
architectural, material mapping of a region whose flora, like
that of the world, is constantly changing. As the vegetation
grows between the cracks of this city model, architecture is
transformed into landscape. The installation not only maps
the territory through a deconstruction of its architecture,
but also acts as a timeline of the changes in vegetation
undergone by the city of Venice. These are made visible in
the form of a faded planting scheme of non-native flora
introduced to the city. The project presents a synthetic
history of ecological change and the manipulation of land.
The urban landscape gives way to a rugged topography
accommodating the seeds of change, giving way to a new
type of landscape that reimagines the implicit relationship
between landscape and architecture.

STIRring Together: Günther Vogt on the rapid

'metamorphosis' of landscapes (stirworld.com)

The Alps as Ecological Island in the middle of the European Continent The Metropolitan Museum of Art di Vogt
Landschaftsarchitekten AG | Giardini (architonic.com)
Migrating Landscapes at the Giardini at Venice Architecture Biennale 2021

A visual illustration showcasing Rolling Stones as interactive fragments of a public space Water from different Alpine regions brought down to the exhibition
Meili & Peter & Gunther Vogt - Park Hyatt Hotel, Zurich 2008. A series of
large, marble blocks sit in a grid like formation that references the
building facade. Subtle convex and concave shifts in the surface of each
individual piece ensures that the frequent rain-water evaporates in
specific ways, creating a constantly changing hue and reflective pattern in
the courtyard. An adjacent courtyard accomplishes a similar effect with
plantings.
Günther Vogt and the sensory city (foreground.com.au)

The Metropolitan Museum of Art di Vogt Landschaftsarchitekten AG | Giardini (architonic.com)

Autumn at Home of FIFA: planting registers ongoing growth, seasonality and change.

Serpentine Gallery Pavilion 2011 / Peter Zumthor | ArchDaily

Cornelia Konrads | Domaine de Chaumont-sur-Loire (domaine-chaumont.fr)

I am very skeptical of the term “land art“. I feel it’s overused and applied to
more commercialised areas: fancy garden decorations, nature kitsch and
neat education programs fall under the term “land art”. This is far removed
from the ideas of the original land art movement.
I prefer to call my work “site specific art”, because it is related to a certain
site and in a close dialogue with it. I feel this is a better description of what
my work represents because I’m interested in sites and places and the
stories they have to tell; their history, topography, architecture or
vegetation. Also, a potential site for me can be anywhere, not only in a rural
areas. Cornelia Konrads
 Mark Dion, Tate Thames Dig

Digging the Thames with Mark Dion | Tate

To build a culture of nature that features regeneration over destruction, sustainability over depletion and
nurturing over domination, it requires input from a diverse collation of thinkers, makers, and doers. Art is one of
many areas which can be important to this constellation. Mark Dion

MARK DION: THE LIFE OF A DEAD TREE | May 23 - July 30, 2019 | Tanya Bonakdar Gallery
Mark Dion, Follies (2019)

I’m interested in thinking about nature as a process. So, this isn’t

really about the tree, even though the tree is the superstar. It’s
really about what’s happening to the tree, about the process of
decay. We shouldn’t really feel particularly bound up in the demise
of this tree because on this tree is the basis of the next forest. The
tree supports a living bio-system, from single-cell organisms all the
way up to vertebrates—mice, shrews, and birds. I want this piece
to talk to the audience but not necessarily spoon-feed them or give
them what they want. I want to acknowledge or even enhance the
uncanniness of nature—the wonder of the vast complexity and
diversity within a natural system.

My job as an artist isn’t to satisfy the public. That’s not what I do. I
don’t necessarily make people happy. I think the job of an artist is
to go against the grain of dominant culture, to challenge
perception, prejudice, and convention.

