OKLAHOMA CITY — Beneath the tumultuous skies of Oklahoma, the National Weather Center (NWC) is hosting its second curated exhibition interpreting meteorological phenomena through art.
NEW ORLEANS — Considering that one of Mel Chin’s most audacious works appeared before an audience of millions on network television over a two-year period, it’s curious that he’s not more of a household name.
The New Orleans Museum of Art hosted a luncheon today for members of arts community that amounted to something much more than the usual meet and greet.
In order to properly follow up on my experience with Creative Time’s social practice summit, and given my heretofore lack of involvement with #OccupyWallStreet protests, I was pretty much obligated to visit Creative Time’s Living As Form exhibition at the historic Essex Street Market. I mean, the art included, for the most part, is all about progressivism and alternative modes of operating within our faulty society. And community! I love that word, community! As a dutiful citizen of the world, surely taking in an exhibition dedicated to valuing people doing stuff together over commercially-based, materialized practice would amount to me contributing something, somehow. Right?
Inspired by the closing of Ai Weiwei’s “Sunflower Seeds” installation due to health hazards, I’ve been writing about how environmental impact is factored in to the evaluation of installation art. Does a work of art have to have a low carbon footprint to be great, or should we completely separate a piece from the cost of its production?
To start off the debate, I want to explore a few works of installation art that could be considered environmentally friendly and evaluate what impact they have, both environmental and artistic.