אליס אייקוק

Cyclone Twist

source: fernandacalfat

a escultora americana Alice Aycock expõe instalações que flertam com a velocidade da cidade que nunca dorme, ao mesmo tempo propondo a sutileza da cor branca nesta série de trabalhos expostos entre as ruas 52nd a 57th.

Aycock nasceu em Harrisburg, na Pensilvânia, graduou-se em Bacharel em Artes na Douglass College, New Jersey, em 1968, seguindo para NY, onde estudou para seu mestrado no Hunter College, ensinado e supervisionado por Robert Morris.

As primeiras esculturas foram feitas em grande parte em madeira e pedra. Na década de 80 passou a usar aço. Presente em diversos museus e galerias americanos, também tem obras no Japão e na Europa. Atualmente é representada pela Galerie Thomas Schulte em Berlim e Fredric Snitzer Gallery, em Miami.

Seus trabalhos podem ser encontrados nas coleções do Museu de Arte Moderna de NY, no descolado Whitney Museum of A merican Art, no Brooklyn Museum , na Fundação Louis Vuitton, na LA County Museum, além de estar na Galeria Nacional.
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source: culturacolectiva

Alice Aycock, artista americana originaria de Harrisburg, Pennsylvania, comenzó su actividad artística durante la década de los años setenta. Su larga trayectoria le ha permitido evolucionar hasta posicionarse como una artista de prestigio a nivel internacional.

Con sus primeros trabajos, Alice meditaba sobre la alteración del paisaje, la reorganización del terreno y las funciones de la arquitectura. Estas primeras obras (muchas de las cuales ya no se conservan) llegaron a ser de notable influencia para el futuro de las INSTALACIONES artísticas al aire libre. Un ejemplo de ello es A Simple Network of Underground Wells and Tunnels, un complejo de seis pozos conectados por túneles de hormigón y escaleras de madera. Se trata de una obra experimental que, por medio del contraste entre la luminosidad de la superficie y la oscuridad de los espacios subterráneos, invita a imaginar situaciones cuyo control no está a nuestro alcance.

La arquitectura aislada y la maquinaria moderna son los elementos de los que Aycock se sirve para profundizar en cuestiones psicológicas, concretamente desórdenes mentales, durante la década de los años ochenta.

Fantasía, realidad, movimiento, arquitectura, alusiones al cosmos y a la ciencia que convergen en manifestaciones tridimensionales que desorientan al espectador, con el fin de que éste adquiera una experiencia estética más compleja. En 1996 fue inaugurada su obra Functional and Fantasy Stair and Cyclone Fragment para la nueva Biblioteca Pública de San Francisco. Se trata de una sublime escalera –con fragmento de ciclón- realizada en colaboración con James Ingo Freed, arquitecto principal del edificio. Todos los aspectos anteriormente mencionados, objetivos básicos en la búsqueda artística de Aycock, quedan hábilmente incorporados en esta obra.

Un rápido repaso visual a sus obras permite afirmar que el germen de sus exóticos vórtices ya había aparecido en sus primeros TRABAJOS, evolucionando intensamente hasta sus últimas obras. Dinámicas estructuras de elementos convergentes en aluminio y acero, hacen alarde de su monumentalidad en entornos tanto urbanos como naturales. Es un homenaje a la energía del universo, plasmado en forma de espirales, remolinos, hélices y tornados de metal.

La escultura a gran escala entra en conexión con otra de sus grandes facetas: el dibujo. Éste ha sido para la artista la base de su obra tridimensional y resulta fundamental para comprender todo el proceso creativo. Con esta idea, en 2014 tuvo lugar la exposición Alice Aycock Drawings: Some Stories are Worth Repeating en Santa Barbara Museum of Art.