“Neukom Vivarium” — Art21

MARK DION: FOLLIES | May 4 - November 9, 2019 |

Tanya Bonakdar Gallery

Landscape – Storm King Art Center

 Sonic Mountain (2019) Geology in motion | Sonic Pavilion (2009)

Doug Aitken - The Donum Estate

doug aitken listens to the sound of the earth in a video journey (designboom.com)

In the ocean objects change, the depth of field, the color chroma, the sense of self in
relation to what's around one; it's very different So I found that fascinating and I wanted
to develop something that explored that.
Doug Aitken on Making "Underwater Pavilions" For Weightless Audiences |
Art for Sale | Artspace
Art - The Donum Estate
»I want visitors to feel the poetry of being alive.« (collectorsagenda.com)

I think culture separates us. Nature puts us together

again. It is a consolation. Nature is not in the third
person. We are nature. Ernesto Neto

His work is about tactility, reaching people through the

senses, but the body is partly a metaphor for other
concerns. He’s interested in the way people move
through and negotiate space, how the body interacts
with the work.
We Fishing the Time, 1999

‘We Fishing the Time (densidades e buracos de

minhoca)’, Ernesto Neto, 1999 | Tate

Aesthetica Magazine - A Sensory Experience: Ernesto

Neto

The Most Influential Latin American Artists of the 20th

Century - Artsy
George Cutts’s Sea Change is composed of two
identical, slender, curving, stainless steel poles
that turn slowly in opposite directions. The poles
are anchored to motorized disks that are sunk
below ground and encased in a concrete box.
Electricity comes from an underground line,
powering the only motorized sculpture at Storm
King. The slow, synchronized rotations of the
poles produce fluid, undulating movement as
the poles seem to sway and flex, blending the
mechanical with the natural. Moving
ambiguously, the poles at times appear to rotate
in opposite directions and at others in the same
direction. As the sculpture moves and as one’s
vantage point changes, the relationship
between the two poles also seems to change,
as they visually weave together then separate,
shifting the space between them. An
experienced deep sea diver, Cutts has noted
that he intends this lyrical, kinetic sculpture to
evoke the motion of seaweed as it moves with
the flow of ocean waves and currents.

Storm King : SK Artwork : Sea Change [1998.4]

George Cutts Art

I hope the scale of my works is way bigger than what you see. I hope they live in you. Anish Kapoor

I’m very drawn to exotic materials. I like pink

marble. It depends on what one is trying to
do. I have worked with lots and lots of
materials. Vantablack is this incredible new
material. It’s the blackest material after
black holes. At the moment they can only
make it the size of an A4 sheet of paper, so
we are working together trying to get the
scale up. But a new material brings all kinds
of possibility. I’ve been long engaged in the
idea of the void object, the object that
absorbs all light, which is kind of a non-
object in a way. And this material seems
ready made for such a thing. Anish Kapoor

Anish Kapoor, Cloud Gate, Chicago (2004) Anish Kapoor - The Talks (the-talks.com)

"Intuitive Intelligence Is the Highest Kind":

Anish Kapoor on Spirituality and Intuition in
Contemporary Art | Art for Sale | Artspace
 Seeing, touching, and the physical sensory engagement is the way into my sculpture; my intention is that the meaning of my work rests in experiencing it. Beverly Pepper

My influences are historical:

Trajan’s column, Cleopatra’s
obelisk, the Roman forum,
amphitheaters in Sicily,
Greece, and Turkey—and
beyond the Mediterranean.
The Cambodian temple site
at Angkor Wat influenced
my early wood and steel
sculpture. Gaudí and Miró
informed my Sol y Ombra
Park in Barcelona. The
Russian Constructivists were
fundamental to my growth.
Bauhaus geometry came
into my work during the
early ’60s. And for many
years, I brought African art
and antiquities into my
studio. It’s hard to pinpoint a
determinant influence.
Philosophers have been
important in finding my
way—especially Henri
Beverly Pepper, Todi Columns a t the Piazza del Popolo in Todi, Italy Bergson and his thoughts on
time, memory, intuition, and
kinds of organic continuity
within an otherwise An amphitheater created by Ms. Pepper for the theater producers Barry and Fran Weissler at their home in Westchester, N.Y.
increasingly fragmented
world.
Beverly Pepper, Sculptor of Monumental
Lightness, Dies at 97 - The New York
Times (nytimes.com)
Beverly Pepper, sculptor of colossal forms,
has died, aged 97 | The Art Newspaper

Beverly Pepper, Sculptor

of Monumental Lightness,
Dies at 97 - The New York
Times (nytimes.com)

