lucy the elephant! oldest roadside attraction
da corte: “the sense that all things are public.” “dance for camera”
movie: it’s a mad mad mad mad world
“again… color, my god.” gene davis leading up to pma
barbara kruger on department stores, supervisor asked for more bc of press
firelei baez: “i like public space in that it is flexible, in that people arr open to destroy it.” “we would both know the code.”
alex da corte: wawa: “we would finally have a good sandwich here.” nostalgia: making the personal universal
the building of the met itself is public art. so recognizable. but dont just keep it on the facade. the koch fountains are also public art. pitch?
firelei asks—baez asks—about ej hill—performance at the met
“most of the public art i love i have never seen”
christo
jeff koons’s puppy bombed
walden’s pile of stones: cotter’s favorite public sculpture.
felix gonzalez torres
marilyn’s tomb: kissing! pink cloud.
“Max Hollein (born 1969) is an Austrian art historian who had been serving as Director and CEO of the Fine Arts Museums of San Francisco since July 2016.”
the assumption that we have a collective memory. guerilla girls never seen in person but baez feels hasnt lost the impact. documentation works too.
rfp?
alex da corte, mass production
second time max hollein talked about his clout
“An African-American, he does not speak frequently about his identity but has expressed appreciation for the life of James Beckwourth.[9]”
Bask rests low on the floor in black, made of staved pine wood tapered at each end and swelling gently at the center.
puryead: public art: “a puzzle and a conundrum”. “the work is defenseless”
The installation floats unobtrusively in the soft, natural light
billie tsien: “we wanted to make the work quiet for you.” building?
“Lacking any means of conveyance, the full-size two-wheeled cart in The Load sits poised as if ready to move at a moment’s notice, with its twelve-foot harness pole parallel to the ground resting on a center prop. Mounted atop the axle of the cart is a gridded wooden box that encages a white sphere fitted with a glass aperture. The glass aperture faces the rear of the cart, an accessible portal through which a viewer can glimpse the complex interior structure of the wooden sphere.”
dictionary: egress: puryear on designign biennale building
“In futuristic white, the sphere juxtaposes the aged wood of the cart.”
in a pub a mad man found a
gilded shackle
parapet
tod williams: “seems like all of the work is one thing inside of another.”
phrygian cap
cornice
puryear: “i am proud to represent my country.” aw 🙁 “the challenge is to reflect the hope and the reality. the challenge for all of us”
choose a title, then rename.
“i am sorry, i am in want of the proper word” (he wanted encircling)
the way a phone sounds in an auditorium, everybody attuned to the moment it is pulled out of the pocket, louder now, an unspoken drama, call and response.
set design: abigail deville
new york times: mta train depot harlem over black cemetary reas
leonard drew: “that’s not me but it could be, you know?”
undulating wooden carpet
cristina iglesias: “hello to everybody. um, how do i start?”
deep water, jesus. beautiful
wanted people to look slower, perhaps “waiting for something to happen again”
“life continues also at night”
tres aguas, what town is this?!