En la actualidad, su TRABAJO es representado por la Galerie Thomas Schulte de Berlín y la Fredric Snitzer Gallery de Miami, tras más de veinte años con la John Weber Gallery de NY. Ha participado en la Bienal de Venecia (1978, 1980 y 1982), Documenta VI y VIII de Kassel, y la Whitney Biennial (1979 y 1981). Sus obras pueden encontrarse en el Museum of Modern Art de NY, Whitney Museum of American Art, Brooklyn Museum, Louis Vuitton Foundation, LA County Museum, y la National Gallery en Washington D.C.
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source: aaycock

Alice Aycock was born in Harrisburg, PA. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as Europe and Japan. Currently she is represented by Galerie Thomas Schulte in Berlin and Fredric Snitzer Gallery in Miami. Her works can be found in the collections of the Museum of Modern Art, NY, the Whitney Museum of American Art, Brooklyn Museum, the Louis Vuitton
Foundation, LA County Museum, and the National Gallery. She exhibited at the Venice Biennale, Documenta VI and VIII in Kassel, Germany and the Whitney Biennial. She has had two major retrospectives. The first was organized by the Wurttembergischer Kunstverein in Stuttgart in 1983 and traveled to Kolnischer Kunstverein Koln; Sculpturenmuseum Glaskasten, Marl; Haags Gemeentemuseum, Den Haag; Kunstmuseum Luzern. In 1990, the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville,NY. A retrospective of her drawings at the new Parrish Art Museum in
Southampton, NY coinciding with the Grey Art Gallery, NY opened in April of 2013. The retrospective will then travel to the University Art Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. A reconstruction of “A Simple Network of Underground Wells and Tunnels” from 1975 is currently sited at Omi International Arts Center, in Ghent, NY.

Aycock’s early public works are land pieces that involve reshaping the earth such as A Simple Network of Underground Wells and Tunnels, Low uilding With Dirt Roof (For Mary), and the Williams College Project, ll situated on farms in Pennsylvania, New Jersey, and Massachusetts While these pieces have become subjected to the weather and are no longer there, she has continuously worked on outdoor pieces and INSTALLATIONS that are permanently sited in public and private places. A long list of these pieces includes: The Solar Wind, in Salem, VA, The House Of Stoics, in Lake Biwa, Japan, The Tower Of Babel, in Buhsnami Sculpture Garden near Houston, Texas, The Island of the Moons and Suns, Robert Orton’s sculpture garden in La Jolla, CA, Fantasy Sculpture II, at the University of Illinois, Urbana-Champaign, and Summaries of Arithmetic
Through Dust, Including Writing Not Yet Printed, at the entrance to the
Engineering Department, University of Michigan in Ann Arbor. Aycock’s public sculptures can be found in many major cities in the U.S. Some of her public commissions include a roof top sculpture for the 107th Police Precinct House in Queens, NY in collaboration with the architects Perkins, Eastman and a Waterworks INSTALLATION built adjacent to a new Medical Facility at the University of Nebraska in Omaha.

