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Scenic Overlook (2015)

Scenic Overlook2015 | Wood and steel | Dimensions variable

Scenic Overlook

2015 | Wood and steel | Dimensions variable

 

Scenic Overlook consists of four wooden sculptures representing the four tallest observation towers in the world. Presented on steel tripod-like support structures, these sculptures range from twenty to twenty-five feet.

 
Scenic Overlook2015 | Wood and steel | Dimensions variable Photo credit: Tom Van Eynde

Scenic Overlook

2015 | Wood and steel | Dimensions variable
Photo credit: Tom Van Eynde

Scenic Overlook2015 | Wood and steel | 24 x 3 x 3 feet Photo credit: Tom Van Eynde

Scenic Overlook

2015 | Wood and steel | 24 x 3 x 3 feet
Photo credit: Tom Van Eynde

When viewed from a certain angle on the gallery catwalk, all the towers point back to the viewer.Scenic Overlook2015 | Wood and steel | Dimensions variable Photo credit: Tom Van Eynde

When viewed from a certain angle on the gallery catwalk, all the towers point back to the viewer.

Scenic Overlook

2015 | Wood and steel | Dimensions variable
Photo credit: Tom Van Eynde

Outpost by Lou MallozziPerformance with telescope, microphone and loudspeakers Photo credit: Kendal Karmanian

Outpost by Lou Mallozzi

Performance with telescope, microphone and loudspeakers
Photo credit: Kendal Karmanian

This work traveled to Zhulong Gallery, Dallas, curated by Aja Martin.Scenic Overlook2015 | Wood and steel | Dimensions variable

This work traveled to Zhulong Gallery, Dallas, curated by Aja Martin.

Scenic Overlook

2015 | Wood and steel | Dimensions variable

Sculpture for Zhulong Gallery roof, Dallas, curated by Aja Martin.Spire/Tower2015 | Nickel-plated steel, painted steel, concrete | 95 x 24 x 24 inches

Sculpture for Zhulong Gallery roof, Dallas, curated by Aja Martin.

Spire/Tower

2015 | Nickel-plated steel, painted steel, concrete | 95 x 24 x 24 inches

The towers dynamically intersect the gallery and all point to one exact position on the balcony overlooking the gallery. This view imitates the bird’s eye perspective one can see on Google Earth, while simultaneously flattening into simple geometric shapes. When viewed from this precise vantage point, the sculptures seemed to point back toward the viewer. Through this shift in perspective, the power of the viewer emerges in relationship to the sculpture. 

In the early 20th century, the Futurists identified the aerial perspective as a source of visual power. The then-novel ability to peer down from a great height upon a city was considered to be both technologically and conceptually revolutionary. A century later, cities continue to think vertically, building enormous towers not only to transmit signals for communications media, but as iconic architectural structures to express the city’s progressive status in a global context.  The tourist easily recognizes these structures, which act as metonymic representations of place. They offering stunning panoptic views from their observation decks, however, they are still very removed from the sights and sounds of the city from the vantage point we have at ground level.

Curated by Allison Peters Quinn.

This project is partially supported by a grant from the Illinois Arts Council Agency with an Individual Artist Project Grant and the Department of Cultural Affairs and Special Events for the City of Chicago (DCASE).

CHI DCASE 2020 clr horizontal.jpg
 

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