Beverly Pepper, sculptor

of colossal forms, has
died, aged 97 | The Art
Newspaper
 phyllida barlow provokes a sense of folly at the
british pavilion at the venice art biennale
(designboom.com)

Academicians to spot in Venice: Phyllida Barlow's

British pavilion and more | Blog | Royal Academy
of Arts

Phyllida Barlow, DocK, 2014 Phyllida Barlow, Scree, 2013

Phyllida Barlow: 'Just going to art school doesn't make you famous' | Sculpture | The Guardian
https://www.telegraph.co.uk/art/what-to-see/phyllida-barlow-folly-british-pavilion-venice-biennale-2017/
AU SEEING CLIMATE CHANGE — DIANE BURKO
Diane Burko
I’ve been an artist for over 40 years, and basically, the content of my work has always been the landscape — mostly monumental, geological kind of landscape. Diane Burko
POLAR INVESTIGATIONS: GREENLAND — DIANE BURKO

PATAGONIAN ICE FIELD — DIANE BURKO

Gilles Aillaud

Molly Warnock on Gilles Aillaud’s Rhinocéros, eau et rochers, 1969 - Artforum International Pascale Marthine Tayou, Plastic Tree B
Among the Trees review – a knotty problem | Art and design | The Guardian
pascale marthine tayou grows plastic tree at art basel 2015 (designboom.com)

"The World Turned Upside Down" - LSE unveils new sculpture by Mark Wallinger

Pascale Marthine Tayou, Empty Gift (2013)

 Ugo Rondinone, Human Nature, On view at
Rockefeller Center, New York City, April 23 ,
June 7, 2013

human nature | UGO RONDINONE

Ugo Rondinone: Seven Magic Mountains - Nevada Museum of Art (nevadaart.org)


Adrián Villar-Rojas, The Most Beautiful of All Mothers
Kneading the World From Scratch: A Conversation with Adrián
Villar Rojas - Sculpture (sculpturemagazine.art)
Istanbul Biennial 2015: an overwhelming meditation on
the tides of human misery | Art | The Guardian
Adrián Villar Rojas
The Theater of Disappearance, 2017
“I was looking for alternative vertices in the
departments’ official history, many of which
copied the model of eighteenth-century,
mostly European museology, but also in the
demarcation of the departments themselves,”
he went on.
“I looked into the forgotten peripheries:
Cyprus in Greco Roman, the Amerindian
woman in what’s perversely named the
American Wing, but primarily includes colonial
and early United States Republic artefacts.
The American Wing could be seen as the
subconscious of the museum, which betrays a
series of meta-postcolonial interpretations: its
entrance is a vast atrium filled with
neoclassical sculptures in front of a
reconstructed façade from a Wall Street bank,
and in front of that venerated and preserved
façade one encounters a nineteenth-century
white marble sculpture called Mexican Girl
Dying, possibly the most profound expression
of culture within the Met. Being someone
from the South of America, to see all these
elements in a clear state of conflict
constituted a very visceral experience.”
Nothing is sacred to Maurizio
Cattelan, the art world’s
resident jokester who has been
variously amusing and
horrifying viewers since the
early 1990s. For his 2012
retrospective at the
Guggenheim, “All,” Cattelan
hung the full range of his
iconoclastic sculptures from
the center of the museum’s
sanctified rotunda—including
waxworks of a miniature Hitler,
Pope John Paul II struck down
by lightning, JFK in a coffin, and
the artist himself hung by his
neck, accompanied by several
of his trademark taxidermies,
including an ostrich burying its
head, a squirrel who’s just
committed suicide,
and Novecento, the dangling
horse that is perhaps his most
career-defining work. “My aim The question is about displacement, relocation, absence, the act of observing an object
is to be as open and as knowing that its place is elsewhere. Maurizio Cattelan
incomprehensible as possible,”
he says. “There has to be a
perfect balance between open
and shut.” A prolific curator
and writer outside of his
artistic practice, Cattelan is
seen by many as one
of Duchamp’s greatest
contemporary heirs, enacting
morbidly humorous
transformations on objects and
history alike.

