Joan Jonas was born in New York on July 13th of 1936. Mrs. Jonas was one of the most popular female artists to come about in the late 1960’s and early 1970’s. In 1958 she received a bachelor’s degree in Art History from Mount Holyoke College in South Hadley, Massachusetts(a liberal arts school for women). She later studied sculpture and drawing at the School of the Museum of Fine Arts. Joan had an interest in working with mirrors and how they could be used to show different aspects.
The mirror became a symbol of (self-)portraiture, representation, the body, and real vs. imaginary, while also sometimes adding an element of danger and a connection to the audience that was integral to the work. “I liked the way the audience is uneasy seeing themselves in the mirror,” she said. “They’re not just reflecting the audience; the mirrors are reflecting the space and the other performers. So I like the dimensionality of this.” During her time experimenting with the mirrors and how it made people feel, Joan started looking into choreography and studied with Trisha Brown for almost 2 years, and she even learned from Yvonne Rainer and Steve Paxton.
Joan Jonas was interested in multiple things. She was interested in and enjoyed to do video art, performance art and even sculpting.
In 1970, Joan went on a trip to Japan and had bought her very first video camera. She went to a puppet theater along with a dance and music theater. Along with her was a man named Richard Serra, who was an american sculptor.
In 1975 Jonas was a performer in a movie called Keep Busy which was made by a Swiss-American photographer and documentary filmmaker who was named Robert Frank and a novelist-screenwriter Rudy Wurlitzer.
For five decades, Joan Jonas has created work that seamlessly blends live performance, drawing, video, and music. In the process, she has become one of the most influential and multidimensional artists working in today’s world. In 1994, she was made a full professor at the Staatliche Akademie der Bildenden Künste in Stuttgart, Germany. Since 1998, she has been a professor of visual arts at the Massachusetts Institute of Technology (MIT), where she is currently Professor Emerita in Art, Culture, and Technology within the School of Architecture and Planning.
In some plays or performances she was in or had done herself, she made her own masks or bought the most erotic ones she could find. She did this to make her works more interesting and to add edge to see how the viewers would react to seeing what shes made.
Jonas has been awarded fellowships and grants for choreography, video, and visual arts from the National Endowment for the Arts; Rockefeller Foundation; Contemporary Art Television Fund; Television Laboratory at WNET/13, New York; Artists’ Television Workshop at WXXI-TV, Rochester, New York; and Deutscher Akademischer Austausch Dienst (DAAD). Jonas has received the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival, the Polaroid Award for Video, and the American Film Institute Maya Deren Award for Video
Catherine Opie is a contemporary American photographer who uses her exceptional eye for detail and aesthetic to create a feeling of intimacy between her subjects and the viewer. Opie was born in 1961 in Sandusky, Ohio. As a child, she spent many hours in museums with her father viewing historical paintings and portraits which later heavily influenced her work. Her love of photography started at a young age when she encountered the work of photographer Lewis Hine’s series documenting child laborers in steel factories. After writing a report about Hines, she became passionate about documenting and preserving history, her own life, community, and environments. These ideas and themes continue to be recurrent in her art.
Exploring the use of traditional photography and portraiture style, Opie brings non-traditional and even sometimes controversial subjects to her audience. She first became known in the early 1990s with her series “Being and Having” and “Portraits” which features friends from the queer and fetish communities. Her photographs brought an intimate look at a subculture and community that had until that point been mostly avoided or villainized.
Opie’s intimate and close up portraits of society’s fringe cultures invited the audience to come closer and see the humanity and vulnerability of her subjects. At the same time, she challenges the definition of gender, community, relationships, equality, and acceptance.
In addition to her work with portraiture, Opie has a diverse portfolio of landscapes. Her ability to draw the audience into her landscapes and create a feeling of connection with the scenery despite the lack of people in frame is a statement to her artistry. Her series “American Cities” features deserted streets and sidewalks in New York’s financial district. Like all of her work her vision gives the audience an unusual and intimate look at places that are often not looked at up close. Her image of the stock exchange shows the familiar building across from a liquor store and a vacant lot. This hub of economy rests next to some of the lowest points of humanity, but we often only see it portrayed as a gleaming bastion of the rich and powerful.
Exploring more natural landscapes, Opie challenges the viewer to change their perception of such traditional imagery. Her split images show the horizon featured in the center of the frame. Some are sequential photographs from a central location that document the passing of the seasons and time from a central point with a feeling of balance and change. Others are broken up by surfers in the ocean or fishing ice houses breaking up an otherwise pristine field creating temporary transient communities.
Calling again on her use of traditional styles her most recent landscapes are stunning examples of abstract art. Her goal to draw the viewer to look closer, stare, and be pulled into the image.
In a culture where images are constantly in our faces and dismissed in a moment, Opie wants to create works that can capture the viewer’s attention and lure them in to stare and explore the images for as long as possible. She calls to question the ideas of balance, clarity, community, equality, and the expected.
Sculpture as a Living thing? Can you live in Sculpture? Can Art change your lifestyle?
Living Sculpture
MARY MATTINGLY
By Kim Lorello Sculpture as a Living thing? Can you live in Sculpture?is it still art? Can Art change your way of living?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.
Triple Island was the culmination of her first sculptures that were in the Port Authority of New York/New Jersey. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her.Tracing the path an object made to her, and asking why do I need to own this? Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Does lack of money or lack of time, if working too long to pay for basics and essentials lead to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design.She also made wearable sleep spaces. Are these Art? Are these sculpture? Moving forward:
Mary’s current projects still come out of these first ideas.
Consumerism
Mary’s online photography for her first sculptures and also for Triple Island,lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. This is a barge that grows food and travels along the riverside. It is a completely free food source.
2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Mary’s current projects still come out of these first ideas.
Consumerism
Mattingly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like. Personal ResponseIn looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0Living SculptureMARY MATTINGLYBy Kim Lorello Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.Triple IslandTriple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design. Moving forwardMary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source. 3. Shared Resources The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like.
In looking over Mary’s older work and newest, one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for freedom to create. Consumerism, and via extension the commercial and materialistic machine that drive the have more, buy more lifestyle are all questions to settle for one’s self. My questioning has also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?
Mary Mattingly Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises. References:https://art21.org/gallery/mary-mattingly-artist-at-workwww. marymattingly.com./html/MaryMattinglyBlog.htmlFor video information on Swale:www.youtu.be/hJXw3qnOg0vvvv
Living Sculpture
MARY MATTINGLY
By Kim Lorello
Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.
Triple Island
Triple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.
Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design.
Moving forward
Mary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source.
Shared Resources
The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like.
Personal Response
In looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?
Mary Mattingly
Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises.
Sculpture as a Living thing? Can you habitate in Sculpture? Can Art change your lifestyle?
Mary Mattingly, back in 2013 began an idea of creating sculpture that was addressing common issues of urban life. Consumerism, lack, and sharing of resources.
Triple Island
Triple Island was the culmination of her first sculptures that were in the Port Authority in NY/NJ. The first sculpture series “Owns Up” lead to questions in her own mind as to why we have consumerism that has us owning too many objects. She online documented her personal objects at Ownit.us. As part of that research she traced each objects beginning–metals and the path it made to get to her. Many objects supported companies who made war. In this she felt that our shared world was on a path that would lead to apocalypse . Does mass consumerism pollute and leave people with needs greater than their ability to pay for? Lack of money or lack of time, if working too long to pay for basics and essentials leads to a life that is drudgery rather than full. Food lack was also a common theme in urban areas. Seeing this on a daily basis caused her to question and respond in a photographic and sculptural manner.
Triple Island was a response to the lack of space, lack of food and a consumerism lifestyle. All of these has lead to a thinker’s response of building a sculpture of 3 floating live spaces. These were garden/greenhouse, sleep/living space, and a communal area. Her first sculptures were similar but were not floating. These were pods of personal living space that were both sculpture in parks and a place to sneak in and sleep. She also made portable pods that were similar in design.
Moving forward
Mary’s current projects still come out of these first ideas.
Consumerism
Matterly’s online photography for her first sculptures and also for Triple Island. Lead her to question, how much does she need? Indeed, how much do any of us need? Is this a want created to feed a consumerism machine? Does this generate good for the individual or is it feeding something unwanted? War? Environmental degradation? Personal lack?
Lack
In Mary’s world, many suffered from the need for affordable living or work spaces. Her ideas to create living sculpture pods were a way to see how she could stay in a major urban area even if the worst possible living conditions happened. She explored communal space, personal space in a place that no one else wanted. Allowing for resources normally spent on apartment or studio space to go to other areas. Seeing that food and habitation are inevitably intertwined lead to a current 2018 Floating Garden food source in NYC, Brooklyn area. The is a barge that grows food and travels along the riverside. It is a completely free food source.
