Nobody who has experienced an installation by James Turrell forgets the encounter--he makes light tangible in ways that boggle perception and almost seem to defy physics, as if you could reach into the space you see when you close your eyes. A lifelong explorer of perceptual psychology, Turrell is undoubtedly the most influential contemporary light artist, as well as one of America's most popular artists. In Geometry of Light, the first significant Turrell survey in many years, an extraordinary body of work covering several decades is assessed. At the book's center is the series of works known as Sky Spaces, a signature Turrell conception in which the sky is made to seem "on top of" the room's ceiling, and which has become a mini-genre unto itself within light art. Academic, philosophical and art-historical essays explicate these perceptual spaces, whose evolution is closely allied to Turrell's development of the Roden Crater Project in the Arizona desert, where he began constructing an observatory in 1974. Also included is the latest installation, "Skyspace/Camera Obscura Space," which Turrell conceived for the Zentrum fur Internationale Lichtkunst in Unna, Germany. As an undergraduate, James Turrell(born in Los Angeles, 1943) studied psychology and mathematics, transitioning to art only at MFA level. A practicing Quaker, one of his earliest memories is of his grandmother inviting him to "go inside and greet the light" at Quaker meetings. The recipient of several prestigious awards such as Guggenheim and MacArthur Fellowships, Turrell lives in Arizona.
James Turrell im Kontext der amerikanischen Kunst nach 1945
Author: Ulrike Gehring
Publisher: Kehrer Verlag Heidelberg
The California light artist James Turrell founded a new, spatially defined light art in the 1960s. In this volume, art historian Ulrike Gehring examines the various qualities of light in American art. The transition from painted light in a picture to staged light in space is traced in the examples of James Turrell, Mark Rothko, Barnett Newman, and Dan Flavin.
This book documents an exhibition at the Contemporary Arts Museum of Houston of the work of the internationally renowned American artist James Turrell (b. 1943), whose installations combine concerns for light with structural issues of space. It has essays by four scholars concerning such themes as the relation of Turrell's art to science, architecture, religion/psychology, and art history. Also included is a complete listing of permanent Turrell works in public collections throughout the world.
James Turrell's Skyspace, Within Without is site-specific, its location chosen by the artist to complement and accord with the Australian Garden on the southern perimeter of the grounds of the National Gallery of Australia. Because the structure is partly subterranean, only a small part of the stupa is visible from outside. Not only does this establish the sculpture as an integral part of the landscape, its placement also muffles extraneous sounds and reduces light pollution. This publication includes images of the Skyspace from both inside and out, a series of the light-cycle and a visual development of the five and a half year construction process.
The Experience of Looking, Sacred Images to James Turrell
Author: Arden Reed
Publisher: Univ of California Press
"More Americans visit art museums annually than attend all major-league sporting events. Yet many come away dissatisfied, because art rarely yields itself to the few seconds most viewers spend on individual works. In a culture of distraction, Slow Art models ways to extend and enrich acts of looking. This study defines a new aesthetic field crossing centuries and mediums, including video, photography, land and installation art, painting, performance, sculpture, and fiction. Also tableaux vivants ("living pictures"), live restagings of artworks. Often dismissed as marginal, the practice is fundamental--poised between motion and stasis, life and art--witness its current flourishing. This history of looking includes Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, Richard Serra. But rather than a set of objects, slow art names a dynamic relationship that transpires between objects and observers. Slow art enacts tacit contracts between works that have designs on us and beholders who invest in them. Slow art emerged in the 18th century, when cultural acceleration created the need to cushion the pace of social life. Simultaneously, however, secularization closed off traditional means to do so. Slow art offers secular viewers pleasures and consolations that engaging sacred images did in ages of faith. Slow art offers objects their due attention, and offers observers meaningful encounters. Such experiences are available to everybody by practicing the pleasures of lingering. Because such opportunities are not given, Slow Art proposes strategies for artists, artworks, and beholders"--Provided by publisher.