RecognitionArtCenter Community Hub Show
Featured in Urban Poster Mockup’s instagram post (urbanpostermockup)
DIA:BEACONA Cultural Entity
DIA is a constellation of sites, with many of its major projects sited outside the museum or gallery. The gallery space itself is vast, allowing monumental works to be housed with ample space. The walls fade away, the senses are heightened, and time flows more slowly at DIA, allowing for an unhurried visit, free of sensorial distractions.
The works in the DIA collection examine the relationship between site-specific installations and natural forces. The concept of the frame, which is used in the logotype, builds a story that land art exists both inside and outside the frame of the gallery space. The squares inside the frame represent sites. With the movement of the frame, the objects it contained are always changing and decentering. This embodies the very ethos of DIA. DIA seeks not to become a center of the art world, but a place where a centering can occur. Every individual matters and every individual makes a difference.
Rocks, as a visual stand-in for the tactile materials and elements in land art, penetrate the identity system. What is more, a drawing system was created to introduce several concepts from land art, such as opposing forces, gravity, limitations, etc.
Transmedia Installation ︎︎︎
︎ Special thanks to advisor Brad Bartlett.
“Land art at its best helps us map our location in the world, and in time.”
“From Chaos to Order...”
— Maya Lin, Boundaries
Land Art, (n.)
Art that is made within or atop or involving a landscape; Art that is made from materials drawn from the landscape.
(a.) Opposing Forces: Land artists tried to find a balance where the opposites meet.
(b.) Subtraction and Addition: Some land artists made land art in the gallery by bringing in material from the landscape, while some land artists created sculptures purely through the act of subtraction.
(c.) Out of Frame: Beginning in the late 1960s, an increasing number of artists started questioning the separation and framing of art, leaving the city and making stuff out in the world.
“We seek not to become a center of the art world, but a place where a centering can occur.”
— Heiner Friedrich & Philippa de Menil
Land artists left the city and made stuff out in the world since 1960s. Sometimes it involved putting new material out into the world, like Robert Smithson’s temporary mirror displacements, and sometimes it entailed taking material away, like Michael Heizer’s immense excisions.
The gesture of moving and changing can be interpreted by the sticker poster.
“Water out of stone, glass that flows like water, the fluidity of a rock, stopping time.”
— Maya Lin, Boundaries
“This Time and Place.”
— Donald Judd
Many objects in the real world, such as coastlines, are statistically self-similar:
parts of them show the same statistical properties at many scales. Self-similarity is a typical property of fractals.
︎Transmedia Installation ︎︎︎