Contemporary Art
Location Based Art
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Traditional Medium Use
Multi-medium Art
Location-based art is art that can only function and/or be displayed at a specific location. This specific location is an essential part for every other aspect of the artwork itself, as well as making the work successful
Nancy Holt’s Sun Tunnels, 1973-76
Robert Smithson's Spiral Jetty,1970
Smithson used the natural materials of Black Basalt rocks, as well as the surrounding dirt and earth. Smithson used these organic materials to create this 15′1 ft x 1,509′0 ft spiral within the lake. The base of the spiral begins on the shore, and spirals counterclockwise out into the water. Spiral Jety is also one of the biggest manufactured organic sculptures to this date and still stands within the lake to this date.
Sun Tunnels were created in 1973 and utilized four hollowed out concrete cylinders with smaller holes carved into them. These cylinders were shown on Great Basin Desert in Utah. These concrete cylinders were strategically placed by Holt, as when the sun set, the viewer could see the sun perfectly aligned within the cylinder. Holt chose to display them in the Great Basin Desert, which are flat plains of sand and one smaller-scale mountain in the background.
Cite specific art “ has identified the concept of “site” as simultaneously “phenomenological, social/institutional, and discursive.” While the first two iterations are self-explanatory, the site in its discursive sense threads itself through all types
of spaces, concrete, ethereal, as well as those of memory”(JBW 45).
Black West, Thoughs on Art in Los Angeles
Kellie Jones
The parameters of location-based art are simple; the location of the art can be anywhere. However, the said location must be a viable reason as to how the art functions.
Traditional medium usage is when artists use only one material/method of creating art within a single piece of work. This method is mostly shown within older pieces of artwork and artists.
Multi-medium art is when the artist utilizes more than one materials/methods of using materials in one single piece of art work. This practice is being more prominent in modern-day.
Betye Saar, Mystic Window for Leo, 1966
Noah Purifoy, Untitled (Assemblage), 1967,
utilized drawings on paper, as well as etching on window panels. These drawings mostly consist of constellations, mostly including the Leo astrology sign. Most of the drawings and etchings are black and white, with a few of the window panels having faint colors of red and blue. The title of the work; Mystic Window for Leo alludes to the practice of tarot card reading and spiritual ideologies. These astrology elements help show the theme of race as a memory in America.
Charles White, Awakening from the Unknowing, 1961.
Russell Craig, State ID, 2013
Contains the drawings, etchings, and window panes
If' form' is the opposite of' matter', then no design exists that could be called 'material': It is always in-forming. And if form is the 'How' of matter, and 'matter' the 'What' of form, then design is one of the methods of giving form to matter and making it appear as it does and not like something else.”(Flusser 26).
Flusser Form and Material
Vilém Flusser
White only used charcoal and wolf crayon on paper which enabled him to depict a moving image. The drawing depicts an African American woman reading and writing with her head down. The drawing fades out into the background, with the corners not having drawing on them. This work represents the overall struggle African Americans had with obtaining knowledge and education.
Craig created this by using only acrylic and cloth. It depicts Craigs prison ID. The ID shows a picture of Craig, Craigs full name, the name of the prison and his inmate number. The composition is mostly white and red except for the photo realistic id picture of Craig.
Craig was released from prison in 2013. He served 5 years on drug related charges.
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"The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever is on or inside of it. In work before 1946 the edges of the rectangle are a boundary, the end of the picture." (Page 1 of 6 | Judd, Specific Objects)
This multimedia sculpture is 66 x 39 x 8 in. (167.6 x 99.1 x 20.3 cm). Purifoy shows an assemblage of everyday worn down items and materials like dirty fabric, wire, old shoes, rags, brushes an a framed diploma. Purifoy uses this array of objects in order to dipict the struggles of African Americans. These items were mostly shown and used by African Americans.