Blood Swept Lands and Seas of Red
The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.
Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war.
The poppies will encircle the Tower, creating not only a spectacular display, but also an inspiring setting for learning activities, as well as providing a location for personal reflection. The scale of the installation reflects the magnitude of such an important centenary, creating a powerful visual commemoration.
The last poppy will symbolically be planted on 11 November 2014.
Buy a poppy
Each ceramic poppy will be available to buy for £25 (+p&p) from 5 August 2014. 10% from each poppy, plus all net proceeds, which we hope will be millions of pounds if all poppies are sold, will be shared equally amongst six service charities.
The charities chosen are Confederation of Service Charities (COBSEO), Combat Stress, Coming Home, Help for Heroes, Royal British Legion and SSAFA (formerly the Soldiers, Sailors, Airmen and Families Association).
Ann Hamilton: “the event of a thread”
Filmed in 2012 at Manhattan’s Park Avenue Armory, artist Ann Hamilton discusses her installation “the event of a thread,” which occupied the Armory’s cavernous drill hall. Hamilton, whose artwork often deals with the connection between text and textiles, was present at the Armory every day during the installation’s one-month run. During that time she was able to witness the various ways visitors chose to engage with the different though interconnected elements of the artwork.
Ann Hamilton’s work is a unique blend of performance, photography, video, textiles, and sculpture. Best known for her sensual, environmental installations, Hamilton’s work often combine sensory elements of sound, taste, smell and touch. She is as interested in verbal and written language as she is in the visual, and sees the two as related and mutable elements.
Japanese artist Tomoaki Suzuki’s diminutive sculptures put a decidedly contemporary twist on the millennia-long tradition of Japanese woodcarving. Suzuki creates painstakingly detailed portraits of diverse urban youths at one-third their actual size.
Working in small scale he is able to focus his attention on the figures in a way that would not be possible on a larger scale. Plus, because of their size, the figures physically draw the viewer in and down to their level, and yet in spite of their size, the sculptures have a powerful presence.
Vivian Maier - A mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and discovered decades later, is now considered among the 20th century’s greatest photographers. Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her. An exhibition of Maier’s work is on display in November at New York’s Howard Greenberg Gallery.
Marina Abramovic on Rhythm 0 (1974)
Marina Abramović is a New York-based performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the “grandmother of performance art.” Abramović’s work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.
Ochi Gallery Show / NYE 2013 The Value of a Line - group show
Site specific kinetic drawings for @ochigallery (http://ochigallery.com)
Emptied Gestures Series by Heather Hansen (http://heatherhansen.net)
photos by Spencer Hansen (http://spencerhansen.net)
Anthony Luensman, Ladder Lake.
Jee Young Lee is a 30-something artist who creates amazing, surreal scenes in her small studio in Seoul, South Korea.
She doesn’t use Photoshop or any other program to manipulate her photos (a rarity these days!), so each highly elaborate set can take weeks or even months to construct.
These are works from her exhibition called “Stage of Mind.” You can see more of her artwork here.
(Photos: Jee Young Lee)
Kohei Nawa forms a cloud-like landscape made of foam.
Japanese artist Kohei Nawa has immersed visitors at the aichi triennale in undulating sea of bubbling matter, surrounding the walls and floor in porous, cloud-like material. ‘Foam’ inhabits an almost pitch-black room, creating an ethereal quality that seems aesthetically otherworldly. Walking through the space, the topography of the puffs creates a massive terrain of floating material, stiff enough to stand in place, yet copious in its fragility and delicacy. The organically structured conglomeration of cells react to their chemistry, moving in flux, swelling, and occasionally losing vitality and spreading out over the ground.
Nature Against Culture
Spencer Tunick stages scenes in which the battle of nature against culture is played out against various backdrops, from civic center to desert sandstorm, man and woman are returned to a preindustrial, pre-everything state of existence. Tunick has traveled the globe to create these still and video images of multiple nude figures in public settings. Organizing groups from a handful of participants to tens of thousands, all volunteers, is often logistically daunting; the subsequent images transcend ordinary categories and meld sculpture and performance in a new genre.
Spencer Tunick’s body of work explores and expands the social, political and legal issues surrounding art in the public sphere. Since 1992, Tunick has been arrested five times while attempting to work outdoors in New York City. Soon after his fifth arrest in Times Square in 1999, determined to create his work on the streets of New York, the artist filed a Federal Civil Rights Law Suit against the city to protect himself and his participants from future arrests. In May 2000, the Second U.S. District Court sided with Tunick, recognizing that his work was protected by the First Amendment of the U.S. Constitution. On June 3 of the same year, in response to the city’s final appeal made to Justice Ruth Bader Ginsburg and the court at large, the U.S. Supreme Court also ruled in favor of Tunick by remanding the case, allowing the lower court decision to stand and the artist to freely organize his work on New York City streets. Four months later, Tunick applied for his first New York City permit after winning the case, and was denied.
In order to make his work without the threat of arrest the artist took his work abroad. He has not undertaken a group installation on the streets of New York in over ten years.
Tunick’s most notable works have been commissioned by Art Basel, Switzerland (1999), Institut Cultura, Barcelona (2003), XXV Biennial de Sao Paulo, Brazil (2002), The Saatchi Gallery(2003), MOCA Cleveland (2004), Vienna Kunsthalle (2008), among others.
Lágrimas de São Pedro by Vinícius S.A
Basic House - A basic an habitable volume; foldable, inflatable and reversible. (Experimental prototype made from metalized polyester). MOMA collection New York.