SoTheseAreThings

truneet:

Dan Graham - Tunnel of Love, 2014
Glasswalls are arranged in tandem with each other to form a curved pathway through which the spectator can walk. On either end, the entrances are half blocked, one on the left side and the other on the right, subtly conducting the spectator’s movement as they pass through.
The title of the work is a nod to Graham’s more poetic side, with the idea of how love is represented in the work left open-ended. One way of perhaps understanding it is on an empathetic, interpersonal level. Graham’s works are transcendent, moving beyond the physical form into the realm of the metaphysical. Tunnel of Love does not simply become a structure through which our environment is altered, but rather a structure through which our own interpersonal interactions are underlined and explored.

truneet:

Dan Graham - Tunnel of Love, 2014

Glasswalls are arranged in tandem with each other to form a curved pathway through which the spectator can walk. On either end, the entrances are half blocked, one on the left side and the other on the right, subtly conducting the spectator’s movement as they pass through.

The title of the work is a nod to Graham’s more poetic side, with the idea of how love is represented in the work left open-ended. One way of perhaps understanding it is on an empathetic, interpersonal level. Graham’s works are transcendent, moving beyond the physical form into the realm of the metaphysical. Tunnel of Love does not simply become a structure through which our environment is altered, but rather a structure through which our own interpersonal interactions are underlined and explored.

(via lehroi)

endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.

“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)

(via endthymes)

nyctaeus:

Roman Ondak - Spirit and Opportunity – 2004The surface of Mars recreated on the gallery floor

nyctaeus:

Roman Ondak - Spirit and Opportunity – 2004
The surface of Mars recreated on the gallery floor

(via lehroi)