Three Eliasson Installations Exploring Water, Light, and Viewer
Museum Boijmans Van Beuningen presents the monumental installation Notion Motion (2005) by the Danish-Icelandic artist Olafur Eliasson. Notion Motion was developed specially for Museum Boijmans van Beuningen and was donated to the museum in 2005 by H+F Patronage, founded by the writer and collector, Han Nefkens. The 1500m2 installation is made up almost entirely of ripples of water reflected in light, in which Eliasson visualizes light waves.
Notion Motion by Olafur Eliasson consists of three installations that explore the interaction between water, light and the viewer. Eliasson has created an enchanting work with simple means. He immerses the viewer in a simple and minimal yet overwhelming visual experience created by the interplay of light and water.
Notion Motion is part of a series of unforgettable installations in Museum Boijmans Van Beuningen’s Bodon galleries, such as Walter de Maria’s A Computer Which Will Solve Every Problem in the World / 3-12 Polygon, Ernesto Neto’s Celula Nave, Martin Kippenberger’s Amerika Amerika and more recent Carsten Höller’s installation Divided Divided.
Museum Boijmans Van Beuningen exhibited the installation •Notion Motion• for the first time in 2005 to enthusiastic responses from the public and press. This summer provides another opportunity to see this monumental installation in the museum’s large exhibition spaces.
Over the past 15 years Eliasson has built up an impressive body of work consisting of rainbows, sunsets, waterfalls, aromatic walls, mist, beams of light and periscopes. He is considered one of the most important artists of his generation. Since 1995 he has had exhibitions in the world’s leading museums, including his highly acclaimed huge yellow sun at Tate Modern in 2003. More recent Eliasson created four man-made waterfalls of monumental scale on the shores of the New York waterfront.
Olafur Eiasson >>
Olafur Eliasson,The weather project, Tate Modern, London, 2003, In this installation, Eliasson introduced an artificial climate in the Tate’s Turbine Hall in London. The ceiling of the cavernous space was lined with mirrors that doubled the height of the space and reflected the viewers below. At one side of the hall abutting the ceiling, yellow monofrequency bulbs in a semi-spherical shape were reflected in the mirror to resemble a brilliant sun. Throughout the course of the day, vaporizers released mist into the space, © Olafur Eliasson.
Timothy O’Sullivan, American (1842-1882). Cave-in, Gould & Curry Mine, Virginia City, Nevada, 1868.
Timothy O'Sullivan's Mysterious American West
The King Survey of the Great Basin, from 1867 to 1872, was the model for other “great surveys” of the 19th-century American West. Rare and iconic works by Timothy H. O’Sullivan, King Survey’s official photographer, are featured in this exhibition.
Timothy O'Sullivan >>
Yun-Fei Ji, Public Grain, 2004, Etching, 92.1 x 72.4 cm, Edition of 35.
Floating Weeds, Connecting Man and Envionment
Drawing from the scope of La Colección Jumex — one of the most important holdings of contemporary art in Latin America — the exhibition Interstices presents works by 19 international artists that deal directly or obliquely with the precarious conditions of life in an economically motivated and mediated globalized world.
Yun-Fei Ji >>
Wifredo Lam, Cuban, 1902-1982, Satan. 1942, Gouache on paper. 41-7/8 x 34", The Museum of Modern Art.
Visualizing the Tradition of Mythology in Modern Art
IThroughout history, humankind has sought to make sense of their world through myths. Artists have long considered mythology part of their aesthetic language, a tradition continued by modern and contemporary artists who address and reinterpret mythologies in their works..
Modern Mythologies >>
Trenton Doyle Hancock, Fix, 2007, Print on paper, Paper size: 35.56 x 35.56 cm.
Young Americans: Trenton Doyle Hancock, Erick Swenson, and Alison Elizabeth Taylor features the work of three prominent gallery artists whose works are becoming highly regarded in the United States and Europe. All three of these young artist use narrative in their works.
Young Americans >>
H.C. Westermann (1922-1981, The Connecticut Ballroom Suite, 1975-1976.
Exploring the Serious Side of Playfulness
Summertime is perhaps the season most associated with play and playfulness, so it seems the perfect time for a fresh “conversation” in the Spencer’s 20/21 Gallery that goes beyond mere fun and games to explore the topic of play in a variety of ways.
Serious Play >>
Out of the Studio,
FRAGMENTS is a new installation of studio work from James Woodfill, conceived and built over the last few years. It is a reconstruction of sorts — a continuation of an experiment with constructed space that began in the studio, and recently culminated in the installation STATIONS, at Bemis Center for Contemporary Arts, in Omaha, Nebraska.
The installation includes multimedia elements ranging from video, sound and light to constructions of wood, plastic, steel and found objects.
Woodfill says, "Within each discrete structure, drifting intentions provide numerous starts and stops, with the boundaries loose so that a continual rhythm of shifts occurs, both perceptually and in memory. The boundaries then blur from piece to piece, forming constantly changing and drifting sets of reference and experience.
"I have many starting points in my engagement with this work. I am often working with formal considerations, bringing reference to design, architecture and function into play with the idea of an ad-hoc development of the built environment, and utilizing these issues as compositional equivalents to color, form and space.
"My intentions are to build an experience that prods a lateral set of memories and relationships, from personal and local to universal and global, providing a fluid set of referential encounters that mirror my experience of moving through my environment.”
Hesse McGraw, exhibition curator, says, “These works extend from Woodfill's history of working in galleries and public sites and build upon an ongoing dialogue about reference points such as physical perception, architectural space, urbanism's fuzzy edges, materiality and abstraction … Beyond melding high and low cultures, this (work) merges the formal concerns of pure, systemic painting with the ad hoc, functional beauty of cobbled structures."
His public work has been recognized with awards from the American Institute of Architects. Woodfill's efforts have extended into education, curatorial projects, writings, and urban planning projects and studies. He received a Charlotte Street Foundation award in Kansas City. In 2000 he served as visiting assistant professor in experimental mixed media at the University of Nebraska, Lincoln. Woodfill graduated from the Kansas City Art Institute in 1980 and he has taught there since 1998. He has been a resident of Review Studios since 2006.
Jim Woodfill >>
James Woodfill, Installation View of STATIONS, at Bemis Center for Contemporary Arts, (Photo Credit: Mike Sinclair.