Jonathan Jones, art critic for the Guardian newspaper, described it as “a spectacle that displays the power and mystery of our planet”. Made more than forty years ago, Walter De Maria’s 1977 sculpture The Lightning Field remains one of the world’s most ambitious manifestations of light-based art.
I laughed at your note. Our packing was not done until the last minute of the 11th hour, and when we at last got onto the train we could only think how lovely it was to do nothing and think about nothing. However, by now we realise we are really going to England. After 17 days at sea, out of sight of land, N.Z. seems as if it was in another universe.
He’s been called a cultural prankster, an agent provocateur and a bullshit artist (that last description came from his dad, but it was bestowed – he’s pretty sure – with love). While we’re at it, add ‘serial pun merchant’ to that list; in art, as in conversation, Wayne Youle can spot a good one-liner a mile off and has never knowingly left an entendre undoubled.
It might be tempting to say that Lisa Walker makes jewellery out of any old thing – but it isn’t true. The eclectic objects that form her distinctive necklaces, brooches and other body-adornments are meticulously selected and shrewdly modified before they see the light of day. She salvages her materials from an unlikely cornucopia of sources – re-presenting objects such as car parts, animal skins and even kitchen utensils through the frame of body adornment’s long history. Tiny Lego hats, helmets and hairpieces – of the kind that clog vacuum cleaner nozzles in children’s bedrooms around the world – are strung on finely plaited cords like exotic beads or shells; trashy gossip magazines are lashed together to yield a breastplate befitting our celebrity-obsessed culture; dozens of oboe reeds donated by a musician friend bristle round the wearer’s neck like the teeth of some unimaginable deep sea leviathan.