Art Lies, Volume 50, Spring 2006 Page: 14
128 p. : col. ill. ; 28 cm.View a full description of this periodical.
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Nr- IC .\ OA Co' ANl IN
Savon de corpsI,.
A few years ago, as I approached the rural home/studio of sculptor Mara
Adamitz Scrupe, I spied her small figure digging a trench high in the river-
bank along her property. Her intention was to create a solar-powered illumi-
nated work incised in the contour of the surrounding wooded hillside, which
would glow for those crossing the bridge below. For her, the phenomenal and
conceptual dimensions of this enterprise were profoundly intertwined with
the process of manually digging the trench, much as they were for Chris
Burden's Honest Labor (1979).
How do we understand a trench dug by hand-or, for that matter, an effu-
sively beaded environment by Liza Lou or the miniature clothes of Charles
Le Dray? And what of the private obsessive performances of Linda Hutchins'
typed patterns or the grueling labor of a Janine Antoni performance/sculp-
ture?1 For these artists, the process of fabrication is inextricable from the final
result and, I would argue, springs from an impulse curiously similar to such
artists as Rirkrit Tiravanija or Felix Gonzalez-Torres and others for whom the
final result is dependent upon viewer participation. In either case, the art
object per se is subsidiary to the activity that surrounds it.
The de-emphasis of the object is intriguing to consider from a variety of
perspectives, not least because it concerns such disparate artists employ-
ing such diverse forms and processes but also because it calls into questionThe world is not what I think, but what I live through.
-Maurice Merleau-Ponty14 ARTL!ES Spring 2006
Fabrication and Encounter
Paula Owen
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Bryant, John & Gupta, Anjali. Art Lies, Volume 50, Spring 2006, periodical, 2006; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228015/m1/16/: accessed April 25, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .