Some of the things I talked about yesterday, and some that I didn't

Barry Le Va (who I didn't mention yesterday, but should have) is REALLY relevant to both Ryan and Drew-- here's a good link to some of his work/ retrospective at ICA-- and check out his drawings!!!!

Some of Paul's videos can be seen here

Paul Pfeiffer
“John 3:16,” details
2000
Digital video loop, LCD monitor, DVD player, and metal armature, 51/2 x 6 1/2 x 36 inches
Edition of 3, AP of 2
Courtesy the artist and The Project, New York and Los Angeles

Cornelia Parker
Mass (Colder Darker Matter), 1997
charcoal retrieved from a church struck by lightning
courtesy D'Amelio Terras


bottom images, from the Tate:
Cold Dark Matter: An Exploded View, 1991
Mixed media
Tate. Presented by the Patrons of New Art (Special Purchase Fund)
through the Tate Gallery Foundation 1995
© Cornelia Parker

And this description of the piece comes from the Tate:

Cold Dark Matter: An Exploded View was once an ordinary garden shed. Then Cornelia Parker filled it with junk, bought from car-boot sales, and asked the British army to blow it up. She collected the wreckage and reassembled it as this constellation of suspended fragments, frozen as if at the moment of detonation. The smallest elements, such as plastic hair curlers, toy cars, and a crushed tin can are nearest the centre. Larger pieces - shattered planks of wood, a bicycle wheel - are at the edges. A single 200-watt light bulb in the middle of the orbiting debris throws shadows onto the surrounding walls. 'Cold dark matter is the material within the universe that we cannot see and we cannot quantify. We know it exists but we can't measure it. It's immeasurable, unfathomable', says Parker. From the shed's hoarded odds and ends, the kind of everyday flotsam accrued in a life, she has conjured her own sculptural Big Bang.

In Parker's hands, nothing is stable. Solid objects fall apart, collide, combust and are crushed, only to re-emerge from these acts of violence in new and surprising forms. 'I like to take man-made objects and push them to the point where they almost lose their reference', she says, 'so that they become something else, take on other alliances'.

Sometimes the act of transformation is spectacularly destructive, as when she flattened a pile of silver plate with a steamroller. At other times, in her photograms of feathers for instance, it is gentle and fugitive. Parker rearranges the physical world on her own singular terms, finding poetry in the most prosaic of objects.