Isabella Myers' Archive

Archive Module 8S

Posted on: April 25, 2010

5 images

In this archive, I want to capture the influence of environment that makes a space leisurely or not leisurely.

John M Armleder
Aluminium, plexiglass, wood, flowers, plastic flowers and trees, monitors, DVD, getho blasters, CD`s and fluorescent lights
Dimensions variable

For example, this work uses bright colors, lights and decorative items to create a more inviting atmosphere, which I would argue would create a more leisurely atmosphere.

Thomas Demand
c-print on diasec
180 x 238 cm

Alternatively, this image conveys an atmosphere opposite of the first image. Besides it being obvious to any viewer familiar with the tedious and invasive procedures of TSA, at surface value it is a hygenic atmosphere with minimal decorations and a somewhat bland color palette. The designs of the items in the photograph are utilitarian and industrial, form follows the function of each item. In the first image, there was no apparent function to the structure, but here each item serves a purpose whether that purpose is foreign or not, it is still very evident in the photo.

Wyatt Gallery “Buddhist Temple – Hikkaduwa, Sri Lanka,”

When atmospheres become religious, they maintain a decorative sense that balances with the minimalism of a laborious atmosphere. Religion is meant to be rejoiceful yet also work, you must meditate or pray regularly, this is a good example of labor and leisure mixing together in the individual. In my project I am interested in labor and leisure mixing in the atmosphere, so that there is often an imbalance between the two. The majority is partaking in leisure where as one or two people are at work.

Matt Bell, “Untitled.” Photograph of Scrap Live MMA and Boxing Event.

This is a really interesting photograph because it focuses on the spectator at a boxing event. The spectator even appears to be working perhaps, wearing a suit with a pen in his hand. Other spectators appear to be more absorbed in the sporting event, but this man appears calm and composed. The quest for domination over an opponent in boxing is very interesting, indeed, because that is the labor involved. In almost all settings where leisure and labor mix, it seems there is more of a unifying goal, i.e. I give money to _x__ and s/he gives me ___x__ and it’s a direct relationship. Or even in soccer, I give ____x____ my money to watch _____y___ and ____z___ teams run around with a ball trying to kick it into a goal. But in boxing it is I give ____x___ my bet that ____y___ will beat the shit out of ____z___ and therefore ___x___ will give me money for guessing right, unless ___z___ wins, then I owe ___x__ more money. This setting brings another party into the picture and it is more of a disconnect from the actual people beating the shit out of each other. Granted, this is the case in any sporting event where betting is involved, but I do believe that betting is the biggest appeal to boxing sporting events, the people are certainly replaceable, and will always be seen as disposable to the spectator.

Greg Kendall-Ball,

And then there are even more pointless endeavors of attempting to break world records such as this man is attempting to do. The act of futile labor for the reward of permanent recognition for that outrageous act, that is until some other person beats it. So silly!

3 images of labor

Jenny at High Dive

1 song

Now there’s that fear again by Mum

1 video

Cibo Matto’s Sugar Water video directed by Michel Gondry

new artist

Richard Serra

Richard Serra was born in San Francisco in 1939. After studying at the University of California at Berkeley and at Santa Barbara, he graduated in 1961 with a BA in English literature. During this time, he began working in steel mills in order to support himself. In 1964, he graduated from Yale University with both a BFA and an MFA. Receiving a Yale Traveling Fellowship, he spent a year in Paris, followed by a year in Florence funded by a Fullbright grant. Serra’s early work in the 1960s focused on the industrial materials that he had worked with as a youth in West Coast steel mills and shipyards: steel and lead. A famous work from this time involved throwing lead against the walls of his studio. Though his casts were created from the impact of the lead hitting the walls, the emphasis of the piece was really on the process of creating it: raw aggression and physicality, combined with a self-conscious awareness of material and a real engagement with the space in which it was worked. Since those Minimalist beginnings, Serra’s work has become famous for that same physicality, but one that is now compounded by the breathtaking size and weight that the pieces have acquired. His series of “Torqued Ellipses” (1996–99), which comprise gigantic plates of towering steel, bent and curved, leaning in and out, carve very private spaces from the necessarily large public sites in which they have been erected. Serra’s most recent public work includes the 60-foot-tall “Charlie Brown” (1999; named for the Peanuts comic-strip character in honor of its author, Charles Schultz, who had died that year), which has been erected in the courtyard of an office building in San Francisco. He lives in New York and Nova Scotia.

Snake, 1996, steel

Walking through these sculptures affects atmosphere, your body reacts accordingly. With simple structural devices, an entire experience can be altrered.

One Ton Prop (House of Cards), 1969, lead antimony

Also there is the mixture of industrial and rough materials used for an aesthetic purpose.

Torqued Ellipse VI, 1999

Torqued Ellipse VI, 1999

Oversized sculptures give more relation to the body and its atmosphere. This structure is intrusive of its space but also inviting. It is forceful in its use of space but still permits and welcomes curiosity.

Torqued Ellipse VI, 1999


The one thing I am still having trouble accomplishing is tying the music/videos to my archive’s overall goal of exploring my project involving leisure and labor…


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