Art Santa Fe Booth, T-shirts
Artist: Jennifer Marman and Daniel Borins
Work ID: 66697
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Oeuvre d'art par Jennifer Marman and Daniel Borins
The Blue Rock
Artist: Jennifer Marman and Daniel Borins
ID : 66717
Description: The Blue Rock is a light-weight, fibre-glass structure measuring approximately 48 x 36 x 30 seamlessly covered in blue Astro-Turf. Mimicking the natural, the Blue Rock is unnatural in any environment and functions as an expression of the prevalent North American desire to integrate the synthetic within the realm of the real.
Des mesures : 121.92 x 91.44 x 76.2 cm
Collection:
Date de réalisation : 1999
Matériaux : fibreglass
Collection virtuelle : Original CCCA
Beanbag Sculpture
Artist: Jennifer Marman and Daniel Borins
ID : 66662
Description: Le Bean Bag Sculpture is comprised of a viewing console and a playback box. Both elements have speakers that emit the sound of a video loop also seen through the eyepieces of the viewing console. The video plays on a small LCD screen in the top right corner of the console. The video loop consists of a square beanbag that is thrown upwards into the corner of a ceiling meeting two walls. This action is continuous and runs for one minute. The Bean Bag Sculpture addresses the cognitive action of the sculptor and the placing of objects in space. The action of throwing a cube-like form upwards into a ceiling corner represents a moment of satisfaction and completeness.
The physical characteristics of the Bean Bag Sculpture are dictated by the video that it plays. Rectangular and cube-like the video screen is situated in the top right corner of the viewing console. This situation suggests that the square beanbag being thrown into the corner of the ceiling is physically occurring within the viewing console. This desire to have the cube fit inside a larger corner, and to have it land there perfectly (against the force of gravity) is equated with the visually explicit, for the Bean Bag Sculpture is reminiscent of early peepshows.
Des mesures : 0.2262 x 0.2436 x 0.0696 m
Collection:
Date de réalisation : 1999
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, blue rock
Artist: Jennifer Marman and Daniel Borins
ID : 66684
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 1999
Matériaux :
Collection virtuelle : Original CCCA
The Green Rocks
Artist: Jennifer Marman and Daniel Borins
ID : 66718
Description: The Green Rocks are a collection of foam carvings that resemble rocks and are covered with green Astro-Turf. The rocks are an ongoing project that can be displayed in a variety of ways: from scattered arrays; to avalanches; to piles.
Des mesures : /c/images/screen/m/marmanborins/marbor058.jpg
Collection:
Date de réalisation : 1999
Matériaux : extruded polystyrene covered with green Astro-Turf
Collection virtuelle : Original CCCA
Beanbag Sculpture, detail
Artist: Jennifer Marman and Daniel Borins
ID : 66663
Description: Le Bean Bag Sculpture is comprised of a viewing console and a playback box. Both elements have speakers that emit the sound of a video loop also seen through the eyepieces of the viewing console. The video plays on a small LCD screen in the top right corner of the console. The video loop consists of a square beanbag that is thrown upwards into the corner of a ceiling meeting two walls. This action is continuous and runs for one minute. The Bean Bag Sculpture addresses the cognitive action of the sculptor and the placing of objects in space. The action of throwing a cube-like form upwards into a ceiling corner represents a moment of satisfaction and completeness.
The physical characteristics of the Bean Bag Sculpture are dictated by the video that it plays. Rectangular and cube-like the video screen is situated in the top right corner of the viewing console. This situation suggests that the square beanbag being thrown into the corner of the ceiling is physically occurring within the viewing console. This desire to have the cube fit inside a larger corner, and to have it land there perfectly (against the force of gravity) is equated with the visually explicit, for the Bean Bag Sculpture is reminiscent of early peepshows.
Des mesures : 0.2262 x 0.2436 x 0.0696 m
Collection:
Date de réalisation : 1999
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, small green rocks
Artist: Jennifer Marman and Daniel Borins
ID : 66702
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 1999 - ongoing
Matériaux :
Collection virtuelle : Original CCCA
Floor, 1-25
Artist: Jennifer Marman and Daniel Borins
ID : 66664
Description: Floor, 1-25 is a modular architectural construct of 25 rectangular 30x 36 panels of varying heights, covered with synthetic wood laminate. As a commentary on minimalism and its absorption into the everyday commodity, the floor retains the notion of the store panel sample, while settling into the gallery in an oblique and intrusive manner. Floor, 1-25 inverts the viewing experience, relegating the viewer to the role of subject, as he or she is exhibited on its different platforms. This sculpture is considered for its mass and object status as much as for its topographical nature. Floor, 1-25 is both beheld visually and moved through physically by the viewer.
