has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
Audience instructed to walk around the installation while observing its hue collectively "changing" from red to orange to yellow to green to blue to violet to red... Placed around the inside of each can is a horizontal spectrum of color on paper. Curtis generated the color spectrum in a computer program, had it printed, and hand-cut the paper over the course of six months. Meanwhile, she spent a year collecting and cleaning the cans, and then four months inserting the paper in each can.
Audience asked to walk toward and about these 1,200 stagger-stacked tubes, to notice how perception and perspective of light constantly changed.
Projecting from each of 36 ducts was a different note, the notes making a 5-octave scale from a lower C to a higher C. Audience was asked to walk along the front of this piece from left to right and right to left, from various distances, to listen to the sounds individually and as a whole.
Each of 9 metronomes were set with the same tempo. After winding each metronome and then using a tool the artist built, Curtis started all 9 metronomes simultaneously every time the metronomes stopped. Audience was asked to listen as the metronomes' collective rhythm continuously changed.
Curtis recorded all of her intimate conversations for a year. Nine 45-second segments of recordings from these conversations projected from 9 ducts. Curtis synchronized these segments so that every 45 seconds all 9 conversations happen to contain the same word simultaneously. Curtis transcribed all of her year's conversations to find a common word; she did not know what the word would be when she began. It was 500+ hours of transcribing, an hour of transcribing every day, plus 25 art assistants contributing time.
Individually or in groups of three, audience was asked to perpetuate the rotational movement of the three units.
Each of 81 PVC pipes was balanced, unattached, at its exact center upon the apex of a wooden base. Audience not to touch. Curtis: "Through this installation I explore the idea that everyone has effect on everything, and everything upon us, whether we have direct contact or not."
Audience was asked to each remove the nine rods from the surface (4,624 holes) and to insert the rods into nine holes, "choosing as randomly as possible."
