the final piece of my personal collection

Henry Darger's manuscripts of 'In the Realms of the Unreal'

addendum: nineteenth piece in personal collection

Nina Katchadourian- 'Zoo'

addendum: eighteenth piece in personal collection

Nina Katchadourian- 'Finland's Unamed Islands'

Detail:

addendum: seventeenth piece in personal collection

Ryan McGinley- 'I Know Where the Summer Goes'

addendum: sixteenth piece in personal collection

Swoon- Swimming Cities of Switchback Sea

fifteenth and final piece in personal collection

'Learning to Love You More' the book
By Harrell Fletcher and Miranda July

A compilation of the best of the website learningtoloveyoumore.com, which asks ordinary people to complete out-of-the-ordinary assignments and post the documentation online.

Fourteenth piece in personal collection

Sep Kamvar & Jonathan Harris- 'We Feel Fine: An Almanac of Human Emotion'
WeFeelFine.org

thirteenth piece in personal collection

Emma Kay- 'Worldview'

twelfth piece in personal collection

Tacita Dean- 'Teignmouth Electron'

eleventh piece in personal collection

Pieces 11-15= 'Coffee Table Books'

Nils Norman- 'The Contemporary Picturesque' (2000)

tenth piece in personal collection

Tara Donovan- 'Untitled (2003)'

ninth piece in personal collection

Walton Ford's 'The Falling Bough'

eighth piece in personal collection

Raugh Furniture by Andrea Zittel
Furniture and interior inspired by landscape

seventh piece in personal collection

A project by S.W.A.M.P. (Studies of Work Atmoshpheres and Mass Production). Spore 1.1 is a self-sustaining ecosystem for a rubber tree plant purchased at Home Depot. In this project, Home Depot is responsible for the plant in two ways: first, an unconditional guarantee to replace any plant they sell, for up to one year; second through an implied cybernetic contract. This second responsibility is the creative content for the work, where the economic health of Home Depot is transitioned through a series of physical computing techniques to a mechanism for controlling the watering of the rubber tree. An onboard computer uses a Wi-Fi connection to access Home Depot stock quotes once per week, keeping a database of the week’s ending stock values. From the fluctuations in Home Depot stock, programs and circuitry connected to the rubber tree are controlled accordingly. If the company does well by showing stock growth, so does the plant - if the company suffers losses, Spore 1.1 does not get watered. If the plant should parish, due to poor stock performance, it is returned to the Home Depot and replaced with another-at no additional cost. 


Whatever was is not now

sixth piece in personal collection

Andrea Zittel's 'A-Z Pocket Property' floating of the coast of Denmark.

fifth piece in personal collection

Claes Oldenburg- Trowel

Fourth piece in personal collection

'Headlands Garden Boat' - Amy Franceschini, Michael Swaine, Arcangelo Wessels of Future Farmers


Redwood herb garden commissioned by Headlands Center for the Arts. Since the garden is situated in a National Park it had to be completely deer proof and ready to sail away in case of a flood.

Third piece in personal collection

Olafur Eliasson's New York City Waterfalls. Four man-made waterfalls, ranging in a height from 90—120 ft., in New York Harbor.

Fuh-net-ikz

To Accept What Comes, Regardless of the Consequences

Collaboration with Tushar Goyal
Installation: Video accompanied by final sculpture

This is not a picturesque landscape. It is an abstract, sculptural representation of an imagined image of a picturesque landscape.

On a postcard, a bridge is not a bridge, it is an image of a bridge, a useless prop of two-dimensionality, devoid of all its functionality. I took this idea of props and focalized my piece around objects that could be used as stand-ins, or illustrations for the originals in their most simplest form. I sought out objects that could merely serve my purpose. Fruit crates, delivered and emptied, turned upside down stands in for the many bridges of this small town. Bricks taken from the crumbling city walls, reminders of a decaying city, a reality directly contrasting to the image of the picturesque. In the end, I sought to challenge the idea, as I feel the images in post cards and advertisements do unconsciously, of what a landscape is. What a bridge is. What a bridge is when it loses its purpose, and becomes nothing but an image, or rather more, an abstract, sculptural representation of that image.

when we are no longer around to call it home

a more accurate representation of the picturesque

second piece in personal collection

Mark Dion's
'Neukom Vivarium'

first piece in personal collection

Bas Jan Ader's 'In Search of the Miraculous'

Consisting of three parts: a lonely nighttime walk from the hills of Los Angeles down to the sea, documented in photographs; the solo crossing of the Atlantic (resulting in his death); and the never finished night walk through Amsterdam, mirroring the LA photographs.

project one

material:

-fruit crate
-stones
-moss

Sol Lewitt's Thirty-five Statements on Conceptual Art

1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2. Rational judgements repeat rational judgements.
3. Irrational judgements lead to new experience.
4. Formal art is essentially rational.
5. Irrational thoughts should be followed absolutely and logically.
6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
12. For each work of art that becomes physical there are many variations that do not.
13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
14. The words of one artist to another may induce an idea chain, if they share the same concept.
15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
17. All ideas are art if they are concerned with art and fall within the conventions of art.
18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
19. The conventions of art are altered by works of art.
20. Successful art changes our understanding of the conventions by altering our perceptions.
21. Perception of ideas leads to new ideas.
22. The artist cannot imagine his art, and cannot perceive it until it is complete.
23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
24. Perception is subjective.
25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
26. An artist may perceive the art of others better than his own.
27. The concept of a work of art may involve the matter of the piece or the process in which it is made.
28. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
29. The process is mechanical and should not be tampered with. It should run its course.
30. There are many elements involved in a work of art. The most important are the most obvious.
31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material.
32. Banal ideas cannot be rescued by beautiful execution.
33. It is difficult to bungle a good idea.
34. When an artist learns his craft too well he makes slick art.
35. These sentences comment on art, but are not art.