Des mesures : 6.264 sq. m
Collection:
Date de réalisation : 2000
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Perpetual Motion
Artist: Jennifer Marman and Daniel Borins
ID : 66668
Description: Perpetual Motion is a minimalist object that loops. With a highly finished surface of glossy white polyester resin, this 16 x 14 wall relief features a diagram of a spinning circle that spins. Two arrows suggesting circular motion in a clockwise direction are transposed onto a mechanized disc that slowly spins clockwise continuously. Thus the representational converges with the actual, both co-existing to achieve a comforting redundancy rather than a sense of time. Optically, the slowly spinning circle also creates a subtle distortion of time and space. From further away, the spinning arrows appear to move so slowly they almost stop, depending on the precise vantage point. As the viewer moves closer, the movement of the disc appears more rapid.
Des mesures : 40.64 x 55.88 cm
Collection:
Date de réalisation : 2001
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Impressionist Expressionist Foam Masterpieces
Artist: Jennifer Marman and Daniel Borins
ID : 66665
Description: Impressionist Foam Masterpieces reveal that carpet under-padding has an uncanny resemblance to French Impressionist painting. Expressionist Foam Masterpieces capture the gesture of action paintings. Both series exemplify that twentieth century approaches to painting have become so widely disseminated as to exist solely as iconographic patterns of colour and brush stroke. The work further references that many industrial manufacturing processes of today possess a dual role, creating both art objects and functional materials. These foam pieces also point to the stereotypes and mindsets that pertain to twentieth century art practice. Stereotypically, mass consciousness can probably only account for Impressionism, Cubism, Expressionism, and Pop Art amongst its collective visual reference. It never ceases to amaze, from the vantage point of the contemporary artist, how much present day institutions play into these stereotypes by continuously producing block-buster Impressionism exhibitions as their only worthwhile box-office draw.
Des mesures :
Collection:
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
Push Pull Open, details
Artist: Jennifer Marman and Daniel Borins
ID : 66670
Description: Push Pull Open is a presentation of smaller sculptural objects self-curated by the artists. Push the button on the Multimedia Home and hear thank you, Pull the luggage handle and an alarm sounds, Open the cabinet and another alarm sounds. Expressionist Foam Paintings et Aesthetic Light Bright Ideas complete the composition, creating a commentary on the nuclear family, fear, the ubiquity of certain art movements, and the service industry.
Riffing on the Lifestyle craze of the later 1990s and turn of the millennium, Borins and Marman present an array of smaller works that refer to the domestic, the designed and the efficient industry of service and commodity production. Contained within resin-coated frames, the Expressionist Foam Painting alludes to the works of Jackson Pollack. However, the foam that the artists use, has nothing to do with painting, it is in fact under-carpet padding. Aesthetic Light Bright Ideas illustrates the propensity of Borins and Marman to formulate juxtapositions using ready-made materials. Reworking a kitchen light by adding a Plexiglas form to its design, the artists place a row of Ikea batteries on top of the light. The notion of juxtaposition is addressed, for the batteries do not power the lights. Borins and Marman purposefully create an object that functions within the realm of design, alluding to the concept of art forms that lose their autonomy to the sphere of the domestic and the commercial. The Multimedia Home symbolizes the fast-food world of the service industry, and its promise of instant gratification.
Des mesures :
Collection:
Date de réalisation : 2001
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Multimedia Dome, details
Artist: Jennifer Marman and Daniel Borins
ID : 66667
Description: Le Multimedia Dome features a green Astro-Turf surface mounted onto an early generation satellite dish. It sits atop a circular apron of brown Astro-Turf bordered by maroon pleather bumpers. Details include a zipper dividing the apron in half to allow for disassembly, and seat belt strapping bound by plastic clasps that serve to secure the bumpers in place. The resulting effect of these modular elements is to suggest the formal attributes of functionality and transportability.
On top of the dome is a green button (commonly used for arcade video games) and inset speakers. When the button is pushed, the warning sound of an audible pedestrian crosswalk is played through the speakers.
In this early collaboration by Borins and Marman, a fascination with the synthetic is combined with an interest in a minimalist approach to electronics and interactivity. The Multimedia Dome is an example of the ongoing re-purposing that Borins and Marman apply to technology for artistic means.
It is significant that the Multimedia Dome is comprised of materials manufactured to replace the real: these synthetics are designed for durability, high traffic situations and all-weather conditions. Ironically, the Multimedia Dome reconstitutes materials in such a way that viewers regard it as a landmark within the exhibition space, a focal point for social interaction, or place for contemplation. The method that the artists use to fabricate the sculpture closely follows the techniques of industrial manufacturing. Borins and Marman mimic the physical attributes that consumers look for in an industrially manufactured consumer commodity and apply those attributes to the art object. The Multimedia Dome represents the first major sculpture in which Borins and Marman began to employ formal strategies and symbols to transgress and alter the use of metaphor in sculpture. The locus of this strategy is exemplified by using an audible pedestrian crosswalk as the starting point for the formal realization of their work: they re-purpose these unassuming sounds in an aestheticized and symbolic manner. Simultaneously they force utilitarian technology into the sphere of the abstract while demystifying the notion of interactivity as artistic sideshow.
Des mesures : 0.4176 m diameter x 0.087 m
Collection:
Date de réalisation : 2001
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Push Pull Open, installation view
Artist: Jennifer Marman and Daniel Borins
ID : 66669
Description: Push Pull Open is a presentation of smaller sculptural objects self-curated by the artists. Push the button on the Multimedia Home and hear thank you, Pull the luggage handle and an alarm sounds, Open the cabinet and another alarm sounds. Expressionist Foam Paintings et Aesthetic Light Bright Ideas complete the composition, creating a commentary on the nuclear family, fear, the ubiquity of certain art movements, and the service industry.
Riffing on the Lifestyle craze of the later 1990s and turn of the millennium, Borins and Marman present an array of smaller works that refer to the domestic, the designed and the efficient industry of service and commodity production. Contained within resin-coated frames, the Expressionist Foam Painting alludes to the works of Jackson Pollack. However, the foam that the artists use, has nothing to do with painting, it is in fact under-carpet padding. Aesthetic Light Bright Ideas illustrates the propensity of Borins and Marman to formulate juxtapositions using ready-made materials. Reworking a kitchen light by adding a Plexiglas form to its design, the artists place a row of Ikea batteries on top of the light. The notion of juxtaposition is addressed, for the batteries do not power the lights. Borins and Marman purposefully create an object that functions within the realm of design, alluding to the concept of art forms that lose their autonomy to the sphere of the domestic and the commercial. The Multimedia Home symbolizes the fast-food world of the service industry, and its promise of instant gratification.
Des mesures : overall: 0.707136 x 0.707136 m [Aesthetic Light Bright Ideas, 1.149096 x 0.707136 cm; Expressionist Foam Paintings, 1.591056 x 2.121408 cm each; Push (Multimedia Home), 0.707136 x 0.618744 x 0.88392 cm; Pull (Luggage Handle), 2.121408 x 2.121408 cm; Open (Cupboard), 1.060704 x 1.060704 x 30]
Collection:
Date de réalisation : 2001
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Perpetual Motion
Artist: Jennifer Marman and Daniel Borins
ID : 66691
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
Multimedia Dome
Artist: Jennifer Marman and Daniel Borins
ID : 66666
Description: Le Multimedia Dome features a green Astro-Turf surface mounted onto an early generation satellite dish. It sits atop a circular apron of brown Astro-Turf bordered by maroon pleather bumpers. Details include a zipper dividing the apron in half to allow for disassembly, and seat belt strapping bound by plastic clasps that serve to secure the bumpers in place. The resulting effect of these modular elements is to suggest the formal attributes of functionality and transportability.
On top of the dome is a green button (commonly used for arcade video games) and inset speakers. When the button is pushed, the warning sound of an audible pedestrian crosswalk is played through the speakers.
In this early collaboration by Borins and Marman, a fascination with the synthetic is combined with an interest in a minimalist approach to electronics and interactivity. The Multimedia Dome is an example of the ongoing re-purposing that Borins and Marman apply to technology for artistic means.
It is significant that the Multimedia Dome is comprised of materials manufactured to replace the real: these synthetics are designed for durability, high traffic situations and all-weather conditions. Ironically, the Multimedia Dome reconstitutes materials in such a way that viewers regard it as a landmark within the exhibition space, a focal point for social interaction, or place for contemplation. The method that the artists use to fabricate the sculpture closely follows the techniques of industrial manufacturing. Borins and Marman mimic the physical attributes that consumers look for in an industrially manufactured consumer commodity and apply those attributes to the art object. The Multimedia Dome represents the first major sculpture in which Borins and Marman began to employ formal strategies and symbols to transgress and alter the use of metaphor in sculpture. The locus of this strategy is exemplified by using an audible pedestrian crosswalk as the starting point for the formal realization of their work: they re-purpose these unassuming sounds in an aestheticized and symbolic manner. Simultaneously they force utilitarian technology into the sphere of the abstract while demystifying the notion of interactivity as artistic sideshow.
Des mesures : 0.4176 m diameter x 0.087 m
Collection:
Date de réalisation : 2001
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Rise and Fall
Artist: Jennifer Marman and Daniel Borins
ID : 66671
Description: Rise and Fall is a mobile bar graph embedded in a self-illuminated laminate box on casters. Comprised of two pieces the sculptures mirror each other, yet they are opposites. The space in between them is a void of stasis completed by the viewer's gaze. The Rise and Fall maps the history, social nature, and economic path of success and failure through the addressing of the bar graph. As a commentary on contemporary methodologies pertaining to the formulation of public opinion, the Rise and Fall indicates that mass media utilizes polling and statistics to formulate its opinions; yet, the mass media never reveals the role it is taking in formulating consent and thus bias. Furthermore, this culture of statistics removes the notion of debate and poses contemporary history as the outcome of only a statistical nature.
Des mesures : 0.4176 x 0.1044 x 0.1392 m (variable)
Collection:
Date de réalisation : 2002
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Presence Meter, detail
Artist: Jennifer Marman and Daniel Borins
ID : 66673
Description: Le Presence Meter features a 9' x 5' grid comprised of 2,200 hand-refurbished analog panel meters affixed to an aluminium support that is wall-mounted and protected by a sheet of glass.
