approaching the ambient images to accompany the essay approaching the ambient creative practice and the ambient mode of being by luke jaaniste

Transcription

1 approaching the ambient images to accompany the essay approaching the ambient creative practice and the ambient mode of being by luke jaaniste

2 contents for chapter three: pre-figuring the ambient work Fig 1 Robert Rauschenberg, White Paintings (1951) 5 seven panel version Fig 2 Robert Morris, untitled (four mirrored cubes) (1965) 6 indoor and outdoor settings Fig 3 Olivier Messiaen, Mode de valeurs et d intensités for piano (1949) 7 notes to the score Fig 4 Donald Judd, untitled stacks (1969) 8 Fig 5 Carl Andre, Lament for the Children (1976) 9 Fig 6 Gordon Matta-Clark, Window Blow-Out (1976) Fig 7 Sol Lewitt, Photogrid (1977), one page from the book for chapter four: verging on the ambient work Fig 8 Donald Judd, 100 untitled works in mill aluminum (1986 ) 11 artillery sheds, The Chinati Foundation, Marfa, Texas Fig 9 Daniel Buren, Dominant-Dominé, coin pur un espace, m2 á [Dominant-Dominated, Corner for a Space, m2 at ] (1991) lower level, capcmusée de Boureaux, France Fig 10 Daniel Buren, Transparences Colorées [Colour Transparencies] (1999 ) 13 Allianz Hauptverwaltung building, Munich Fig 11 Martin Creed, Work No. 81, a one-inch cube of masking tape in the 14 middle of every wall in a building (1993), Starkman Building, London Fig 12 Ariane Epars, Piece of Land 240 (2001) 15 Contemporary Art Centre of South Australia Fig 13 Chemi Rosado-Seijo, El Cerro [The Hillside] (2001 ) 16 El Cerro, Naranjito, Puerto Rico Fig 14 Max Neuhaus, Times Square ( , 2002 ) 17 Times Square, New York City Fig 15 Martin Creed, Work No. 127, the lights going on and off (1995) 18 Tate Modern, London, 2001 for chapter five: realising the ambient mode Fig 16 Fig 17 Fig 18 Flat Out, 60 Merivale St, South Brisbane (13 17 Aug 2003) 20 Tape Piece 100 Percent Colour Paper Piece

3 Metro Arts residency, Mar Nov Fig 19 Level 3 studio, Metro Arts, Brisbane (2004) Fig 20 Charlotte St, Brisbane (23 June 2004) Fig 21 Level 3, Metro Arts, Brisbane (Nov 2004) Fig 22 Elio Moda for Men, Edward St, Brisbane (11 Nov 2004) Fig 23 City Living exhibition (17 Nov 3 Dec 2004) 22 various views, Main Gallery, Metro Arts, Brisbane Fig 24 Car Stereo-ing (21 Sept 2004), part of the SCOPIC event 23 Creative Industries Precinct car park, QUT Kelvin Grove Fig 25 day-long workshop with secondary students (29 August 2005) 24 Kelvin Grove State College, Brisbane Fig 26 Fig 27 Fig 28 Fig 29 Going Slow (26 30 Sept 2005), H Block, QUT Kelvin Grove 25 exhibition area research lounge visit to Professor Jeff Malpas, University of Tasmania, Hobart 26 Humanities building courtyard outside Humanities building for chapter six: presenting the ambient work Approaching the Ambient exhibition (3 6 Oct 2006) The Block + surrounds Creative Industries Precinct, QUT Fig 30 before entering The Block 28 Figs surfacing Figs spotting Figs orientating Fig 41 tolling 39 Fig 42 making the work that used black duct tape 40 Fig 43 making the work that used Lego blocks Fig 44 the first, rejected, version of the work that used the blinds 41 Fig 45 preparing The Block, by removing the screens from the walls 42 and raising them to the ceiling Fig 46 installation of vinyl lettering signage, at entrance of The Block 43 Fig 47 A-frame signage, at entrance of The Block Fig 48 counter and table signage, create café 44 Fig 49 Exhibition companion, located in the kitchenette of The Block 45 Fig 50 create café 46 Thanks to Contemporary Art Centre of South Australia for supplying images of Ariane Epar s Piece of Land 240, and Chemi Rosado-Seijo for images of his El Cerro.

