3/22/2023 0 Comments Spencer finch![]() In 2018, he created Fifteen Stones (Ryōan-ji), a site-specific installation for the reflecting pond of the Mies van der Rohe Pavilion, Barcelona. Spencer Finch was chosen to create the only work of art commissioned for the National September 11 Memorial and Museum, New York, which opened in 2014. Finch participated in the Folkestone Triennial, UK (2011), Venice Bienni-al (2009), Turin Triennial (2008) and the Whitney Biennial (2004). A long term installation of his work Moon Dust (Apollo 17) is on view at the Baltimore Museum of Art, MD (since 2018). Solo projects and exhibitions include The Hill Art Foundation, New York (2022) The Madoo Conservancy, Sagaponack (2021) Arcadia University Spruance Gallery, Glenside (2019) Fundació Mies van der Rohe, Barcelona (2018) The Morgan Library and Museum, New York Turner Contemporary, Margate (both 2014) Museum of Art, Rhode Island School of Design (2012) The Art Institute of Chicago Emily Dickinson Museum, Amherst (both 2011) Corcoran Gallery of Art, Washington DC and FRAC des Pays de la Loire, Carquefou (both 2010). Spencer Finch has exhibited internationally since the early 1990s. In 2017, he returned to the museum with his long-term installation Cosmic Latte. A survey exhibition titled What Time Is It on the Sun? was on view at MASS MoCA, North Adams in 2007-2008. He has participated in the Folkestone Triennial, UK (2011), the 53rd Venice Biennial (2009), the Turin Triennial (2008) and the Whitney Biennial (2004). Spencer Finch was born in New Haven, Connecticut, in 1962, and currently lives and works in Brooklyn, NY. Measures and Pleasures, Parkett, 29, June 2007 Kennedy, Randy, The Searing Blues of the 9/11 Sky, The New York Times, May 15, 2014 The Brain is Wider The Sky, Prestel, 2015 Susan Cross: An Introduction to the Work of Spencer Finch, in: Spencer Finch. Gunhild Kübler: Überblendungen, In: Kirsten Claudia Voigt, Leonie Beiersdorf: Inventing Nature – Pflanzen in der Kunst, Kunsthalle Karlsruhe 2021 Group Exhibition »Pale Fire« Berlin, 2003 Group Exhibition ✺lice Doesn't Live Here Anymore« Stockholm, 2006 Group Exhibition »SUMMER SHOW« Berlin, 2009 Group Exhibition »Time's Arrow« Stockholm, 2010 Group Exhibition »Umstülpung - curated by Günter Umberg« Berlin, 2012 »Ill tell you how the Sun rose« Stockholm, 2012 »WHERE OUR BRAIN AND THE UNIVERSE MEET« Berlin, 2013 »The eye you see is not an eye because you see it, it is an eye because it sees you« Berlin, 2017 Creating a prismatic experience that will be constantly changing.” Each visit to the Olympic Sculpture Park will bring new insights and appreciation for the subtleties of light as a medium.Group Exhibition »To Light, Shadow and Dust« Berlin, 2022 Ultimately, the sunset is merely a starting point from which the artist explores “optical mixes of light and color. During sunrise and sunset, this constellation of colored glass doubles the natural event. Our experience of Finch’s installation differs depending on the light-subdued or radiant. Unlike a photograph, the evocation of a sunset in this installation is not fixed. There’s the Hudson River Valley on a winter afternoon.’ It’s a way of thinking about how to represent landscape in an unconventional but totally accurate way.”Īt the PACCAR Pavilion, Finch calls upon fleeting moments to create the descriptive equivalent of a sunset. Spencer Finch asks, “What if, instead of painting a picture of a place you could re-create the light of a place? If we were as sensitively attuned to the color of light as we are to a convention like perspective, for example, maybe we could have the experience of saying, ‘Oh yeah, that’s Paris at dusk. Similarly, Finch’s nonrepresentational landscape uses a collection of visual data to create abstraction and abstraction to represent visual data. In the 19th century, Impressionist painters studied a single view at different points throughout the day in an attempt to capture the light of outdoor settings, resulting in dramatically different images and moods. ![]() Spencer Finch spent many years studying representations of landscape in painting, literature, and poetry. Using ninety square panes of glass of three different sizes and sixteen different colors, the installation straddles the line between abstraction and representation, shifting composition in real time as the panes of glass gently rotate in space.” At the Olympic Sculpture Park, Finch has installed a nebulous formation of suspended glass panes that are, in his words, “creating a moving abstraction of a sunset, based on actual sunsets photographed from Seattle over Puget Sound. New York–based artist Spencer Finch has dedicated his practice to the study of light and color and the ways in which we perceive them. As the sun slips away and daylight turns into twilight, we become keenly attuned to the shifting colors of the sky and our surroundings.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |