Historical Memory for Integrative Studio 1

PART 1 RESEARCH

Dario Robleto:- (born 1972) is an American transdisciplinary artist, researcher, writer, teacher and “citizen-scientist”. His research-driven practice results in intricately handcrafted objects that reflect his exploration of music, popular culture, science, war, and American history. Robleto uses unexpected materials such as melted vinyl records, dinosaur bones, meteorites, glass produced by atomic explosions, lost heartbeat recordings from the 19th century, and he transforms these artifacts from the vast inventory of humanity’s collective past into delicately layered objects that are sincere and personal meditations on love, death, eroding memory, and healing.

Rachel Whiteread:- The British sculptor Rachel Whiteread is one of the world’s leading contemporary artists. Whiteread casts the interiors of buildings, household objects, and furniture, capturing familiar but often overlooked areas of the home—the underside of a chair, the contents of a medicine cabinet, or the inside of a garden shed. Over the course of her 30-year career, she has changed the way that the world thinks about sculpture. Her reverse casts of negative spaces, made of industrial materials such as concrete, plaster, and resin, transform the ordinary and unseen into something enduring, striking, and impossible to ignore.

Many of Whiteread’s works are casts of ordinary domestic objects and, in numerous cases, their so-called negative space. For example, she is known for making solid casts of the open space in and around pieces of furniture such as tables and chairs, architectural details and even entire rooms and buildings.She says the casts carry “the residue of years and years of use.” Whiteread mainly focuses on the line and the form for her pieces.

MARTIN PURYEAR:- (born May 23, 1941) is an American artist known for his devotion to traditional craft. Working in wood and bronze, among other media, his reductive technique and meditative approach challenge the physical and poetic boundaries of his materials.Martin Puryear began exploring traditional craft methods in his youth, making tools, boats, musical instruments, and furniture.The artwork of Martin Puryear is a product of visibly complex craft construction and manipulation of pure material; its forms are combinations of the organic and the geometric. His process can be described as reductive, seeking to bring work and material close to its original state and creating rationality in each work derived from the maker and act of making. This is what Puryear calls ″inevitability,″ or a ″fullness of being within limits″ that defines function.

THE LOAD,2012 (CART)

Lacking any means of conveyance, the full-size two-wheeled cart in The Load (2012) sits poised as if ready to move at a moment’s notice, with its twelve-foot harness pole parallel to the ground resting on a center prop. Mounted atop the axle of the cart is a gridded wooden box that encages a white sphere fitted with a glass aperture. The glass aperture faces the rear of the cart, an accessible portal through which a viewer can glimpse the complex interior structure of the wooden sphere.

The cart is an immediately recognizable object, although from no particular time or place in history. Two-wheeled carts have been in use since the second millennium B.C. and are common in cultures worldwide, making it both culturally and temporally ambiguous in futuristic white, the sphere juxtaposes the aged wood of the cart. The Load revisits the wheel as an object with functional and symbolic meanings in the work of Puryear, who often deals with escapism, flight, and mobility.

PART 2 RECREATION

THE LOAD (2012)

Martin Puryear