https://www.guggenheim.org/
exhibition/maurizio-cattelan-
all
https://www.bbc.com/culture/article/20140717-the-greatest-war-art-ever Artist Imagines How McDonalds Would Look If Nazis Opened It In Hell (NSFW) | Bored Panda Dinos and Jake Chapman, Great Deeds Against the Dead, 1994
History (labiennale.org) Site-Specific Art | Artsy Seven faces of the art vandal – Tate Etc | Tate

Serpentine Galleries Public art – Art Term | Tate Istorisirea artei în noul muzeu. În căutarea unei figuri - Hans Belting | Idea artă + societate

documenta - History: all Editions since 1955
(universes.art)
Was modern art a weapon of the CIA? - BBC Culture
11 Female Abstract Expressionists Who Are Not Helen
Frankenthaler – Artsy
Land art – Art Term | Tate Hans Ulrich Obrist - The Talks (the-talks.com)
10 Female Land Artists You Should Know - Artsy A 1959 Interview with Marcel Duchamp: The Fallacy of Art History and the Death of Art |
Art for Sale | Artspace
Land art - Monoskop
Graffiti and Street Art | Artsy

How Abstract Expressionism changed modern art | Blog Photography – Art Term | Tate
| Royal Academy of Arts
United States - The visual arts and postmodernism | Britannica
Post-Painterly Abstraction | Artsy
The Surface of the East Coast: Supports/Surfaces from Nice to New York | Artsy
Nouveau Réalisme | Artsy
Was Neo-Expressionism Just a Trend of the Art World ? | Widewalls
Spazialismo – Art Term | Tate
Capitalist Realism - Important Paintings | TheArtStory
Arte Povera | Artsy
Psychogeography – Art Term | Tate
Mono-ha | Artsy
Film/Video | Artsy
Minimalism – Art Term | Tate
Why Video Art Is Having a Moment – Artsy
Minimalism | Artsy
Young British Artists (YBAs) – Art Term | Tate
11 Female Minimalists You Should Know – Artsy
Young British Artists (YBAs) | Artsy
Conceptual Art | Artsy
Hans Ulrich Obrist: the art of curation | Art and design | The Guardian
Light and Space Movement | Artsy
Hans Ulrich Obrist, the Curator Who Never Sleeps | The New Yorker
Pop Art | Artsy
10 Artists Tackling Climate Change in Their Work – Artsy
Pop art – Art Term | Tate
The Most Influential Latin American Artists of the 20th Century – Artsy
ROBERT RAUSCHENBERG, COMBINES
(centrepompidou.fr) How to spin the colour wheel, by Turner, Malevich and more – Essay | Tate

Feminist Art | Artsy The 20 Most Influential Artists of 2017 – Artsy

Performance art – Art Term | Tate Art Demystified: What is the Role of the Curator? | artnet News

The legacy of a myth maker: Joseph Beuys – Tate Etc | 8 English Art Terms You Should Know – Artsy
Tate
Paul Ardenne's new bookUn art écologique. Création plasticienne et anthropocène
Happening – Art Term | Tate – Sculpture Nature
250 Things an Architect should know - Arch2O.com List of Brutalist structures - Wikipedia

What Exactly is the Art Museum in Modern Times? | ArchDaily 51 Brutalist House Exteriors That Will Make You Love Concrete Architecture (home-designing.com)

Museum | Tag | ArchDaily Brutalism in European Schools and Universities, Photographed by Stefano Perego | ArchDaily

Serpentine Gallery | Tag | ArchDaily AD Interviews: Oscar Niemeyer | ArchDaily

The National Museum of Roman Art: Rafael Moneo’s Magnificent Touch Expressed in Roman Project Japan: Metabolism | ArchDaily
Brick | Archute
What is Deconstructivism? | ArchDaily
AD Classics: Institut du Monde Arabe / Enrique Jan + Jean Nouvel + Architecture-Studio |
ArchDaily Eisenman's Evolution: Architecture, Syntax, and New Subjectivity | ArchDaily

AD Classics: AD Classics: Centre Georges Pompidou / Renzo Piano Building Workshop + Richard Modernity of Via Novissima, Paolo Portoghesi | Area (area-arch.it)
Rogers | ArchDaily
Why Postmodernism's New-Found Popularity Is All About Looking Forward, Not Back | ArchDaily
Flashback: Modern Art Museum of Fort Worth / Tadao Ando Architect & Associates | ArchDaily
Fighting the Neoliberal: What Today's Architects Can Learn From the Brutalists | ArchDaily
Scarpa: ‘If art is education, the museum must be the school’ - Architectural Review
(architectural-review.com) Postmodern Post-Mortem: Why We Need To Stop Using Architecture's Most Misunderstood Word | ArchDaily

