Robert Smithson, Spiral Jetty, 1970
Color film
This film, made by the artist, Robert Smithson, with the assistance of
Virginia Dwan, Dwan Gallery & Douglas Christmas, Director, Ace Gallery, (the
aforementioned Dwan & Christmas also assisted Smithson financially with the
making of the Spiral Jetty), is a poetic and process minded film depicting a
"portrait" of his renowned earth work -- The Spiral Jetty, as it juts into
the shallows off the shore of Utah's Great Salt Lake. A voice-over by Smithson
reveals the evolution of the Spiral Jetty. Sequences filmed in a natural
history museum are integrated into the film featuring prehistoric relics that
illustrate themes central to Smithson's work.
RSMT001
Clarissa Tossin, Monument to Sacolândia, 2010
Single channel HD video, cement bag architectural model, postcards
The presidential palace, Palácio da Alvorada, was the first Oscar Niemeyer building built in Brasília, Brazil's planned capital. A workers’ camp near the palace had shacks constructed from leftover cement bags, which earned the settlement its name: Sacolândia or Bagland. Located on terrain designated for an artificial lake named Paranoá, the camp was flooded in 1959 and its population relocated to the outskirts of the planned city. For Monument to Sacolândia, a cement-bag model of the palace, sitting atop a raft, was released on the Paranoá lake with the palace's gardens as backdrop. In addition, postcards detailing Sacolândia's fate were inserted into postcard stands in Brasilia.
CTOSS005
John Mason, Hudson River Series, 1978
Graphite on vellum, 18 x 24 in. (45.7 x 61 cm)
In 1978, John Mason made drawings and “Brick Modules” relating directly to a series of ten firebrick sculptures that were exhibited across multiple venues. These institutions included: The Hudson River Museum, Des Moines Art Center, Corcoran Gallery of Art, The Minneapolis Institute of Arts, San Francisco Museum of Modern Art, and University Art Museum, and The University of Texas. The drawings were published in the accompanying catalog and reflect the systematic and rational approach to his environmental works that were installed at two-week intervals over a period of three months. Like the drawings, the Brick Modules were used to develop and reflect the concepts for each installation.
JMASO098
Alex Schweder, Ward Shelley and photograph by Richard Barnes
Reactor, Time Lapse, 2017
Ink jet pigment print on paper mounted, 26 x 36 in. (66 x 91.4 cm)
Edition 1/5
ASC005
Alex Schweder, Ward Shelley and photograph by Richard Barnes
Reactor, Ward Tilting, 2016
Ink jet pigment print on paper mounted, 26 x 36 in. (66 x 91.4 cm)
Edition 2/5
ASC011
Alex Schweder, Ward Shelley
Reactor, Shadow, 2017
Ink jet pigment print on paper mounted, 26 x 36 in. (66 x 91.4 cm)
Edition 1/5
ASC006
Alex Schweder, Counterweight Roommate, 2017
Ink and acrylic on mylar, 60 x 24 in. (152.4 x 61 cm)
Counterweight Roommate, constructed and performed by Alex Schweder and Ward Shelley, is a self-contained living unit with facilities for eating, sleeping, and working. Tethered to either end of a single rope, movement in this vertical habitat depends on the opposite movement by one’s roommate. Counterweight Roommate was continuously inhabited for five full days of Scope Basel in 2011 by performance-architecture artists Alex Schweder and Ward Shelley, and acquired in 2015 by New York’s Museum of Modern Art.
ASC007
Alex Schweder, Architectural Advice for Performative Renovations by SOAP (Schweder Office of Architectural Performances), Ongoing performances since 2009
Alex Schweder has been performing SOAP (Schweder Office of Architectural Performances) since 2009, resulting in over 70 unique performances and/or photographic documentation. Schweder meets with participants to work collaboratively to design performances that, when enacted at home, change the ways that occupants perceive their spaces. Often, physical alterations or expansions of the home are not possible due to factors such as costs, leases, and zoning. Moreover, conventional renovations do not address the psychological and relational issues that make people think they want to change the physicality of their spaces. Observing this, Alex Schweder has invented a new type of creative practice he calls “Performance Architecture” wherein he works with everyday domestic actions to transform the ways spaces are used. Each new use of the space is an artwork, bridging the disciplines of architecture and performance art.
On June 24th, a limited number of sessions will be available at Edward Cella Art & Architecture. Initial conversations are free, but can be taken further to commission a unique, instructional painted photograph which depicts Schweder in situ, dressed as the participant. Please contact the gallery for reservations.
ASC009
MICA-TV, CASCADE/Vertical Landscapes, 1988
Video
Collaborating with artists Dike Blair, Dan Graham, and musician/composer Christian Marclay, MICA-TV crafts an ironic ode to the urban and suburban architecture of the contemporary American cultural landscape. Visually breathtaking, CASCADE/Vertical Landscapes is constructed as a continuous parade of vertical camera movements and image layering. Integrating the humor and specific visual and aural deconstructions of their collaborators, MICA-TV borrows “found” sound and images from pop culture to trigger associations and memories. Consumer products and junk food fall like pop cultural debris through a vertical corridor of postwar cathedrals—shopping malls and urban arcades. Structured as a continuous flow of verticality, seamlessly edited and scored, this witty display both critiques and celebrates the contemporary American landscape as inscribed upon the collective unconscious. Producers/Directors: Carole Ann Klonarides, Michael Owen in collaboration with Dike Blair, Dan Graham. Music: Christian Marclay. Executive/Creative Consultant: Peter Caesar. Editor: Peter Eggers. A co-production with U.K.’s Channel 4, for the series “Ghosts in the Machine.”
MICA001
Stephen Berens,
July 31, 2005, Afternoon
July 19, 2005, Morning,
2013
Dye-based inkjet print, 24 x 34 in. (61 x 86.4 cm)
From the series All days are nights (2013-2014)
SBER005
Stephen Berens,
July 31, 2005, Afternoon
July 19, 2005, Morning
August 8, 2005, Morning
July 29, 2005, Late Afternoon,
2013
Dye-based inkjet print, 24 x 34 in. (61 x 86.4 cm)
From the series All days are nights (2013-2014)
SBER007
Stephen Berens,
July 31, 2005, Afternoon
July 19, 2005, Morning
August 8, 2005, Morning
July 29, 2005, Late Afternoon
July 25, 2005, Late Evening
August 7, 2005, Morning
July 26, 2005, Morning,
2013
Dye-based inkjet print, 24 x 34 in. (61 x 86.4 cm)
From the series All days are nights (2013-2014)
SBER010
Stephen Berens,
August 4, 2005, Night
July 28, 2005, Night (Lightning)
July 28, 2005, Night
August 7, 2005, Night
July 29, 2005, Middle of the Night
August 5, 2005, Night
August 3, 2005, Early ,
2013
Dye-based inkjet print, 24 x 34 in. (61 x 86.4 cm)
From the series All days are nights (2013-2014)
SBER015
Stephen Berens,
August 4, 2005, Night
July 28, 2005, Night (Lightning)
July 28, 2005, Night
August 7, 2005, Night
July 29, 2005, Middle of the Night
August 5, 2005, Night
August 3, 2005, Early ,
2013
Dye-based inkjet print, 24 x 34 in. (61 x 86.4 cm)
From the series All days are nights (2013-2014)
SBER015