Olafur Eliasson

Post image for Olafur Eliasson on Turning Light into Color

For the past six years, the Danish-Icelandic artist Olafur Eliasson has been working with a color chemist to produce paint pigments that correspond to each nanometer of the visible light spectrum.

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Post image for Olafur Eliasson Creates a Riverbed in a Museum

Today, Riverbed, Olafur Eliasson’s first solo exhibition at Denmark’s Louisiana Museum of Modern Art, fills the museum’s South Wing with dirt and rocks of all sizes, complete with a narrow, meandering trench of water, to transform the space into a craggy landscape.

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Post image for Walking into the Light at London’s Hayward Gallery

LONDON — When God said “let there be light,” he probably didn’t anticipate how much that statement would cost in the 21st century. Regarding the Hayward Gallery’s current exhibition, Light Show, security on hand are quick to note that this is one of the most expensive exhibitions the institution has ever staged, with staff receiving strict instructions to keep viewers’ hands off the artwork, especially Leo Villareal’s “Cylinder II” (2012), an ethereal column of LEDs that reach up into the first gallery’s cavernous space.

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Post image for Painted Pigeons: Political Commentary or Pop Street Art?

BERKELEY, California — Artists Julius von Bismark and Julien Charriere have teamed up to create a hilarious installation first in Venice and now in Copenhagen entitled, “Some Pigeons Are More Equal than Others” (2012). The performative work exists on multiple levels: a hanging sculpture (pictured below) captures and holds the pigeons on a conveyor belt, then airbrushes the birds in a rainbow of iridescent colors only to release them back into the city. The colorful and playful piece takes place at different platforms and settings ranged around the cities in lands in.

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Post image for Olafur Eliasson’s Wow Opera House in Reykjavik

REYKJAVIK, Iceland — Olafur Eliasson’s stunning collaboration with Henning Larsen Architects on the Harpa Reykjavik Concert Hall and Conference Centre in Iceland.

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Post image for The Problem with Big Art

Ossian Ward has a feature in Art in America this month about the dismaying trend of bigness in the contemporary art world. The piece is an exploration of a problem that’s only been growing (no pun intended): art as a series of bigger and better spectacles, upstaged only by the vast and cavernous spaces in which it’s shown. Though the article is quite smart and thorough, it left me a little unsatisfied: I think Ward stops short of really digging into what’s at stake here. What exactly is the problem with art as entertainment, anyway? It may seem like an obvious question, but given its centrality to this discussion, it’s one worth asking.

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Post image for Can Art Create World Change? 3 Artists at Davos

DAVOS, Switzerland — Does art change the world? The World Economic Forum would have you think so. The WEF is meant to bring important people together to create world change, but how can art participate in the cause?

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WTF is ModernARTization at Davos?

by Michelle Vaughan on January 27, 2011

Post image for WTF is ModernARTization at Davos?

Davos, Switzerland — ModernARTization: Art and Philanthropy Changing Societies. Yes, it’s a mouthful, and I also don’t know what it means, and the presentation didn’t help. Organizer and philanthropist, Victor Pinchuk, hosted a gathering at the Morosani Schweizerhof Hotel in Davos, Switzerland to discuss how philanthropy can change and educate societies through art. I walked away with the impression that the rich were patting themselves on the back.

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Public Art Versus Public Good

by Kyle Chayka on October 26, 2010

Post image for Public Art Versus Public Good

Over the past week, I’ve been writing about art’s environmental impact and how that factors in to perceived artistic quality. What the debate boils down to for me is the question of whether art is worth its cost of production, and how we analyze a piece of art’s efficacy or value.

When we talking about public art or outdoor installations, we must factor in another aspect of the work’s impact: how does the work effect the public whose space and resources it occupies? Since public art faces scrutiny on a greater scale than most collector-driven contemporary art, it has a greater audience to please, and a greater responsibility towards transparency.

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Post image for Evaluating Installation Art, Should Environmental Cost be Considered?

When we talk about art, we rarely talk about its environmental impact. What’s the carbon footprint of manufacturing a fiberglass Jeff Koons versus the making of an Andy Goldsworthy? As opposed to, say, water bottles, the cost of making a work of art rarely factors into how the work is analyzed and accepted. It is not for art critics to ask how many trucks were used to make Spiral Jetty. But why not? At what point do the environmental shifts and changes in the natural order that these pieces require outweigh their artistic value?

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