MAXXI Museum / Zaha Hadid Architects | ArchDaily I.M. Pei’s Inspiration: A Comparison of Masterful Architecture with Minimalist Art | ArchDaily

Între. David Chipperfield Architects: Galeria James Simon, Insula Muzeelor, Berlin - e- Archiculture Interviews: Kenneth Frampton | ArchDaily
zeppelin.ro - e-zeppelin.ro
Architects "are never taught the right thing", says Alejandro Aravena (dezeen.com)
OMA Will Build Out the First American Pompidou Center in Jersey City | ArchDaily
MIRALLES Series of Exhibitions and Events Celebrates the Work of the Distinguished Architect | ArchDaily
The Museum Of Wood Culture in Japan - Tadao Ando (inexhibit.com)
News related to Álvaro Siza and his buildings | Dezeen
Why should you visit the Teshima Art Museum? – Public Delivery
Kengo Kuma | Dezeen
Chichu Art Museum | Art | Benesse Art Site Naoshima (benesse-artsite.jp)
Zaha Hadid | Biography, Buildings, Architecture, Death, & Facts | Britannica
Château La Coste - winery and art center | Provence, France | Inexhibit
OMA
'useless architecture' exhibition at the noguchi museum explores a social purpose for sculpture
(designboom.com)
Green Architecture | ArchDaily

Light Matters: Mashrabiyas - Translating Tradition into Dynamic Facades | ArchDaily

The Close Relationship Between Art and Architecture in Modernism | ArchDaily
How the Tuberculosis Pandemic Helped Shape Modernist Architecture (houzz.com)
Le Corbusier et la fenêtre en bande (mikulas.ch)
Human Structures and Architectural Archetypes: Aldo Van Eyck’s Playgrounds (1947 – 1978) – SOCKS (socks-studio.com)
When Frank Lloyd Wright and Le Corbusier Had a Public Argument in The New York Times |
ArchDaily Reinier de Graaf: Un secol ce nu a existat - e-zeppelin.ro

Frank Lloyd Wright Lands on World Heritage List - Bloomberg Richard Florida Is Sorry (jacobinmag.com)

from le corbusier to rietveld and gaudí, virtually tour iconic architecture around the world Rezistenta necesara - e-zeppelin.ro
(designboom.com)
Decebal Scriba, The Wall, 1973
Decebal Scriba

Body Sign, 1982

Labyrinth (4 éléments), 1984 - 1985

Passages, Decebal Scriba (annesarahbenichou.com) Clew, 1979

Action II, 1973 Interviu / Interview | Revista ARTA | Page 3 (wordpress.com)
Horia Bernea

Ion Țuculescu
”Dealuri și cîmpii este preponderent despre peisaj -
anume despre peisajele din jurul anilor 1960-1970,
semnate de pictorii Ion Țuculescu și Horia Bernea.
Nu e despre orice formă de relief, despre munți,
mări, fluvii sau peșteri, nu e despre o grupare
artistică și nici despre un eveniment anume, bine
demarcat. (…) Ion Țuculescu și Horia Bernea sînt
plasați aici în contextul istoric, politic, cultural și
epistemologic al acelei perioade, pentru a vedea
cum „peisajul” a devenit un motiv simbolic încărcat
ideologic, spiritual și existențial. Întotdeauna, fie că
este vorba despre opera lui Ion Țuculescu sau de
opera lui Horia Bernea, lucrările acestora au fost
abstrase din istoria propriu-zisă și plasate exclusiv în
istoria artei, studiate în mediul de laborator al
„autonomiei esteticului”, de pe poziții aseptice
politic, fără comunicare cu lumea exterioară, fără a fi Ioana Bătrânu, Porcii noştri
influențate de aceasta și fără a o influența pe
aceasta. (…) Miza acestei întreprinderi este una
provocatoare și totodată ingrată: aceea de a
decoperta și de a etala un moment-cheie din
articularea noii retorici vizuale româniste, în jurul
anului 1965, care -distilată și rafinată- s-a perpetuat
pînă tîrziu în anii 2000....” Erwin Kessler
 Ana Lupaș, Instalație umedă, 1970