The meters, through the use of four inaudible ultrasonic sensors and a microcomputer, gauge the proximity of the viewer's body to the surface of the work. This is accomplished through a process whereby the sensors emit ultrasonic pulses and record the corresponding echo times. The resulting proximity reading is represented by the position of the needles on the panel meters. When the viewer is close to the sensor, the needles on the panel meters will move to the far right. When the viewer is far away, the needles will stay resting at the far left. The physicality of the viewer sensed through ultrasonic signals is thus translated into a language of electric current flowing to the meters. The closer the viewer is to the Presence Meter, the more the needles will move, in an agitated manner, to the right; thereby mirroring the viewers physicality.
Le Presence Meter re-contextualizes the traditional use of panel meters as indicators of invisible forces such as pressure or speed and uses them for aesthetic purposes. Unlike the machine that is process oriented, the Presence Meter simultaneously converts input to output: in the form of proximity and visual display.
Le Presence Meter alludes to painting, abstraction and the modernist notion of the grid. It also shares some characteristics of serialism and repetition. The experience of viewing the Presence Meter is one of optical effects, vibrancy and instinctive reaction. The piece is just large enough to dominate the viewer's field of vision when standing at approximately fifteen feet from the sensors. Sensing minute distances, the tableau traces the figurative presence of the viewer. Mimicry is achieved as we both translate our presence into an aesthetic experience and negate ourselves by leaving the installation. This mimicry becomes a metaphor for technological and artistic pursuit. Both art and technology speak of our need to reflect the self.
While the Presence Meter is formally minimal, the interactive character of the piece challenges the hermetic nature of minimalism. The sculpture responds to the motion of the viewer with incremental movements: it is not so much interactive as reactive, forcing the viewer into the process of the work itself. The Presence Meter continues to address the nature of seeing and experiencing art because of its structure as a repetitious array of data feedback mechanisms. What the viewer sees a reflection of, and visual transliteration of, is also what the Presence Meter sees. Therefore, the Presence Meter is the metaphorical equivalent of a mirror, reflecting the viewer's role as one who sees and one who is embodied.
[see complete description].
Des mesures : 0.2958 x 0.174 m
Collection:
Date de réalisation : 2003
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Great Minds Think Alike, detail
Artist: Jennifer Marman and Daniel Borins
ID : 66675
Description: Great Minds Think Alike is composed of four main elements: a modernist table laminated in silver moss Formica, two mouse pad calculators commonly used as promotional gifts in the corporate world, a sleek LCD video display, and an Oriental rug. The table design originates from the Bauhaus school and was later refined at Parsons in the 1950s. In Great Minds Think Alike, the table is painstakingly hand crafted by Borins and Marman, yet it appears to be commercially mass-produced.
Furthering an undertone of competing tensions, the mouse pad calculators that sit atop a glowing inlaid light-box present an unsettling redundancy: why combine a mouse pad and calculator if the computer that the mouse pad calculator accessorizes is really a super calculator? Placed on top of a light box housed within the table, the solar cells of the calculators are powered by the florescent lights of the light box within the table. The calculators are encased within Plexiglas boxes and constantly flash 666 as a result of a custom designed circuit. This numerical symbol refers biblically to the number of the beast; yet, this number also refers to the pseudo-evil of contemporary popular heavy metal music (such as Judas Priest). By enclosing the calculators in Plexiglas boxes, it suggests that they are both objects of fear and of value.
On the other end of the table rests an LCD monitor that plays a looped video montage that begins with the rising of the sun from Stanely Kubrick's 2001: A Space Odyssey (The sun rises in the video as part of a montage quotation from Stanley Kubrick's film 2001.) We are witness to the unfolding of the film's prologue Dawn of Man. On screen, as the proto-humans awaken they become agitated and behold a vision that we are yet see. Instead of the minimalist black monolith that the ape-humans are presented with in the original film, one is confronted with the ultimate symbol of the end of the twentieth century, the World Trade Center shining in the morning sun, digitally collaged into the original film. Contrasted in the mind of the viewer who beholds Great Minds Think Alike is the contemporary phenomenon of virtual and mass spectacle (the 911 event) and virtual memory of mass media (the movie 2001). A thematic synopsis of 2001 tells us that the dawn of man (symbolized by the monolith) is the point in which violence and destruction become part of the rationalizing, and therefore human, thought process.
This video collage is presented as an intervention into the fictions and spectacles surrounding mass media and current events. To accentuate this metaphor, the installation is set atop an antique Persian rug as if by coincidence, or, as a heavy-handed critique of geopolitics and its indebtedness to commerce versus a culture of tradition. Presented as an inventory of symbols, Great Minds Think Alike represents the confusions, conspiracies and disorder that have resulted from the post 911 world. However, this piece also represents the confusion of the contemporary art world at the edge of post-post modernity. Borins and Marman search for meaning in a world where the semiotics of academia has been left behind by a new world that destroys symbols, forgets history and randomly finds narratives. Great Minds Think Alike is a small cosmology of symbols, historical events, and mass media references both fictitious and real.