Shared Resources
The 2018 “Swale” a Floating Forest on the Bronx River supports a purpose of shared public food. It offers both food and the opportunity for conversations around growing food and food freedom. www.youtu.be/hJXw3qnOg0 Artists designing gardens that can both be beautiful and food producing is from time spent reflecting on Monet’s Garden in France. It also is looking at food freedom. If you are in a state of lack or held hostage by costs Mary wants you to consider what freedom feels like.
Personal Response
In looking over Mary’s older work and newest one can find a personal response that questions is art a personal living space? Is this sculpture? But moving from the initial visual response of pods and junk–which is really what the first photo looks like. I see the art response to a hard question of finance, space for life and for consumerism. Via extension the commercial and materialistic machine that drive the have more, buy more lifestyle. I have also explored building community garden spaces and building a food resource in several places. One failed, one still exists. The biggest problem I found was many do not wish to share. Many who become involved will not share food or space. Things become very territorial. As an art project, these are not always classically beautiful but ask us to respond and consider and interact with ourselves and with an unknown future. How will I continue to live and work in my chosen place if I have little to no money?
Mary Mattingly
Mary’s initial responses to her own and other community members consumerism, basic essentials and the idea of sharing resources has put her on a path toward art activism and environmental activism. These are both personal responses and communal responses that she asks us all to question and participate in. Do we contribute to bettering our futures or do we enable powers that will bring about a failure for all humanity? Can one or two or twelve living pods, floating gardens, or people make a change that benefits all? Or does this only empower a limited few? Mary Mattingly invites you in; to sit down, to live in, to eat and think and to answer the questions she raises.
Seoul, Korea, 1962 is where and when Do Ho Suh came into this world. He served a term in the south Korean military and attended Seoul National University were he earned his BFA and MFA in oriental painting. Later he relocated and continued his study in the United states at the Rhode Island school of design and also Yale University. He is best known for his convoluted sculptures of which are more than just objects to look at. He is interested in how people interact with, view, and occupy public space. With that being said, people can literally walk on some of these sculptures, the floor sculptures.
As you can see here, these people are standing on top of thousands of unique and tiny human figures.
Another one of his floor sculptures is titled “Some/One”. In this work, there is a covering of hundreds of military dog tags on the ground which rise one on top of the other to form an empty suit of armor. This phantom armor reveals the reality of how a military is made up of individual soldiers.
Another outstanding work of his is “Rubbing/Loving”. In which he covers his old apartment, in New York, entirely with white paper and then rubs every inch with a colored pencil capturing all of the memories from years of inhabiting the space. Below is a clip that shows the art in the making and in this clip he explains the reason for the title which is truly beautiful on it’s own. This would be his final artwork in this apartment for he had done some works with and in it previously.
Do Ho Suh’s work often deals with space and how we perceive it. He works with a variety of mediums to create pieces that provoke us to think more deeply of the places we inhabit as human beings and what those places mean to us.
Suh’s work has been featured in the following museums: Seattle Art Museum and Seattle Asian Art Museum, Whitney Museum of American Art at Philip Morris, Serpentine Gallery in London, and Kemper Museum of Contemporary Art in Kansas City, Missouri. Do Ho Suh also represented Korea at the Venice Biennale in 2001.
The mirror became a symbol of (self-)portraiture, representation, the body, and real vs. imaginary, while also sometimes adding an element of danger and a connection to the audience that was integral to the work. “I liked the way the audience is uneasy seeing themselves in the mirror,” she said. “They’re not just reflecting the audience; the mirrors are reflecting the space and the other performers. So I like the dimensionality of this.” During her time experimenting with the mirrors and how it made people feel, Joan started looking into choreography and studied with Trisha Brown for almost 2 years, and she even learned from Yvonne Rainer and Steve Paxton.
In 1994, she was made a full professor at the Staatliche Akademie der Bildenden Künste in Stuttgart, Germany. Since 1998, she has been a professor of visual arts at the Massachusetts Institute of Technology (MIT), where she is currently Professor Emerita in Art, Culture, and Technology within the School of Architecture and Planning.