Ana Lupas – Display at Tate Modern | Tate

Ana Lupaş. Solilocvii – Institutul Prezentului

ALEXANDRU CHIRA | ansamblul monumental

 Ion Bitzan

https://www.scena9.ro/article/
expozitie-ion-bitzan-mnac-
ionut-cioana

https://e-zeppelin.ro/bitzan-
carte-obiect-79-97/

https://revista22.ro/cultura/abi
bag

https://www.observatorcultura
l.ro/articol/cartile-lui-bitzan/

Ion Bitzan, Sânzienele, Bienala de la Veneţia, Pavilionul României, 1997

 Războaiele aduc muzee | Arhitectura 1906 (arhitectura-1906.ro)
Ion Grigorescu

Grevă la Grivița, 1971

Interior de bloc, 1971

Bulboacă

Atelierul artistului. Ion Grigorescu – Galeriile Karo

https://www.observatorcultural.ro/articol/rolul-nostru-este-sa-convingem-pe-oameni-ca-
gestul-artistic-nu-e-asa-departe-de-ei/

https://www.digi24.ro/magazin/timp-liber/cultura/antivedeta-antisistem-interviu-
document-cu-cel-mai-important-plastician-roman-al-ultimei-jumatati-de-secol-799193
 https://www.observatorcultural.ro/articol/exista-o-bucata-mare-de-istorie-nerezolvata-la-nivelul-traumelor/

Iosif Király: Fotografia ca artă – o foarte scurtă introducere – igloo

 Arta românească de la jumătatea anilor ’70 pînă în 1989 (X) | Observator Cultural

Marilena Preda Sanc, Globe, 1999 Globalization, 1999

Magneții în Oraș (1974) Medeea

„Niciodată nu am lucrat ca să
răspund unei mode“ – interviu cu
artista Geta BRĂTESCU - Dilema
veche

Geta Brătescu, Whose Playful Art Defied

Romania's Repressive Regime, Has Died
at 92 | Artnet News

Interviu / Interview | Revista ARTA

| Page 3 (wordpress.com)

Marilena Preda Sânc, Peştera

Remapping the World: In the studio with Marilena Preda Sanc - International Sculpture Center
 Vlad Nancâ Dumitru Gorzo - Are jailed sheep zebras?, 2004
Nicolae Comănescu
SubREAL (Călin Dan, Iosif Kiraly, Dan Mihălţianu), Castelul din Carpaţi , 1994

http://www.mbagency.nl/page19/page10/page133/page133.html
https://camera-austria.at/en/ausstellungen/subreal-dataflow-a-retrospective-game-of-chance-2/
https://www.modernism.ro/2012/05/25/subreal-calin-dan-iosif-kiraly-dan-mihaltianu-retrospect-mnac/
http://magazine.art21.org/2011/01/07/reenacting-a-many-possible-past-an-interview-with-irina-botea/#.XtdqPJ7iuUk
 re:modern, 2012, installation, rearranged 1960's wall lights

https://www.scena9.ro/article/cultul-lui-brancusi-alexandra-croitoru
https://www.plan-b.ro/exhibition/a-project-by-alexandra-croitoru-in-collaboration-with-cristian-alexa-brynjar-bandlien-
manuel-pelmus-teodor-graur-monotremu-vlad-nanca-stefan-napoleon-tiron-subreal-super-us/

Sorina Vazelina Dan Perjovschi

http://vladnanca.blogspot.com/2012/09/
https://www.feeder.ro/2015/12/08/vlad-brancusi/