Des mesures : 0.2784 x 0.174 x 0.1392 m
Collection:
Date de réalisation : 2003
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Presence Meter
Artist: Jennifer Marman and Daniel Borins
ID : 66672
Description: Le Presence Meter features a 9' x 5' grid comprised of 2,200 hand-refurbished analog panel meters affixed to an aluminium support that is wall-mounted and protected by a sheet of glass.
The meters, through the use of four inaudible ultrasonic sensors and a microcomputer, gauge the proximity of the viewer's body to the surface of the work. This is accomplished through a process whereby the sensors emit ultrasonic pulses and record the corresponding echo times. The resulting proximity reading is represented by the position of the needles on the panel meters. When the viewer is close to the sensor, the needles on the panel meters will move to the far right. When the viewer is far away, the needles will stay resting at the far left. The physicality of the viewer sensed through ultrasonic signals is thus translated into a language of electric current flowing to the meters. The closer the viewer is to the Presence Meter, the more the needles will move, in an agitated manner, to the right; thereby mirroring the viewers physicality.
Le Presence Meter re-contextualizes the traditional use of panel meters as indicators of invisible forces such as pressure or speed and uses them for aesthetic purposes. Unlike the machine that is process oriented, the Presence Meter simultaneously converts input to output: in the form of proximity and visual display.
Le Presence Meter alludes to painting, abstraction and the modernist notion of the grid. It also shares some characteristics of serialism and repetition. The experience of viewing the Presence Meter is one of optical effects, vibrancy and instinctive reaction. The piece is just large enough to dominate the viewer's field of vision when standing at approximately fifteen feet from the sensors. Sensing minute distances, the tableau traces the figurative presence of the viewer. Mimicry is achieved as we both translate our presence into an aesthetic experience and negate ourselves by leaving the installation. This mimicry becomes a metaphor for technological and artistic pursuit. Both art and technology speak of our need to reflect the self.
While the Presence Meter is formally minimal, the interactive character of the piece challenges the hermetic nature of minimalism. The sculpture responds to the motion of the viewer with incremental movements: it is not so much interactive as reactive, forcing the viewer into the process of the work itself. The Presence Meter continues to address the nature of seeing and experiencing art because of its structure as a repetitious array of data feedback mechanisms. What the viewer sees a reflection of, and visual transliteration of, is also what the Presence Meter sees. Therefore, the Presence Meter is the metaphorical equivalent of a mirror, reflecting the viewer's role as one who sees and one who is embodied.
[see complete description].
Des mesures : 0.2958 x 0.174 m
Collection:
Date de réalisation : 2003
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Great Minds Think Alike
Artist: Jennifer Marman and Daniel Borins
ID : 66674
Description: Great Minds Think Alike is composed of four main elements: a modernist table laminated in silver moss Formica, two mouse pad calculators commonly used as promotional gifts in the corporate world, a sleek LCD video display, and an Oriental rug. The table design originates from the Bauhaus school and was later refined at Parsons in the 1950s. In Great Minds Think Alike, the table is painstakingly hand crafted by Borins and Marman, yet it appears to be commercially mass-produced.
Furthering an undertone of competing tensions, the mouse pad calculators that sit atop a glowing inlaid light-box present an unsettling redundancy: why combine a mouse pad and calculator if the computer that the mouse pad calculator accessorizes is really a super calculator? Placed on top of a light box housed within the table, the solar cells of the calculators are powered by the florescent lights of the light box within the table. The calculators are encased within Plexiglas boxes and constantly flash 666 as a result of a custom designed circuit. This numerical symbol refers biblically to the number of the beast; yet, this number also refers to the pseudo-evil of contemporary popular heavy metal music (such as Judas Priest). By enclosing the calculators in Plexiglas boxes, it suggests that they are both objects of fear and of value.
On the other end of the table rests an LCD monitor that plays a looped video montage that begins with the rising of the sun from Stanely Kubrick's 2001: A Space Odyssey (The sun rises in the video as part of a montage quotation from Stanley Kubrick's film 2001.) We are witness to the unfolding of the film's prologue Dawn of Man. On screen, as the proto-humans awaken they become agitated and behold a vision that we are yet see. Instead of the minimalist black monolith that the ape-humans are presented with in the original film, one is confronted with the ultimate symbol of the end of the twentieth century, the World Trade Center shining in the morning sun, digitally collaged into the original film. Contrasted in the mind of the viewer who beholds Great Minds Think Alike is the contemporary phenomenon of virtual and mass spectacle (the 911 event) and virtual memory of mass media (the movie 2001). A thematic synopsis of 2001 tells us that the dawn of man (symbolized by the monolith) is the point in which violence and destruction become part of the rationalizing, and therefore human, thought process.