4 for chapter three pre-figuring the ambient work

5 Fig 1 Robert Rauschenberg, White Paintings ( 1951) seven panel version

6 Fig 2 Robert Morris, untitled (four mirrored cubes) (1965) indoor and outdoor settings

7 Fig 3 Olivier Messiaen, Mode de valeurs et d intensités for piano (1949) notes to the score

8 Fig 4 Donald Judd, untitled stacks (1969)

9 9 Fig 5 Carl Andre, Lament for the Children (1976) Fig 6 Gordon Matta-Clark, Window Blow-Out (1976) Fig 7 Sol Lewitt, Photogrid (1977) one page from the book

10 for chapter four verging on the ambient work

11 Fig 8 Donald Judd, 100 untitled works in mill aluminum (1986 ) artillery sheds, The Chinati Foundation, Marfa, Texas 11

12 Fig 9 Daniel Buren, Dominant-Dominé, coin pur un espace, m2 á [Dominant-Dominated, Corner for a Space, m2 at ] (1991) lower level, capcmusée de Boureaux, France 12

13 Fig 10 Daniel Buren, Transparences Colorées [Colour Transparencies] (1999 ) Allianz Hauptverwaltung building, Munich 13

14 Fig 11 Martin Creed, Work No. 81, a one-inch cube of masking tape in the middle of every wall in a building (1993) 14

15 Fig 12 Ariane Epars, Piece of Land 240 (2001) 15

16 Fig 13 Chemi Rosado-Seijo, El Cerro [The Hillside] (2001 ) El Cerro, Naranjito, Puerto Rico 16

17 Fig 14 Max Neuhaus, Times Square ( , 2002 ) Times Square, New York City 17

18 Fig 15 Martin Creed, Work No. 127, the lights going on and off (1995) Tate Modern, London,

19 for chapter five realising the ambient mode

20 20 Fig 16 Tape Piece Fig Percent Colour Fig 18 Paper Piece Flat Out, 60 Merivale St, South Brisbane (13 17 Aug 2003)

21 21 Fig 19 Level 3 studio, Metro Arts, Brisbane (2004) Fig 20 Charlotte St, Brisbane (23 June 2004) Fig 21 Level 3, Metro Arts, Brisbane (Nov 2004) Fig 22 Elio Moda for Men, Edward St, Brisbane (11 Nov 2004)

22 Fig 23 City Living exhibition (17 Nov 3 Dec 2004) various views, Main Gallery, Metro Arts, Brisbane 22

23 Fig 24 Car Stereo-ing (21 Sept 2004), part of the SCOPIC event Creative Industries Precinct car park, QUT Kelvin Grove 23

24 Fig 25 day-long workshop with secondary students (29 August 2005) Kelvin Grove State College, Brisbane 24

25 25 Fig 26 Going Slow (26 30 Sept 2005), exhibition area H Block, QUT Kelvin Grove Fig 27 Going Slow (26 30 Sept 2005), research lounge H Block, QUT Kelvin Grove

26 26 Fig 28 visit to Professor Jeff Malpas Humanities building, University of Tasmania, Hobart Fig 29 visit to Professor Jeff Malpas courtyard outside Humanities building, University of Tasmania, Hobart

27 for chapter six presenting the ambient work Approaching the Ambient exhibition (3 6 Oct 2006) The Block + surrounds Creative Industries Precinct, QUT

28 Fig before entering The Block... 28

29 Fig surfacing... 29

30 Fig surfacing... 30

31 Fig surfacing... 31

32 Fig spotting... 32

33 Fig spotting... 33

34 Fig spotting... 34

35 Fig spotting... 35

36 Fig spotting... 36

37 Fig orientating... 37

38 Fig orientating... 38

39 Fig tolling... 39

40 40 Fig 42 making the work that used black duct tape Fig 43 making the work that used Lego blocks

41 Fig 44 the first, rejected, version of the work that used the blinds 41

42 Fig 45 preparing The Block, by removing the screens from the walls and raising them to the ceiling 42

43 43 Fig 46 installation of vinyl lettering signage, at entrance of The Block Fig 47 A-frame signage, at entrance of The Block

44 Fig 48 counter and table signage, create café 44

45 Fig 49 exhibition companion, located in the kitchenette of The Block 45

46 Fig 50 create café 46