Dazzling sounds, sights, and smells always surround the vast bright and colorful structures of a festival or circus. Also ubiquitous are the concession stands and mobile exhibits that make up much of this celebratory landscape. Vying for attention among the crowds, these transitory structures rely on brilliant lighting, color, and height to stand out and entice.
In response to the temporary environments common to fairs, festivals, and circuses, Seattle-based collective SuttonBeresCuller have created a large migratory outdoor sculpture entitled Big Top Grand Stand. This monument comments upon the aesthetics of its environment. Atop a 16′ flatbed trailer, four unique structures are neatly nested within each other and telescope skyward, extending the midway experience and creating a stacked sculpture in the lineage of Brancusi’s Endless Column. Adorned with flashing lights, vibrant flags, and reflective surfaces, this flamboyant homage has turned the concession stand into pure sculptural form.
Big Top Grand Stand was originally commissioned by Toronto’s Scotiabank Nuit Blanche, a dusk-to-dawn festival that takes place throughout the city of Toronto and attracts more than one million visitors to see its hundreds of projects, events, and exhibitions. For the 2014 edition of the festival, MASS MoCA curator Denise Markonish put together the project The Night Circus. The exhibition of ten artists took as its inspiration the 2001 book The Night Circus by Erin Morgenstern. In the novel, Morgenstern describes a curious event, a night circus that opens at dusk and closes at dawn. This is not your average circus with only clowns and tightrope-walkers; instead it is an epic magical contest – turning an ordinary circus into a true spectacle of magic and wits. Big Top Grand Stand became a perfect beacon for The Night Circus.
MASS MoCA is thrilled to bring this project to our campus on June 26, 2015, to kick off Wilco’s Solid Sound Festival. The piece will be located in the Museum’s Courtyard A / front parking lot, serving as a perfect entryway to MASS MoCA.
February 14 – March 21, 2015
Ronald Feldman Fine Arts
31 Mercer Street, New York, NY 10013
Open Tuesday – Saturday 10am-6pm; Monday by appointment
Reception: Saturday, February 14, 6-8pm
Featuring Creative Capital Awardees: Janine Antoni, Edgar Arceneaux, Heather Cassils, Patty Chang, Julia Christensen, Chris Doyle, Eric Dyer, LaToya Ruby Frazier, Ken Gonzales-Day, Brent Green, Kelly Heaton, Shih Chieh Huang, Jennie C. Jones, Brian Knep, Simone Leigh (featuring Sharifa Rhodes-Pitts), Jennifer & Kevin McCoy, Matthew Moore with Braden King, Carlos Motta, Jeanine Oleson with Laurie Jo Reynolds, Karyn Olivier, Jason Salavon, Gregory Sale, Miriam Simun, Jesse Sugarmann, SuttonBeresCuller, Sam Van Aken, Quintan Ana Wikswo (list in formation)
We hope to see you there! More details here.
GUSFORD | los angeles is pleased to announce that it will be representing American artists SuttonBeresCuller. John Sutton, Ben Beres and Zac Culler have been working collaboratively since graduating from Cornish College of the Arts in Seattle, WA in 2000, where they continue to live and work. Their site-specific installations, sculpture, performance and photography have been shown widely across the Pacific Northwest. In 2011, they received special recognition from the Seattle Art Museum, and were awarded a Creative Capital Grant in 2008 for their project Mini Mart City Park. The artists are currently in residency at MacDowell Colony in New Hampshire, where they are working towards a show at Planthouse in New York, NY, opening December 2013.
SuttonBeresCuller’s first exhibition with GUSFORD | los angeles will open in January 2015.
March 20 – August 20, 2014
401 North 27th Street | Billings, MT 59101
Jentel Artist Residency Program lies in the Lower Piney Creek Valley with spectacular views over scoria topped hills to the majestic Big Horn Mountains. The fertile valley grows abundant hay and alfalfa for cattle. Few houses or signs of human existence dot the two mile stretch of Piney Creek that flows through the property. Many reservoirs provide oases for cattle, wildlife, and humans. The seven separate structures which form the residency village architecturally reflect the landscape and agricultural setting. Log faced cabins on the old Collins’ ranch serve as office, reception, conference area and writer studios, while a pole barn houses the visual artists studios. The sweeping lines of the Residency echo the surrounding mountains and hills and provide dynamic spaces and living quarters for the residents. The surrounds of the village are thoughtfully landscaped with a variety of trees and shrubs and an abundance of uproarious flowers. Sage and native grasses extend to the horizon and stretch across the foothills.