This video collage is presented as an intervention into the fictions and spectacles surrounding mass media and current events. To accentuate this metaphor, the installation is set atop an antique Persian rug as if by coincidence, or, as a heavy-handed critique of geopolitics and its indebtedness to commerce versus a culture of tradition. Presented as an inventory of symbols, Great Minds Think Alike represents the confusions, conspiracies and disorder that have resulted from the post 911 world. However, this piece also represents the confusion of the contemporary art world at the edge of post-post modernity. Borins and Marman search for meaning in a world where the semiotics of academia has been left behind by a new world that destroys symbols, forgets history and randomly finds narratives. Great Minds Think Alike is a small cosmology of symbols, historical events, and mass media references both fictitious and real.
Des mesures : 0.2784 x 0.174 x 0.1392 m
Collection:
Date de réalisation : 2003
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Of Ideas
Artist: Jennifer Marman and Daniel Borins
ID : 66679
Description: Of Ideas is a 3' by 3' neon sign featuring the names of six philosophers displayed alongside a book with the same cover design. The sign is a recreation of the illustration on the cover of the book, originally titled Men of Ideas. As an adolescent, Marman literally cut out the word "Men" from the cover. The transformed title Of Ideas becomes a reference to the foundations of conceptualism. Of Ideas serves to illustrate the transition from idea, to concept to the finished artwork and contrasts the theoretical nature of metaphysics with the physicality of the sculpture.
Des mesures : 91.44 x 91.44 cm
Collection:
Date de réalisation : 2004
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
The Dark Crystal
Artist: Jennifer Marman and Daniel Borins
ID : 66677
Description: Beyond Good and Bad et The Dark Crystal
Beyond Good and Bad features an eight-foot monolith attached to a two-foot square base. The black rectangular structure is finished in high gloss laminate. Above the structure hangs an "audio spotlight" that projects audio in a column-like manner when the viewer stands on the base of the sculpture. Only when standing on the base can the viewer both activate and hear a rendition of Eumir Deodato Almeida's "Also Sprach Zarathustra." The "audio spotlight" uses ultrasound technology to excite particles in the air and to charge them with sound; anyone who is outside of the invisible ultrasound column will not hear any music playing. Behind the audio speaker is placed a bright floodlight that creates the visual effect of an eclipse. A parabolic security mirror is placed to the left of the speaker and monolith. The mirror reflects the sculpture in a distorted tableau-like manner and reveals a depiction, through the use of small lights, of a structuralist constellation contained within the top of the sculpture. The depiction refers to Rosalind Krauss' Piaget group diagram from her essay Sculpture in the Expanded Field.
To the right of the monolith stands, The Dark Crystal, a highly finished prefabricated cube enclosure approximately seven and a half feet in height and width. At the back there exists an entrance allowing the viewer into the enclosure. When inside, the viewer encounters a large gemstone reminiscent of the ubiquitous children's "Ring Pop" candy. Fashioned out of translucent Plexiglas and standing on a green plastic column, the gemstone is brightly illuminated from within its base.
Des mesures : 7-1/2 x 0.2784 x 0.2784 m
Collection:
Date de réalisation : 2004
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Anarchy 99, front view
Artist: Jennifer Marman and Daniel Borins
ID : 66685
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2004
Matériaux :
Collection virtuelle : Original CCCA
Beyond Good and Bad
Artist: Jennifer Marman and Daniel Borins
ID : 66678
Description: Beyond Good and Bad et The Dark Crystal
Beyond Good and Bad features an eight-foot monolith attached to a two-foot square base. The black rectangular structure is finished in high gloss laminate. Above the structure hangs an "audio spotlight" that projects audio in a column-like manner when the viewer stands on the base of the sculpture. Only when standing on the base can the viewer both activate and hear a rendition of Eumir Deodato Almeida's "Also Sprach Zarathustra." The "audio spotlight" uses ultrasound technology to excite particles in the air and to charge them with sound; anyone who is outside of the invisible ultrasound column will not hear any music playing. Behind the audio speaker is placed a bright floodlight that creates the visual effect of an eclipse. A parabolic security mirror is placed to the left of the speaker and monolith. The mirror reflects the sculpture in a distorted tableau-like manner and reveals a depiction, through the use of small lights, of a structuralist constellation contained within the top of the sculpture. The depiction refers to Rosalind Krauss' Piaget group diagram from her essay Sculpture in the Expanded Field.
To the right of the monolith stands, The Dark Crystal, a highly finished prefabricated cube enclosure approximately seven and a half feet in height and width. At the back there exists an entrance allowing the viewer into the enclosure. When inside, the viewer encounters a large gemstone reminiscent of the ubiquitous children's "Ring Pop" candy. Fashioned out of translucent Plexiglas and standing on a green plastic column, the gemstone is brightly illuminated from within its base.
