so, im asking this question looking for an actual discussion not to be snarky. what makes the hose laying on a tarp art when i literally had that happen at my house in vermont over the summer. not the same design but i left the irigation hose on a vinyl tarp and it left the outline where the sun bleached the vinyl.
The more I think about Falls' fade pieces, the more I like them. They make me think differently not only about what a photograph can be, but also what the entire process of photography can be reduced down to (medium, light, subject). I also like how they capture time and nature, almost like having a snapshot that encompasses a full-length, time lapse video of some point on Earth. The way he seems to collapse elements of abstraction and minimalism into a single work also intrigue me, but I need better background knowledge in this area to say much more.
modern art = hey I could do that + year but someone did
i get that when the concept pushes boundaries or opens up new ways of thinking
for example, i found Abromovich(sp) - The artist is present to be an amazingly powerful piece of performance art because she created a mirror where there was none. People would reflect themselves from looking at her.
In this case we are talking about a hose, laid on top of something in the sun leaving an outline of where it was as time and the elements washed away the color from the exposed piece. this happens constantly, many of us have probably done this.
so if its intent, what is the intent, what am i learning to look at differently that I havent noticed in a passing mundane act?
I was unsure about the fabric fades as first but as I've gotten deeper into his work I've grown to appreciate them a lot more. Falls is focused on a single idea. We think of photographs as a moment in time but he explores the possibility that they can capture the passage of time. What isn't obvious from the photograph of the piece is that through the passage of time it's also recording an image of its former three dimensional surface. What i hadn't appreciated until i saw the process photograph is that he has used foliage to affect the crisp outline of the hose and make it look more painterly.
Apart from the passing sun processing the image the pieces are also further connected to their environment through the natural fabric dyes that he creates for them. So whilst it's a hose on a sheet of cotton I think the conceptual intent is very clear, to me at least.
Last Edit: Oct 24, 2012 12:42:29 GMT -8 by afroken
Loving your Mariah. What are the dimensions on that?
I'm hoping to make it to NY sometime during the next six months or so to see her work in the new MoMA show opening next week.
Thanks Evil. It's around 60 x 75 inches. I've been looking for the right piece for over a year and her latest body of work is very strong indeed so had to grab one.
They'll have one of her 100ft pieces installed at MoMA apparently so definitely worth a visit. I saw her work at the Saatchi Gallery here in London last summer and it is breathtakingly complex and exuberant.
In terms of how they're made Rizza? They're done with a rubber stamp to apply ink to sheetrock. The lines are done with blue chalk. They're framed in industrial aluminium strip. This is the original painting that he based the stamp on:
I thought that the numbering in the bottom right was a manufacturing feature of the sheetrock but based on Waltercrunk's post above I guess not. No idea what the numbers on mine signify.