In collaboration with Nicholas Quennell of the landscape firm of Quennell Rothschild Associates and HOK/TCA, Associated Architects for the New York Hospital, she designed a sculptural roof INSTALLATION, East River Roundabout, for the new East River Park Pavilion at 60th Street in New York City. In 1996 she inaugurated a new work for the New San Francisco Public Library – a functional and fantasy spiral stairs and a suspended “Cyclone Fragment”. The work required close collaboration with the library’s principal architect James Ingo Freed of Pei, Cobb, Freed and Partners. Concurrently, she opened a new suspended sculpture for the Sacramento Convention Center in California. This work is approximately 200 feet long and showcases suspended moving parts. Tuning Fork Oracle, a marble table assemblage for the courtyard of Mason Gross School of the Arts, Rutgers University, New Brunswick, New Jersey. She also completed an outdoor sculpture for the new
town of Kattenbroek in the Netherlands and The Star Sifter, a large
architectural sculpture for the rotunda of the new Terminal One at JFK
International Airport. Aycock INSTALLED a suspended work for the Philadelphia International Airport, US Airways; Terminal F. She completed an outdoor work for the University of South Florida, Tampa, and she INSTALLED a time-keeping courtyard sculpture for the new Police Headquarters in Dallas, TX. In the summer of 2003 she installed a suspended sculpture for the Rowland State Government Center in Waterbury, CT, and in 2004, a GSA commission for the entrance to the Fallon Building in the City of Baltimore, MD. In 2005 she installed a suspended work for the Bill Bradley Sports and Recreation Center, Ramapo College in Mahwah, New Jersey. Projects completed in 2007
include Strange Attractor for Kansas City, Kansas City International
Airport Long Term Parking Facility, Missouri; Ghost Ballet for the East
Bank Machineworks, Nashville, Tennessee and The Uncertainty of Ground
State Fluctuations for the Center of Clayton, Missouri. In 2008 she
installed On the Interaction of Particles of Thought, a suspended
sculpture for the new Library at Tunxis Community College in Farmington, Connecticut and a floating pool sculpture for the new Central Broward Regional Park County, Florida. An outdoor sculpture for the Johnson-Ward Pedestrian Mall at the University of Tennessee, Knoxville was built in the summer of 2009 as well as a new work for Weber State University, Utah, titled, Entangling/Disentangling Space. An interior relief sculpture was installed in 2010 for Western Connecticut State University, Danbury, CT.A permanent public artwork was completed in 2012 at the Washington Dulles International Airport, Washington, D.C, as well as a permanent interior work for Michigan State University, East Lansing, MI. In the spring of 2014, a series of sculptures will be installed on the Park Avenue Malls in New York
City, entitled “Park Avenue Paper Chase”. In the summer of 2000 she constructed a new work for an exhibition of American Sculpture of the 20th century for the Principality of Monaco in Monte Carlo. In September of 2005 the MIT Press published thE artist’s first hardcover monograph, entitled Alice Aycock, Sculpture and Projects, authored by Robert Hobbs. In 2008-9, the Museum of Modern Art exhibited her sculpture “Studies for a Town” as part of their permanent collection;
the Whitney Museum of American Art exhibited her sculpture in the exhibition “Sites”. In 2009 she had a solo exhibition at the Salomon Contemporary Warehouse in Easthampton and at the Fredric Snitzer Gallery in Miami. She also had solo exhibitions at Galerie Thomas Schulte in Berlin in 2010, 2011 and 2013. Alice has been a member of the New York City Design Commission since 2003 and she has also been appointed to the GSA’s National Register of Peer Professionals. She received the Americans for the Arts Public Art Award in 2008 for “Ghost Ballet for the East Bank Machineworks” in Nashville, Tennessee. She has taught at numerous colleges and universities including Yale University (1988-92) and as the Director of Graduate Sculpture Studies (1991-92). She has been teaching at the School of Visual Arts since 1991, and the Maryland Institute College of Art in Baltimore since 2010.
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source: lindsayribeiro

Alice Aycock, uma renomada escultora americana inaugurou este mês uma exposição no Parrish Art Museum que vai até julho onde expõe em retrospectiva seus desenhos que revelam o seu processo criativo para compor as esculturas e instalações.

Alice estudou com o também escultor Robert Morris e suas primeiras esculturas foram site-specific feitos em em grande parte de madeira e pedra. E na década de 1980 ela começou a usar o aço e a expor em espaços públicos.
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source: moma

American sculptor, draughtswoman, INSTALLATION and environmental artist. She studied liberal arts at Rutgers University, New Brunswick, NJ (1964–8), and obtained an MA in studio art at the City University of New York (1968–71), where she worked under Robert Morris and became familiar with systems theory. From the 1960s Aycock developed phenomenologically site-orientated works to include metaphor and simile, referring to machinery and construction sites, archaeological sites, models, children’s play areas and funfairs and other public or social settings. For example in a Simple Network of Underground Wells and Tunnels (1975) six concrete wells (1.62 sq. m) with connecting tunnels were sunk into an area of ground c. 6.1×12.2 m at Merriewold West, Far Hills, NJ (destr.). The curious sense of authority within her sophisticated, well-made structures is simultaneously articulated and undermined by a nonsensical, non-functional and fantastical element. Her works are often a synthesis of diverse elements. The imagery of the Game of Flyers (wood, steel, fire, water, birds, 1979–80; Washington, DC, Project A.) derives equally from tantric drawings, the problem of designing and constructing a machine for human flight and thoughts about World War II. By the 1990s Aycock produced both elaborate site-specific and gallery INSTALLATION works. Examples of her work are housed in the Australian National Gallery, Canberra, the Museum Ludwig, Cologne, and the Whitney Museum of American Art, New York.