A truly timeless installation, whether temporary or permanent, alters its surroundings by broadening the idea of what could belong there. From a mirage-like luxury store in the American desert to a floral matrix that for decades was the unrealised vision of a leading conceptual pioneer, to the Chicago structure we can now no longer imagine the city without. What is done with art cannot be undone – and our world is richer for it.
OY/YO, by Deborah Kass, Brooklyn, New York
The latest addition to Brooklyn Bridge Park is a prominent example of Deborah Kass’ pop art aesthetic. Cheekily proclaiming ‘YO’ as one enters Brooklyn and ‘OY’ as one leaves, it quite literally speaks the local vernacular. Kass’ painted aluminum sculpture references Ed Ruscha’s OOF, which hangs in NYC’s MoMA, as inspiration. If these fresh vowels inspire any good natured trash talk as to the prevailing message, they’ve succeeded in capturing the spirit of the city.
Photography: Etienne Frossard, © Deborah Kass, courtesy Two Trees Management Co.
A truly timeless installation, whether temporary or permanent, alters its surroundings by broadening the idea of what could belong there. From a mirage-like luxury store in the American desert to a floral matrix that for decades was the unrealised vision of a leading conceptual pioneer, to the Chicago structure we can now no longer imagine the city without. What is done with art cannot be undone – and our world is richer for it.
OY/YO, by Deborah Kass, Brooklyn, New York
The latest addition to Brooklyn Bridge Park is a prominent example of Deborah Kass’ pop art aesthetic. Cheekily proclaiming ‘YO’ as one enters Brooklyn and ‘OY’ as one leaves, it quite literally speaks the local vernacular. Kass’ painted aluminum sculpture references Ed Ruscha’s OOF, which hangs in NYC’s MoMA, as inspiration. If these fresh vowels inspire any good natured trash talk as to the prevailing message, they’ve succeeded in capturing the spirit of the city.
Photography: Etienne Frossard, © Deborah Kass, courtesy Two Trees Management Co.
A truly timeless installation, whether temporary or permanent, alters its surroundings by broadening the idea of what could belong there. From a mirage-like luxury store in the American desert to a floral matrix that for decades was the unrealised vision of a leading conceptual pioneer, to the Chicago structure we can now no longer imagine the city without. What is done with art cannot be undone – and our world is richer for it.
7, by Richard Serra, Doha, Qatar
Comprising nearly 24m of steel, Richard Serra’s 7 sculpture stands with regal confidence beyond the towering skyline of Doha Bay. A site-specific work, it showcases Serra’s signature spatial simplicity as well as thoughtful references to Islamic culture, a new symbology for the artist. 7 is a perfect addition to the ancient-meets-contemporary mission of the Museum of Islamic Art, a minaret of cross-cultural exchange.
Photography courtesy the Museum of Islamic Art
7, by Richard Serra, Doha, Qatar
Comprising nearly 24m of steel, Richard Serra’s 7 sculpture stands with regal confidence beyond the towering skyline of Doha Bay. A site-specific work, it showcases Serra’s signature spatial simplicity as well as thoughtful references to Islamic culture, a new symbology for the artist. 7 is a perfect addition to the ancient-meets-contemporary mission of the Museum of Islamic Art, a minaret of cross-cultural exchange.
Photography courtesy the Museum of Islamic Art
Lines In Four Directions In Flowers, by Sol LeWitt, Philadelphia
Five years after Sol LeWitt’s death and 30 years after his floral installation was first conceived, Lines In Four Directions in Flowers finally came to fruition at the Philadelphia Museum of Art. White, red, yellow and blue flowers planted in quadrants and surrounded by a hedge inhabited a plot of land behind the museum. The geometric gardens, which bloomed for two years, call to mind the finely pruned estate gardens of yore – though, in this case, it is the province of conceptual art royalty.
Photography courtesy Philadelphia Museum of Art
Lines In Four Directions In Flowers, by Sol LeWitt, Philadelphia
Five years after Sol LeWitt’s death and 30 years after his floral installation was first conceived, Lines In Four Directions in Flowers finally came to fruition at the Philadelphia Museum of Art. White, red, yellow and blue flowers planted in quadrants and surrounded by a hedge inhabited a plot of land behind the museum. The geometric gardens, which bloomed for two years, call to mind the finely pruned estate gardens of yore – though, in this case, it is the province of conceptual art royalty.
Photography courtesy Philadelphia Museum of Art
For Pittsburgh, by Jenny Holzer, Pittsburgh, USA
The cultural renaissance of Pittsburgh – formerly defined by the steel industry (and its decline) – has been widely covered. Having emerged as an education hub and civic example, it’s no wonder the predominant theme of Jenny Holzer’s For Pittsburgh installation is celebratory. Utilising LEDs on a nearly unparalleled scale, the work is a continuous neon scroll of great texts about Pittsburgh. The words of Thomas Bell, Annie Dillard and more illuminate the roofline of the David L Lawrence Convention Center, reminding locals and visitors alike that there’s a future in looking up.
Photography: Joshua Franzos
For Pittsburgh, by Jenny Holzer, Pittsburgh, USA
The cultural renaissance of Pittsburgh – formerly defined by the steel industry (and its decline) – has been widely covered. Having emerged as an education hub and civic example, it’s no wonder the predominant theme of Jenny Holzer’s For Pittsburgh installation is celebratory. Utilising LEDs on a nearly unparalleled scale, the work is a continuous neon scroll of great texts about Pittsburgh. The words of Thomas Bell, Annie Dillard and more illuminate the roofline of the David L Lawrence Convention Center, reminding locals and visitors alike that there’s a future in looking up.
Photography: Joshua Franzos
Exterior Boat = Ghost Ship, by Chris Burden, NYC
Compared with Chris Burden’s early infamy for death-defying performance art, the unmanned voyage of his Ghost Ship seems relatively tame. After completing its remote controlled navigation from Fair Isle to Newcastle-upon-Tyne, the ship has found a home suspended on the exterior of The New Museum in New York City. The late Burden – who died earlier this year – studied under Light and Space pioneer Robert Irwin and, although the artist is better known for his theatrics than his optics, the striking planes of that nautical vessel hint at his origins.
Photography courtesy of The New Museum and Dean Kaufman
Exterior Boat = Ghost Ship, by Chris Burden, NYC
Compared with Chris Burden’s early infamy for death-defying performance art, the unmanned voyage of his Ghost Ship seems relatively tame. After completing its remote controlled navigation from Fair Isle to Newcastle-upon-Tyne, the ship has found a home suspended on the exterior of The New Museum in New York City. The late Burden – who died earlier this year – studied under Light and Space pioneer Robert Irwin and, although the artist is better known for his theatrics than his optics, the striking planes of that nautical vessel hint at his origins.
Photography courtesy of The New Museum and Dean Kaufman
Heartbeat, by Charles Pétillon, London
Charles Pétillon’s Covent Garden installation – his first public art work – was a 100,000 balloon bid to elevate the ordinary. Hovering over the well-trafficked arcade like so many elastic hearts, the installation undulated with its own pulse. ‘Heartbeat’ also marked the first of Pétillon’s dreamy balloon compositions outside of France – but hopefully not his last.
Photography: Paul Grover
Heartbeat, by Charles Pétillon, London
Charles Pétillon’s Covent Garden installation – his first public art work – was a 100,000 balloon bid to elevate the ordinary. Hovering over the well-trafficked arcade like so many elastic hearts, the installation undulated with its own pulse. ‘Heartbeat’ also marked the first of Pétillon’s dreamy balloon compositions outside of France – but hopefully not his last.
Photography: Paul Grover