“I am a designer, a cultural provocateur, a cultural shaper, a

cultural editor, an experiential maker, a humanizer of
industry, a social visual activist… Certainly Brancusi is an
inspiration. In fact my designs for Kenzoamour, a bottle that
is like a bird in space, is a homage to Brancusi. I love his
romantic sensual minimal sculptural form.” Karim Rashid
https://www.feeder.ro/2015/12/02/karim-brancusi/

https://www.artsy.net/show/a http://www.idea.ro/editura/ro/brnc
https://www.scena9.ro/article/cumint rt-encounters-foundation-the- ui-o-via-venic-d148.html
enia-pamantului-brancusi-banda- sons-and-daughters-of-
desenata brancusi-a-family-saga-act-ii
Roman Tolici

https://revistaarta.ro/ro/roman-tolici-figurativ-la-superlativ/
https://www.zilesinopti.ro/articole/24382/clin-doeil-roman-tolici-accesul-la-o-lume-deschisa
Alexandru Rădvan | Modernism

https://www.vice.com/ro/article/wn8x9b/art
a-alexandru-radvan
https://www.modernism.ro/2011/04/08/alex
andru-radvan-christ-anaid/
Mircea Roman
https://www.observatorcultural.ro/articol/arta-romaneasca-dupa-1989-iv/

http://revistaarta.ro/ro/pictura-post-
pictura-mimetismul-consumist-si-poeticile-
realismului-capitalist/

https://www.scena9.ro/article/gorzo-si-
plantele-invazive

Gorzo & mișcarea de ocupare a Reșiței -

Scena 9

Adrian Ghenie, The Lidless Eye

https://e-zeppelin.ro/berceni-nicolae-comanescu-2/
http://revistaarta.ro/ro/i-can-see-no-revolution-nu-trag-concluzii-observ-contradictii-vad-transformari/

Victor Man Şerban Savu, Painters, 2013

 https://revistaarta.ro/ro/chicken-
army/

https://www.observatorcultural.ro/art
icol/ecaterina-vrana-fara-secrete/
 Artistul roman Mircea Cantor are expozitia “I am really free ” in Belgia, la Leuven. (urban.ro)

Mircea Cantor Rainbow, 2011

http://metropotam.ro/La-zi/Interviu-Lea-Rasovszky-artistii-nu-
sunt-niciodata-in-vacanta-art0066753865/

https://www.graphicfront.ro/2019-a-fost-un-an-care-se-prevestea-
Extrait de la video « Tracking happiness » 2009 Vertical attempt vidéo en boucle de 1 seconde
pe-lista-din-2018-ca-fiind-unul-super-fantastic-profesional-
vorbind-lea-rasovszky--guild-report--5116885611-ro Artefact Magazine (artefact-mag.com)

https://www.artsy.net/artwork/lea-rasovszky-the-impossibility-of-
counting-that-which-is-numberless
Ciprian Mureșan: "Spectrul este un monument-
Frankenstein" - PropagArta

“Desenez lumea ca să o pot înțelege”. Interviu cu Dan Perjovschi | Bogdan Nicolai

Dan Perjovschi - Jurnal de Virus @ White Cuib • feeder.ro

http://www.idea.ro/editura/ro/n-acest-pavilion-se-vede-art-br-romnia-la-bienala-de-art-de-la-veneia-d147.html

https://dilemaveche.ro/sectiune/arte-vizuale/articol/exercitii-de-camuflare-impotriva-uitarii

https://www.scena9.ro/article/bienala-venetia-2019-incalzire-globala

https://dilemaveche.ro/sectiune/la-zi-in-cultura/articol/cum-folosim-istoria-ce-facem-cu-ea-obiectul-istoriei-e-unul-fragil-

interviu-cu-irina-botea-bucan

https://www.observatorcultural.ro/articol/geta-bratescu-aparitii-la-bienala-de-arta-de-la-venetia/

http://revistaarta.ro/ro/

http://www.idea.ro/editura/ro/revista-idea-arta-societate-u85.html

https://salonuldeproiecte.ro/noutati/

http://www.mateibejenaru.net/

https://www.graphicfront.ro/ro-11-curatori-romani-ne-povestesc-cum-a-fost-anul-2016-pentru-ei

https://artencounters.ro/ro/home-ro/#

https://www.plan-b.ro/

https://ioanaciocan.com/c/proiecte-curatoriale/

https://spatiuexpandat.wordpress.com/

http://psihopompex.blogspot.com/

„Mai găsim punk în artă, în etică, în politică?” - Scena 9

Să povestim despre performance art : Revista Arta

de-a arhitectura – Aducem împreună arhitectura în şcoli! (de-a-arhitectura.ro)