With what object Sarah party was formed? (3 points)
Answers
With a subtle sensibility and a strict economy of means that occasionally explodes into an obsessively rendered panoply of forms, the American artist Sarah Sze incorporates objects and materials into pseudo-taxonomic site-specific installations that point to the human impulse towards categorization even as they elude any easy placement within the humdrum categories of contemporary art. These paradoxical pieces have earned her the respect of the art world and spots as the United State’s 2013 Venice Biennale representative, where her piece Triple Point was one of the year's most acclaimed contributions.
In this excerpt from her just-released Phaidon Contemporary Artist Series monograph, the artist gives a fascinating interview to Okwui Enwezor (incidentally, the curator behind the 2015 Venice Biennale), a rare and in-depth glimpse into the mind of one of this century’s most accoladed art stars. For more on Sze, order the full book here, and collect her works on Artspace (including her exclusive new Artspace Edition Images in Debris) here.
Let’s begin by talking about your relationship to sculpture, how you came to build your work in the way in which it has evolved. It seems to me that part of the discourse of your work is to challenge the very material of sculpture, the very constitution of sculpture, as a solid form that has to do with finite geometric constitutions, shapes, and content. You appear to begin from the premise of dismantling sculpture and putting its narrative back into something else. How did that come about?
When I think about sculpture, I’m thinking as much about the dispersal of objects as the agglomeration of objects, about the absence of form as much as the presence, about the decay of material as much as the construction of material. I approach sculpture as a very fragile constitution that’s always in flux and at risk of ruin structurally, at risk of self-contradiction conceptually.
I also think about a sculpture’s existence in relation to what’s experienced before that work and what’s seen after, and a kind of instability that context creates. I believe that’s the real way we experience objects—not in isolation, but amidst a plethora of information. So I’m thinking about how to highlight that when I make a work. How do you make the volatility of an object or a situation become part of the experience?
Answer:
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Explanation:
Sarah Louise Palin (/ˈpeɪlɪn/ (About this soundlisten); née Heath; born February 11, 1964) is an American politician, commentator, author, and reality television personality, who served as the ninth governor of Alaska from 2006 until her resignation in 2009. As the Republican Party nominee for Vice President of the United States in the 2008 election alongside presidential nominee, Arizona Senator John McCain, she was the first Alaskan on the national ticket of a major political party and the first Republican woman selected as a vice presidential candidate. Her book Going Rogue has sold more than two million copies.