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Similaire à We are Earth: Dust in the Hands of the Artist
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We are Earth: Dust in the Hands of the Artist
- 1. Robin Wheelwright Ness AMVC2650 12/7/2011 WE ARE EARTH: DUST IN THE HANDS OF THE ARTIST
- 2. The Dust Collectors "What I have kept is some W.T.C. dust I gathered from the windshield of a lonely car left abandoned on Fulton Street, near Nassau Street. I scooped up the dust on Saturday, Sept. 15, 2001, and brought it home in a small bag that I had found. When home, I transferred the dust to a jar, where it has been since." - James Marturano
- 3. Symbolic and Totemic Dust Jean-Marie Haessle, a French-born artist— had just discussed his will with a lawyer in Lower Manhattan — began hustling back uptown after the collapse of the first tower. But, in an action he can describe only as reflexive, he stopped long enough to scoop up dust with an envelope on Wall Street ―I don’t know why, I don’t know why,‖ Mr. Haessle, now 71, said. ―As an artist, I feel this gigantic, beautiful structure, reduced to this amazingly thin powder. To me, even today, it’s just. ...‖ "We live in Greenwich Village. During the days after Sept. 11, soot and ashes rained down over our neighborhood and poured into our open window. A lot accumulated on the windowsill and it didn't seem right to throw it away. We gathered it in a jar, which we still keep until this day. -Joanne and Kevin Goodman ―I ran down to the World Trade Center after the attacks on Sept. 11, when I was still in school, and felt such a sense of loneliness after taking note of my surroundings, the air thick, and seemingly still, weighted down by the snowlike material covering every street. I filled my backpack with the debris, and completed this conceptual artwork out of acrylic/plexi in October 2001." - Eric Parnes
- 4. Fragmentation "Recovery workers gave these to me while I was volunteering at ground zero. I believe the pin is from a steel beam. There is a fragment of marble, and to me the most disturbing artifact, glass from one of the towers. I do not display these at home. They have been in a drawer for over nine years." -Stephanie Zesssos I was a New York City police officer and picked up a thin ribbon of metal from the site. I feel kind of dumb because it didn't occur to me that there were others doing this kind of thing. I didn't want a 'souvenir,' but I wanted something tactile just so I knew it really happened. – Dante Messina
- 5. ―Mere smoke would not blow to and fro in that wild way. It looks more to me as if it were made of dead men’s souls – such of them as are not yet gone where they have to go, and may be flitting hither and thither, doubting, themselves, of the fittest place for them‖. – Ruskin‟s 1870 diary
- 6. “WHERE DOES THE DUST ITSELF COLLECT? XU BING Manhattan Memorialization
- 7. Xu Bing. Gallery of Wales, Cardiff, 2004
- 8. “PHANTOM TOWERS” “They were still very present, to us they felt like phantom limbs.” Having photographed the dust cloud the night before, they had the idea to “re-sculpt the dust cloud into towers”.
- 9. “UNREGISTEREDCITY” Jiang Pengyi
- 10. “LIBRARY OF DUST” David Maisel Inside the room, in a dim and dusty corner of one of many abandoned buildings on the decaying campus of the Oregon State Hospital here, are 3,489 copper urns, the shiny metal dull and smeared with corrosion, the canisters turning green. The urns hold the ashes of mental patients who died here from the late 1880's to the mid- 1970's. The remains were unclaimed by families who had long abandoned their sick relatives, when they were alive and after they were dead.
- 12. Alchemy and The Victorian Dust Heap London was built, in part, from it‟s own rubbish. Thebrick making industry was born from the dust heap when the ash, cinders and rubbish were mixed with rich red clay mud from nearby fields.
- 13. The Great Dustheap, Kings'sCross, 1837
- 14. “Laid to Rest” SERENA KORDA Korda „takes on subject matters that are often overlooked and highlight‟s them in new ways.” For “Laid to Rest” Korda revived the 19th-century technique of creating bricks partly from the dust of the local heaps.” Korda is fascinated with the commerce and industry that is embodied in waste and the fact that the waste we produce forms the basis of our civilization and can be transformed in to „gold‟.
- 15. Reanimation/Transformation COLLECTION – TECHNIQUE – CREATION – MARKING – INSTALLATION – REANIMATION PERFORMANCE [DANCE/MUSIC/PROCESSION] – [RE]BURIAL – MODERN ARCHAEOLOGY
- 17. Magical and Mundane: The Natural Dichotomy of Dust
- 18. “DUST SERIES” THOMAS EDWARDS & UJIN LEE
- 22. “Dust consists of objects that have long since lost their identity. Things that have dried out, decomposed, powered, and shifted in a way that makes their true identities indiscernable.”
Notes de l'éditeur
- WOODMAN [INTRODUCTION]
- NYTIMES “THE RECKONING” “WHAT WE SAVED”
- FRAGMENTATION: mundane items, which timing and circumstance have forged into artifacts approaching the sacred. They return us instantly to a moment we have no desire to revisit, but are determined not to forget. They are our Sept. 11 relics. (the reckoning/ what we kept nyt)
- The dust was present everywhere around Ground Zero, but settled in thicker accumulations in the downwind directions south and east of the complex. The dust settled to a depth of 3 inches in locations as far as six blocks from the World Trade Center. 1
- XU BING’S “WHERE DOES THE DUST ITSELF COLLECT?” MANHATTAN 2011: When at place where something special happens, the Chinese artist, Xu Bing “likes to take something from it”. From Tiananmen Square he has a bicycle squashed flat under a tank. He also collected a bag of dust from the streets of Lower Manhattan in the aftermath of 9/11. “When I saw the Twin Towers fall, I felt the world change from that day."