Des mesures : 0.2784 x 0.1392 x 0.1044 m
Collection:
Date de réalisation : 2004
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Anarchy 99, side view
Artist: Jennifer Marman and Daniel Borins
ID : 66686
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2004
Matériaux :
Collection virtuelle : Original CCCA
Beyond Good and Bad / The Dark Crystal
Artist: Jennifer Marman and Daniel Borins
ID : 66676
Description: Beyond Good and Bad et The Dark Crystal
Beyond Good and Bad features an eight-foot monolith attached to a two-foot square base. The black rectangular structure is finished in high gloss laminate. Above the structure hangs an "audio spotlight" that projects audio in a column-like manner when the viewer stands on the base of the sculpture. Only when standing on the base can the viewer both activate and hear a rendition of Eumir Deodato Almeida's "Also Sprach Zarathustra." The "audio spotlight" uses ultrasound technology to excite particles in the air and to charge them with sound; anyone who is outside of the invisible ultrasound column will not hear any music playing. Behind the audio speaker is placed a bright floodlight that creates the visual effect of an eclipse. A parabolic security mirror is placed to the left of the speaker and monolith. The mirror reflects the sculpture in a distorted tableau-like manner and reveals a depiction, through the use of small lights, of a structuralist constellation contained within the top of the sculpture. The depiction refers to Rosalind Krauss' Piaget group diagram from her essay Sculpture in the Expanded Field.
To the right of the monolith stands, The Dark Crystal, a highly finished prefabricated cube enclosure approximately seven and a half feet in height and width. At the back there exists an entrance allowing the viewer into the enclosure. When inside, the viewer encounters a large gemstone reminiscent of the ubiquitous children's "Ring Pop" candy. Fashioned out of translucent Plexiglas and standing on a green plastic column, the gemstone is brightly illuminated from within its base.
Des mesures :
Collection:
Date de réalisation : 2004
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Kaniza Triangle
Artist: Jennifer Marman and Daniel Borins
ID : 66687
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, line painting a
Artist: Jennifer Marman and Daniel Borins
ID : 66694
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, black hole
Artist: Jennifer Marman and Daniel Borins
ID : 66704
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, flag abstract
Artist: Jennifer Marman and Daniel Borins
ID : 66706
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Presence Meter, side view
Artist: Jennifer Marman and Daniel Borins
ID : 66699
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, china art object 2
Artist: Jennifer Marman and Daniel Borins
ID : 66700
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, flag abstract
Artist: Jennifer Marman and Daniel Borins
ID : 66705
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth
Artist: Jennifer Marman and Daniel Borins
ID : 66680
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, china art object 3
Artist: Jennifer Marman and Daniel Borins
ID : 66707
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Untitled (Louis F. Polk)
Artist: Jennifer Marman and Daniel Borins
ID : 66693
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Untitled (Louis F. Polk)
Jennifer Marman and Daniel Borins have made a composite image of approximately fifteen different scenes of the modernist house exploding at the end of Zabriskie Point, and have done so in both a photographic and illustrative style. The images are a mirror reflection of each other, and represent a tearing apart of the picture plane. Marman and Borins have translated the formal aspects from the original film into a sculptural multi-media installation.
Below the two pictures, an Ikea Lack Shelf is mounted to the wall and has been modified to contain an MP3 playback device and audio speakers and two push buttons. The buttons on the Ikea shelf, when pushed, play either the explosion sound or the Pink Floyd sound track, from the end of the film.
Untitled (Louis F. Polk) remains a work in progress. A three dimensional video animation has been made to go with the piece. The video depicts a rumoured last scene that Antonioni intended for the film, in which a skywriting airplane would spell out the words Fuck You America.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Kaniza Triangle, side view
Artist: Jennifer Marman and Daniel Borins
ID : 66688
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, left view
Artist: Jennifer Marman and Daniel Borins
ID : 66683
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux : various
Collection virtuelle : Original CCCA
Art Santa Fe Booth, front view
Artist: Jennifer Marman and Daniel Borins
ID : 66681
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux : various
Collection virtuelle : Original CCCA
Art Santa Fe Booth, T-shirts
Artist: Jennifer Marman and Daniel Borins
ID : 66696
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, T-shirts
Artist: Jennifer Marman and Daniel Borins
ID : 66697
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, bullet holes
Artist: Jennifer Marman and Daniel Borins
ID : 66703
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, china art object 2, detail
Artist: Jennifer Marman and Daniel Borins
ID : 66701
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Untitled (Louis F. Polk), detail
Artist: Jennifer Marman and Daniel Borins
ID : 66692
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Untitled (Louis F. Polk)
Jennifer Marman and Daniel Borins have made a composite image of approximately fifteen different scenes of the modernist house exploding at the end of Zabriskie Point, and have done so in both a photographic and illustrative style. The images are a mirror reflection of each other, and represent a tearing apart of the picture plane. Marman and Borins have translated the formal aspects from the original film into a sculptural multi-media installation.
Below the two pictures, an Ikea Lack Shelf is mounted to the wall and has been modified to contain an MP3 playback device and audio speakers and two push buttons. The buttons on the Ikea shelf, when pushed, play either the explosion sound or the Pink Floyd sound track, from the end of the film.
