Reason #729 to love Socrates Sculpture Park: An awesome crew of Dominican Fishermen got tired of watching and helped Takashi Horisaki with his installation. Image lifted shamelessly off his blog
You will miss out if you are not at Socrates
on Sunday afternoon!
In addition to a possible thunderstorm
, there will be great art, and New Orleans-style food and music! And humidity. New Orleans-style humidity. So it will be authentic! Here's the blurb from the press release, copied and pasted for your reading pleasure:
Opening Sunday, July 29, 2-6pm
New Orleans Elegy, 2006
July 29-October 28, 2007
Deborah Fisher's New Orleans Elegy is a living work of art that will change over time in its appearance and meaning. Fisher is interested in the structures the earth makes: how crystals grow; accreation; and the way rocks organize and build themselves. New Orleans Elegy is a map of New Orleans made of steel wire "streets" and a bronze overlay. Over time, the interaction of the metals will cause the streets to decay from the bronze leaving only a trace of where they once were.
Social Dress New Orleans--730 Days After, 2007
July 29-October 28, 2007
Takashi Horisaki's Social Dress New Orleans-
730 days after, came from his deep concern for New Orleans after hurricane Katrina. Horisaki spent his
first three years in America living in New Orleans, LA, eventually earning a BFA from Loyola University. His visit to New York in June 2006 made him realize how much those of us living outside of the victimized area fail to grasp the reality of the tragedy suffered by New Orleans residents and the glacially slow recovery process. Conversations with his professor in New Orleans inspired this project. "He told me how difficult
it is for him to make his own artwork still, and I wondered if I, a neutral person- not exactly an
outsider, but with some perspective on the situation- could express their feelings through my sculpture."
Shadows From A Dream Of The 20th Century, 2003-2006
July 29, 2007-April 6, 2008
Michael Mercil's shadows from a dream of the 20th Century, is a set of three carved black stone monoliths. The individual pieces approximate the size of grave markers; stones that mark a beginning of western sculpture. Mercil is not a stone sculptor, but here he uses traditional materials and methods to entertain notions of origin and temporality- of the past, as legacy for the future, and the future already becoming the past. The substance of this work materializes the question: "What is the object of sculpture now?"