- Bing first used the dust in an exhibit titled “Where Does the Dust Collect Itself?,” at the National Museum and Gallery of Wales in Cardiff in 2004. In advance of traveling to Cardiff, the Chinese-American artist having been officially branded a political dissident, had a feeling customs officers might take a dim view of his travelling with a bag of white powder in his luggage. The artist, therefore, molded the dust into a small doll, and after arriving in the gallery safely, the figurine was reduced to dust once more in a coffee grinder and blown to the gallery floor, spelling out a seventh century Zen text.
- PHANTOM TOWERS :Rescue worker = “we have been looking down at this hole, this pit, for so long, and for the first time people are looking up again.” – under consideration to become a permanent addition to the wtc memorial
- JIANG PENGIthe work of photographer Jiang Pengyi deals with the destruction of Bejing through rapid urbanization.detritus of decaying domestic spaces. Fragmentation.Pengyi presents his lilliputian cities buried in the rubble, against the peeling paint, and amid the collecting dust of the crumbling, abandoned houses left behind in the wake of rampant urbanization.
- 1913, an Oregon state psychiatric institution began to cremate the remains of its unclaimed patients. Their ashes were then stored inside individual copper canisters and moved into a small room, where they were stacked onto pine shelves. After doing some research into the story, Maisel got in touch with the hospital administrators – the same hospital, it turns out, where they once filmed One Flew Over the Cuckoo's Nest – and he was granted access to the room in which the canisters were stored.
- Odd colors ,like dark reds, deep purples, and thick yellows – awaken fears of death “Among my concerns with Library of Dust are the crises of representation that derive from attempts to index or archive the evidence of trauma; the uncanny ability of objects to portray such trauma; and the revelatory possibilities inherent in images of such traumatic disturbances. While there are certainly physical and chemical explanations for the ways these canisters have transformed over time, the canisters also encourage us to consider what happens to our own bodies when we die, and to the souls that occupy them.”
- The Victorian dustheap provided a major source of income. Everything was sold off and recycled: bones to soapmakers, threadbare linen rags to papermakers, coarse cinders were sold to brickmakers, - ["Dust, or Ugliness Redeemed," an essay by the poet R. H. Horne that appeared in Household Words] The Victorian dust heaps “were a monument to the invisible” and supported a wide range of industries including brick making. Searchers and Sorters" scaled the debris and painstakingly raked through the refuse, separating animal and vegetable matter from broken pottery, bones, rags, metal, glass, and other detritus. Everything was sold off and recycled: bones to soapmakers, threadbare linen rags to papermakers, coarse cinders were sold to brickmakers, -The brick making industry was born from the dust heap when the ash, cinders and rubbish were mixed with rich red clay mud from nearby fields. The Incorporation of dust into the clay reduced the firing temperature and This is how the dust and dirt of London were transformed into the material from which the expanding city was built. This dust heap was removed in 1848 to assist in rebuilding the city of Moscow, Russia. – sold for …subsequently sold for forty thousand pounds, and was exported to Russia to rebuild Moscow.The dust heap was removed in 1848 to assist in rebuilding the city of Moscow, Russia. – sold for …subsequently sold for forty thousand pounds, and was exported to Russia to rebuild Moscow.
- Watercolor by This dust heap was sold for forty thousand pounds, and was exported to Russia in 1848 to rebuild Moscow.
- makes public works from researching of abandoned histories”. The project was very much inspired by the idea of people finding their fortune in the dust heap of Gray’s Inn Rd. I became fascinated with the commerce and industry that is embodied in waste and the fact that the waste we produce forms the basis of our civilisation and can be transformed in to ‘gold’. ALCHEMICAL
- The project involved the artist collecting samples of dust from all sorts of different places, Transformed the invisible to the visible,
- “Laid to Rest was commissioned was held (dates) at the London-based Wellcome Collection, and set out to "uncover a rich history of disgust and delight in the grimy truths and dirty secrets of our past." Between May and October 1911, more than five million people flocked to Dresden, Germany, to visit the First International Hygiene Exhibition. Its success led to the founding of the Deutsches Hygiene-Museum, which in 1930 opened its own purpose-built home - an architectural monument to rationality and transparency in modern medical science.”
- We owe much of the beauty of the world to dust. Cabinet 71…Dust will always be both there and not there; what is left and what is gone. Archive p163
- THOMAS EDWARDS AND UJIN LEE
- OLIVER VALSECCHI LEFT / WTC DUST ON WOMAN ON RIGHT Dust will always be both there and not there; what is left and what is gone. Archive p163Dust is simultaneously dispersive and concentrating. “An emblem of death, decay and dissolution, it is also powerfully regenerative”
- Woodman moves through the dilapidated space, her body appearing to meld into the house itself”
- “In Woodman’s houses, disorder reigns. Disorder, which the anthropologist Mary Douglas argued symbolises both danger and power (95),
- Indescernable identities
- YOU AND I ARE EARTH & EARTH AS DUST SPECK