Untitled (Louis F. Polk) remains a work in progress. A three dimensional video animation has been made to go with the piece. The video depicts a rumoured last scene that Antonioni intended for the film, in which a skywriting airplane would spell out the words Fuck You America.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, line painting b
Artist: Jennifer Marman and Daniel Borins
ID : 66695
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, Presence Meter
Artist: Jennifer Marman and Daniel Borins
ID : 66698
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, china art object
Artist: Jennifer Marman and Daniel Borins
ID : 66689
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
Art Santa Fe Booth, front view, right
Artist: Jennifer Marman and Daniel Borins
ID : 66682
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux : various
Collection virtuelle : Original CCCA
Art Santa Fe Booth, china art object b
Artist: Jennifer Marman and Daniel Borins
ID : 66690
Description: Art Santa Fe Booth
For the 2005 edition of Art Santa Fe, Jennifer Marman and Daniel Borins presented an experimental solo booth. Their solo booth represents a form of self-curated installation and featured flags that read: Conceptualism and Relational Gestalt Marketplace. The booth contained fourteen art works that varied in style and medium - so as to arrive at the appearance that the works were made by different artists. Some of the works that Marman and Borins presented include:
The overall effect of Conceptualism and Relational Gestalt Marketplace is to illustrate that artists can work within a variety of styles and yet still present a cohesive practice. Marman and Borins privilege their conceptual approach as a formal practice.
Des mesures :
Collection:
Date de réalisation : 2005
Matériaux :
Collection virtuelle : Original CCCA
In Sit You, view 1
Artist: Jennifer Marman and Daniel Borins
ID : 66710
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : minimal, Original CCCA
In Sit You, view 7
Artist: Jennifer Marman and Daniel Borins
ID : 66716
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, installation view
Artist: Jennifer Marman and Daniel Borins
ID : 66708
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You
Artist: Jennifer Marman and Daniel Borins
ID : 68231
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between ima
Des mesures :
Collection:
Date de réalisation : 2006
Matériaux :
Collection virtuelle : Original CCCA
In Sit You, view 4
Artist: Jennifer Marman and Daniel Borins
ID : 66713
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, view 2
Artist: Jennifer Marman and Daniel Borins
ID : 66711
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, view 3
Artist: Jennifer Marman and Daniel Borins
ID : 66712
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, detail – bench
Artist: Jennifer Marman and Daniel Borins
ID : 66709
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : 0.2784 x 0.1392 x 0.0696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, view 6
Artist: Jennifer Marman and Daniel Borins
ID : 66715
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
In Sit You, view 5
Artist: Jennifer Marman and Daniel Borins
ID : 66714
Description: Installation (mixed media). Installed at the Toronto Sculpture Garden, October 2006 - April 2007.
In October 2006, Jennifer Marman and Daniel Borins presented a new installation in the Toronto Sculpture Garden that marked the park's 25th anniversary.
Exhibiting at the Toronto Sculpture Garden is a respected opportunity for any local or international artist. The Toronto Sculpture Garden has been the site of innovative contemporary sculpture installations since 1981. This small, urban park in the downtown core serves as a testing ground for artists to experiment with public space and to address issues of architectural scale, materials and context. It has given many artists their first opportunity to work out-of-doors, to experiment with the challenges of setting work within an urban environment and it has provided them with critical experience for future public art projects.
For the Toronto Sculpture Garden, Marman and Borins erected a kinetic abstract billboard accompanied by a formally complementary park bench. The sculpture manifests the tensions between modernist high art and the popular sphere. In Sit You directly contrasts art's exalted mystique with mass communication's ubiquity.
In Sit You employs a Tri-Vision billboard comprised of three-inch wide vertical panels that rotate to produce three different images, featuring a pattern of brightly coloured stripes in motion. On the flat surface of the billboard, the stripes visually oscillate because of their contrasting variation in colours. When the columns of the billboard rotate, the shifting stripes of colour create an intense optical effect through a veritable collision of colour and form.
The coloured stripes of In Sit You strongly reference modernist abstract painting while the motion of the stripes reference the support structure of the mechanized billboard. Although the surface of the billboard appears two dimensional between image shifts, it is comprised of rotating three-dimensional triangular columns.
The theme of the project literally revolves around flatness and three-dimensional motion. To express this inherent three dimensionality of the billboard, the stripes flip from a vertical to a 60-degree orientation upon the first turn of the billboard, and to an opposite 60-degree orientation on the second flip. The third flip reveals the original vertical stripes, and then the motion repeats. Between each flip the viewer sees harlequins of geometric shape and rotations of line. It is as if the stripes are being bent into several dimensions that refer to rendered perspective and yet are highly aware of the flat modernist painting.
In Sit You speaks to the site specificity of the Toronto Sculpture Garden by placing a park bench in front of the billboard and plays upon scale through the insertion of the mass media billboard into the public park setting. From the vantage point of the park bench painted to match the billboard, the viewer becomes part of a conceptual framework and is aware of the multiplicity of the installation's title In Sit You. The regular purpose of the advertising billboard is replaced by an abstract visual experience.
Des mesures : sign: 0.348 x 0.696 m
Collection:
Date de réalisation : 2006
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
