Mattress Factory Tour
YAYOI KUSAMA
REPETITIVE VISION
REPETITIVE VISION1996
glass, Formica, mannequins, decals,
long term loan
"One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body, and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and absoluteness of space, and to be reduced to nothingness..."
glass, Formica, mannequins, decals,
long term loan
"One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body, and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and absoluteness of space, and to be reduced to nothingness..."
-Yayoi Kusama, "Fortress of Shooting Stars"
Since you all love the use of mirrors...here are some more artists who use mirrors:
ROBERT SMITHSON
NONSITE - ESSEN SOIL AND MIRRORS 
MIRROR WITH CRUSHED SHELLS
mirror covered New York City Department of
Sanitation truck
THE EYE OF THE STORM
2005
A sit specific work referencing the dynamic aspects of Frank Lloyd Wright's building, the Guggenheim Museum
______________________________________________________
JAMES TURRELL
DANAE
1983
Drywall, paint, ultraviolet & incandescent light
"Danaë is the first time I put light on the other side of the aperture. I have made pieces that took all their light from outside the space, like the one at the Whitney."
ROBERT SMITHSON
NONSITE - ESSEN SOIL AND MIRRORS 1969
Essen soil and mirrors
12 mirrors / each 3'x 3'
Essen soil and mirrors
12 mirrors / each 3'x 3'
MIRROR WITH CRUSHED SHELLS Sanibel Island Florida, 1969
sand and shells
three mirrors, ea 36" x 36"
MIERLE LADERMAN UKELES
THE SOCIAL MIRROR
1983sand and shells
three mirrors, ea 36" x 36"
MIERLE LADERMAN UKELES
THE SOCIAL MIRRORmirror covered New York City Department of
Sanitation truck
The Social Mirror is a 12-ton, 28-foot long DSNY collection truck reconfigured with glass panels. This unique work of art was a highlight of the inaugural New York City Art Parade in 1983, and is a permanent, mobile public-art work that the Department proudly uses in parades and various special events.
"The Department's gritty and essential day-to-day operations in keeping New York City clean and safe may not seem to be a muse for inspirational artwork, but Mierle Ukeles' talents turned a collection truck into one of the Department's crowning displays. The Department is truly proud of her work," said Sanitation Commissioner John J. Doherty.
THE EYE OF THE STORM2005
A sit specific work referencing the dynamic aspects of Frank Lloyd Wright's building, the Guggenheim Museum
______________________________________________________
JAMES TURRELL
DANAE1983
Drywall, paint, ultraviolet & incandescent light
"Danaë is the first time I put light on the other side of the aperture. I have made pieces that took all their light from outside the space, like the one at the Whitney."
- James Turrell
...and some other artists who use LIGHT !
DAN FLAVIN
“MONUMENT” TO V. TATLIN XI, 1964;
“MONUMENT” TO V. TATLIN, 1966;
“MONUMENT” TO V. TATLIN, 1966—69;
and UNTITLED, 1970.
UNTITLED
1987
BRUCE NAUMAN
VIOLINS VIOLENCE SILENCE
1981-1982
Neon tubing with clear glass tubing suspension frame, 60 1/2 x 66 1/2 x 6 inches
ONE HUNDRED LIVE AND DIE
1984
_____________________________________________
Since we all had differing opinions about artists personal spaces (rooms, beds, studios, etc) presented in a museum....here's some more artists who have done it!
(Do you like these any better than Thad's room? Why?)
TRACEY EMIN
MY BED
1998
Mattress, linens, pillows, objects
And some people who also questioned this "art" - Satirists jump into Tracey's bed, Semi naked pair 'reacting to self-promotion' of art prize entry
CARTEN HOLLER
REVOLVING HOTEL ROOM
Art critic Jerry Saltz spends the night in the Guggenheim Museum in Carten Höller's work, "Revolving Hotel Room" in the exhibition, THEANYSPACEWHATSOEVER
We haven't seen much performance art YET.... but here's an amazing example of how to use other students, props, costumes and sound to create a strong piece :
KAT SOLETO
from the MICA interdisciplinary sculpture class, "Performance/Action/Event"
...and some other artists who use LIGHT !
DAN FLAVIN
“MONUMENT” TO V. TATLIN XI, 1964;“MONUMENT” TO V. TATLIN, 1966;
“MONUMENT” TO V. TATLIN, 1966—69;
and UNTITLED, 1970.
UNTITLED1987
BRUCE NAUMAN
VIOLINS VIOLENCE SILENCE1981-1982
Neon tubing with clear glass tubing suspension frame, 60 1/2 x 66 1/2 x 6 inches
ONE HUNDRED LIVE AND DIE1984
_____________________________________________
Since we all had differing opinions about artists personal spaces (rooms, beds, studios, etc) presented in a museum....here's some more artists who have done it!
(Do you like these any better than Thad's room? Why?)
TRACEY EMIN
MY BED1998
Mattress, linens, pillows, objects
And some people who also questioned this "art" - Satirists jump into Tracey's bed, Semi naked pair 'reacting to self-promotion' of art prize entry
CARTEN HOLLER
REVOLVING HOTEL ROOMArt critic Jerry Saltz spends the night in the Guggenheim Museum in Carten Höller's work, "Revolving Hotel Room" in the exhibition, THEANYSPACEWHATSOEVER
Here are excerpts from his review/report in New York Magazine published Nov. 9, 2008:
NIGHT AT THE MUSEUM: Look at those curves! Who wouldn't want a one-night stand with the Guggenheim?
By Jerry Saltz
NIGHT AT THE MUSEUM: Look at those curves! Who wouldn't want a one-night stand with the Guggenheim?
