#Blown away cast season 2 install
I tried working with a studio assistant, thinking that if I could teach one person to assemble the work, then maybe there could be a way to get people to install it elsewhere. I had a hard time showing this work because I couldn’t teach anyone else to install it. I started thinking about shadows as a new medium to explore. That work came in part from the fact that I love learning new skills, techniques, and materials. In Repertoire (2011–12), you used these glasses and vessels that you made during demos while teaching, then created an arrangement that, when lit correctly, casts a shadow onto the wall that perfectly resembles a man with an exaggerated erection lying down. Repertoire, 2011–12, blown glass, overhead projector, drawings on tracing paper, pencil, table, shadow, dimensions variable. But I started thinking, if I am copying this, why not copy that?
You learn by copying forms in museums or history books that are considered the pinnacle of craft. With your practice, you seem to approach that process in a more conceptual way, so that act of replication takes on new meaning, beyond a technical exercise. I know that when you’re learning to blow glass, you start by learning to replicate certain forms perfectly, like an orb.
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But I was also thinking about how to measure the worth of skilled labor. I was excited about the prospect of some stranger getting these coins as they entered circulation. The nickels actually worked in pay phones and vending machines, but other coins were too lightweight. The coating is very delicate, so as someone handles the coins, the coating slowly wears off and the true materiality is revealed. Oh, that’s one of my favorites! Rather than thinking about different ways to sell glass, I thought, what if I just make currency? I devised a process for making loose change by casting lead crystal, then I applied a chemical coating that gives the coins a metallic appearance. I’m curious about another piece you did, 2.6 Cents an Hour (2006), which seems related. It sounds like many people sadly preferred the impersonal experience of the store. I read it as pretty self-aware, as this sort of existential commentary on craft under late capitalism. And in retrospect, the idea seems kind of self-aggrandizing, as if I was implying that the value of my craft is unquantifiable or something.Īlex Rosenberg: 2.6 Cents an Hour, 2006, cast lead crystal, mirroring chemistry, sales performance, dimensions variable. The version sold on the street is artisanal and the one inside is mass produced.
I was inspired in part by Eric Doeringer, who made miniature versions of various paintings outside of a Chelsea gallery and sold them.īut in your case, the forgery gesture is in reversed, at least as far as value is concerned. Eventually, I started selling these on the street right outside the store they were from. So I would get these products from Pier 1, Crate & Barrel, or similar stores, and then I would just try to replicate them. Still, I really liked making clear glass and I wanted to get good at it. I spent years striving to achieve some pinnacle of craftsmanship or whatever-but that didn’t really translate into what most audiences were interested in. At the time, I was excited about learning the craft of glassblowing, but I’ve never really been able to make any money from it until very recently. I think it was in 2007 or 2008, in Massachusetts, and I believe there was no documentation. I hope the rumors are true because it sounds very intriguing.Īlex Rosenberg: Oh, wow-that’s a deep cut! But yes, that definitely happened. 650,000 People Saw the Rijksmuseum's Blockbuster Vermeer ExhibitionĪRTnews: I heard about this performance you did where you sold handmade drinking glasses on the sidewalk outside of big box stores.
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