Wednesday, April 11, 2018

Agnes Denes, Maya Lin, Christo and Jeanne-Claude

This week our group discussed Earth artists Agnes Denes, Maya Lin, and Christo and Jeanne-Claude.


Maya Lin, Listening Cone

While discussing Maya Lin, the class talked about a few different topics including; aesthetic vs. informational art, whether the Earth artists discussed were trying to get people to make change or just to raise awareness, and if Earth art should be ecologically conscious to make more of an impact. During the aesthetic vs. informational talk, we discussed whether Maya Lin was concerned as much with aesthetic or if she wanted to just give information to her audience. Some stated that Lin obviously had an eye for aesthetic and that her work was artistic in nature such as with Listening Cone while others believed her primary concern was more for informational purposes. The class was asked whether they think the art made for the Space, Land, and Concept Art studio portion was trying to get people to change or if it was just trying to raise awareness. There were varying answers, but we concluded that it was something an artist really needed to consider in terms of what information is displayed. The class also talked about Lin’s comment on her disinterest with ‘marking’ the Earth. She simply wanted to add, rather than detract. This was in direct contrast to artists such as Smithson and De Maria. We pondered if an ecologically conscious Earth work had more of an impact. This was more difficult to answer since it depended on a situation. I believe most agreed that an Earth artist might as well try to be ecologically sound if they are working with the Earth, but that it does not necessarily take away from their intent of the project if they did not.



We discussed aspects of Agnes Denes’ work, including the logistics of her time capsule and the contributions to the preservation of the environment. The class doubted that the time capsule would be able to last that long, either because people would be too impatient and open it prematurely or humanity would die off. This spiraled off into a discussion about whether or not time capsules were a realistic idea and whether humanity would last long enough to open time capsules in the very far future. We also discussed her contributions to the environment. The class seemed to be in agreement that rather than destroy the environment, like Heizer and other land artists, Denes succeeds in creating work that either restores or preserves the environment.


Christo and Jeanne-ClaudeThe Umbrellas, Japan/USA, 1984-91

Christo and Jeanne-Claude’s works have an underlying theme of freedom and their work Umbrellas is a great example. Christo is well known for his ambitious works that are larger than life. Wrapping public buildings, bridges, walkways, and monuments with nylon fabric are created in public spaces allowing viewers to see them for free. Christo never accepts outside funding such as grants, commissions, or fellowships. His work is completely funded out of his own pocket even when the work costs $26 million. Umbrellas, located in Japan and California, was an installation of 3,100 yellow and blue umbrellas. On October 6th was blooming day for the work.


Christo and Jeanne-Claude,  The Umbrellas, Japan/USA, 1984-91

Overall Umbrellas gave a sense of community, joy, and unity. Ellen Waltersheid shared her perspective as someone who helped put up the project and the relationships she built with the team of strangers she worked with. Even as an outsider Robert Findlay said that there was an “unmistakable aura of community” because everyone was surrounded by these same yellow structures. Sadly, two people died from the artwork, one from the wind and another from electrocution. The sorrow of these deaths was also spread throughout the community--even affecting people who didn’t personally know them.

 Celina Timmerman, Kaiti Sullivan, Holly Osburn, and Cassi Amman

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