By Jerry Saltz
I jumped at what seemed like an unbelievable chance to carry out my fantasy: an opportunity to spend the night with my wife on a rotating queen-size bed fitted out with satin sheets on the sixth ramp of Frank Lloyd Wright's Guggenheim Museum. The work, Revolving Hotel Room, is Carsten Höller's major contribution to "theanyspacewhatever," a show devoted to the amorphous non-movement known as Relational Aesthetics. Höller's "room" has no walls, is out in the open on a large round Plexiglas platform, and has a guard posted nearby. If you get up to go to the bathroom in the middle of the night, the guard follows you. Intimacy under these conditions seemed dicey, but I had to try. And then, two days before our night in the museum, my wife's travel plans changed. She was going to be out of town that night. D'oh!
Relational Aesthetics is a public-oriented mix of performance, social sculpture, architecture, design, theory, theater, and fun and games. These artists view museums as imperfect Edens, playgrounds, battlefields, and sites for seriousness. Over the years they have inserted kitchens, couches, mannequins, and mirrors into institutions. Exhibitions and museums are a medium to experiment with and explore. To them, audience interaction is everything.
Höller's hotel room-booked solid at $259 to $799 per night-is the highlight of the show, and is too good to miss. After my wife canceled, I went anyway, alone. Arriving was fun: I was greeted at the door, got signed in, and was shown to my room. As the guard, Joseph, watched, I hung up my coat, unpacked, and set up my bedside table. After showering in what looked like a swanky executive bathroom upstairs, I changed into pajamas and a robe, and began roaming the museum (at one point sneaking into a classy office to put my feet up on the desk and pretend to call Bilbao). I lay down on floors and stood in empty galleries. At first, it was all a delight. Then it got weird. I felt very alone, as if I were in one of those last-person-on-Earth films. Paranoia set in, as the museum turned into a modernist minimum-security prison, a panopticon, and instead of feeling in control via looking at art, I felt like I was the thing being looked at. OMG, were there cameras trained on me? Probably. So I went to bed. As I lay there, I heard strange sounds-fans whirring, echoes reverberating. I couldn't sleep, despite earplugs and an eye mask. I began counting all the shows I'd seen here over the decades. Eventually, that did the trick, and around 2:30 a.m., I drifted off. The next thing I knew, Joseph was tapping his walkie-talkie on the bed, saying "Get up." I had slept the sleep of the dead. I took off the mask and saw that the lights were on and workers were moving about. It was 7:30. As breakfast (tea, croissants, pain au chocolat) was wheeled toward me, I noticed that I felt refreshed-that the Guggenheim, where I'd been a thousand times, looked utterly new to me. I was in love with the place. The museum had become a cradle of sorts; the environment seemed whole and enveloping. I had the strange feeling of having merged with the structure, like we really had slept together. The next week, when I returned to the show by day, I noticed that when I passed by the bed where I spent that night, I was filled with tender feelings. It was like walking in a city and looking up at a window in a building and remembering a long-ago night when you'd had sex there. Weirdly, however, I was also filled with something like jealousy. I felt like "my museum" was sleeping with everyone else. I found myself wondering why the Guggenheim hadn't called the next day.
____________________________________________Relational Aesthetics is a public-oriented mix of performance, social sculpture, architecture, design, theory, theater, and fun and games. These artists view museums as imperfect Edens, playgrounds, battlefields, and sites for seriousness. Over the years they have inserted kitchens, couches, mannequins, and mirrors into institutions. Exhibitions and museums are a medium to experiment with and explore. To them, audience interaction is everything.
Höller's hotel room-booked solid at $259 to $799 per night-is the highlight of the show, and is too good to miss. After my wife canceled, I went anyway, alone. Arriving was fun: I was greeted at the door, got signed in, and was shown to my room. As the guard, Joseph, watched, I hung up my coat, unpacked, and set up my bedside table. After showering in what looked like a swanky executive bathroom upstairs, I changed into pajamas and a robe, and began roaming the museum (at one point sneaking into a classy office to put my feet up on the desk and pretend to call Bilbao). I lay down on floors and stood in empty galleries. At first, it was all a delight. Then it got weird. I felt very alone, as if I were in one of those last-person-on-Earth films. Paranoia set in, as the museum turned into a modernist minimum-security prison, a panopticon, and instead of feeling in control via looking at art, I felt like I was the thing being looked at. OMG, were there cameras trained on me? Probably. So I went to bed. As I lay there, I heard strange sounds-fans whirring, echoes reverberating. I couldn't sleep, despite earplugs and an eye mask. I began counting all the shows I'd seen here over the decades. Eventually, that did the trick, and around 2:30 a.m., I drifted off. The next thing I knew, Joseph was tapping his walkie-talkie on the bed, saying "Get up." I had slept the sleep of the dead. I took off the mask and saw that the lights were on and workers were moving about. It was 7:30. As breakfast (tea, croissants, pain au chocolat) was wheeled toward me, I noticed that I felt refreshed-that the Guggenheim, where I'd been a thousand times, looked utterly new to me. I was in love with the place. The museum had become a cradle of sorts; the environment seemed whole and enveloping. I had the strange feeling of having merged with the structure, like we really had slept together. The next week, when I returned to the show by day, I noticed that when I passed by the bed where I spent that night, I was filled with tender feelings. It was like walking in a city and looking up at a window in a building and remembering a long-ago night when you'd had sex there. Weirdly, however, I was also filled with something like jealousy. I felt like "my museum" was sleeping with everyone else. I found myself wondering why the Guggenheim hadn't called the next day.
We haven't seen much performance art YET.... but here's an amazing example of how to use other students, props, costumes and sound to create a strong piece :
KAT SOLETO
from the MICA interdisciplinary sculpture class, "Performance/Action/Event"
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