Alice Aycock, 2017

A L I C E T H E

A Y C O C K

T U R B U L E N C E

S E R I E S

ON THE COVER: Untitled Cyclone, 2017 aluminum, edition of 3 105 x 117 x 123 inches; 266.7 x 297.2 x 312.4 cm

A L I C E AYC O C K T H E TUR B U L ENC E S E R I E S

O C TO B E R 1 8 - N OV E M B E R 1 8 , 2 0 1 7

40 WEST 57TH STREET N E W YO R K , N E W YO R K 1 0 0 1 9 212-541-4900 M A R L B O R O U G H G A L L E R Y.C O M

A L I C E AYCO C K : T H E T U R B U L E N C E S E R I E S Robert Hobbs and A lice Aycock have known each other for 20 years. Author of the 2005 monograph Alice Aycock: Sculpture and Projects, ( MIT Press), Hobbs is a noted art historian and curator, with specialities in 20th and 21st century art. He has observed that Aycock’s art builds on the intellectual tradition of Marcel Duchamp’s thoroughgoing critique of traditional art; moreover, she has individualized her own participation in minimalism, conceptual art, performance, and site specif icity. In addition, Aycock has redirected kinetic sculpture to achieve distinctly new expressive goals. Over the past f ive decades, Aycock has synthesized aspects of sculpture, architecture, theater, low and high technologies, weather systems and other dynamic modes found in the natural world into a highly personal language, bespeaking, in her words, “a notably intense appetite for the world’s many f lavors.” The following interview is an illuminating conversation between Hobbs and Aycock on a broad range of topics, including dance, jet engines, Russian Constructivism, stories by Jorge Luis Borges and the drawings of Leonardo da Vinci.

Robert Hobbs: Throughout your work, movement has been an important component of your art. In addition to setting up situations for v iewers to traverse your sculptures in a number of installations, your work has also incor porated k inetically actual or illusor y forms of movements. This approach is ev ident in your many blade machines, starting with your Sand/Fans (1971), which you have characterized in terms of its deadly, hy pnotic attraction and T he T housand and One Nights in the Mansion of Bliss (1983); the revolv ing drum of Savage Sparkler (1981); and your East River Roundabout (1995/2014) for the East R iver Park Pav ilion at 60th Street, N YC, which was inspired by Fred Astaire’s grav it y-defying dance in the 1951 f ilm Royal Wedding and the circuitous pathways of g igantic roller coasters like the Super Duper Looper. Why is movement itself so important to your art? I’m interested in both personal as well as professional reasons.

Alice Aycock, The Thoousand and One Nights in the Mansion of Bliss, 1983 Photo: Wolfgang Staehle

A lice Aycock: I became interested in the theatrical aspect of architecture – not simply the physical athletic event. A nd so my work has architectural scale and potential and refers to the site in which it is placed, but actually mov ing through the art is less interesting to me. That is even truer today when so much art and architecture is experienced v irtually and cinematically. Many of the euphoric aspects of architecture, i.e., rang ing from the Roman Pantheon (the dome of the sky) to Baroque domes to the atrium space of Calatrava’s World Trade Center oculus in downtown New York Cit y cannot be physically traversed.1

Movement is important to me because I v iew things as in a constant state of transition. Nothing stays solid as far as I am concerned. This interest in a constant state of f lux began with an early work, Sand/Fans (1971) (four industrial fans/turbines aimed at a central pile of 4000 lbs. of sand). What I called the necessar y structure and the contingent event – the arrangement of the spinning fans blades and the random movement of the sand. Initially I expected a dust dev il tornado in the center to form. What ended up happening were wave/interference patterns in the sand. I think there is an arc from Sand/Fans to these new twister pieces. My fascination with wind, cloud formation, smoke, f low dynamics, wave theor y, and interference patterns was there from the beg inning. In various ways, I have circumnav igated around it throughout my career. T he T housand and One Nights in the Mansion of Bliss (1983), is a large horizontal blade/wind machine which I thought of as a generic image containing references to the development of tool mak ing from the plow to the turbine. A nd the compositional system of a spiral or whirlpool is the underlying structure/design for many phenomena both natural and man-made. Untitled (Shanty) (1978), was inspired by the beg innings of the Industrial Revolution, where the idea of harnessing wind power began the use of windmills.

Alice Aycock, Sand/Fans, 1971/2008 Photo: Tim Lee

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Alice Aycock, Untitled (Shanty), 1978 Whitney Museum of American Art, NY Photo: Sheldan C. Collins

Leonardo da Vinci The Study of the Flow of Water, c. 1505 The Royal Collection. Š 2003 Her Majesty Queen Elizabeth II.

Alice Aycock, The Leonardo Swirl, 1982 Private Collection

R H: Even though your work often incor porates popular culture references, it is highly intellectual. Two of your long-professed heroes are Marcel Duchamp and Leonardo da Vinci, particularly his drawings studying the f low of water that was a source for your 1982 sculpture T he L eonardo Swirl. How do you account for this intellectual bent in your work? When did it beg in? A nd do you expect your v iewers to understand the many erudite and even arcane references your art has made over the years?

A A: Of all the artists, Leonardo da Vinci was the most interested in exploring the dynamics of water and explosions – the composition of chaos and disorder. I came across da Vinci’s Deluge series in 1980 and have been referring to it ever since. But there is an inherent paradox in these works. In the Deluge series in which Leonardo tries to v isualize turbulence and f low dynamics he has to stop the motion in order to examine it. This is not unlike the paradox in quantum mechanics and wave/particle theor y.

Duchamp developed notational drawings, which reference patterns of f low and ribbon-like spirals. He uses wordplay or what I like to call transformational grammar in which there is a slippage of meaning and meanings were f luid. I was interested in that, but fundamentally, I took his diagrams and made art out of them. Hoodo (L aura) (1981) (see page 31) and the cone from the permanent piece at San Francisco Public Librar y are directly derived from those diagrams.

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A long with the compositional system of chaos and disorder, I have also been ver y inf luenced by the asymmetr y and anti-grav itational qualit y of Russian Constructiv ism. This movement was a radical paradigm shift at the beg inning of the 20th centur y. It is a compositional system that underlies much of the architecture and eng ineering today and expresses the yearning to explore outer space. However, at some point the non-objective qualit y of the later followers became formulaic abstraction for me.

Finally, I am an unabashed lover of toys – paper air planes, spinning tops, g yroscopes, and science toys of all k inds….

R H: You have indicated on several occasions that dance is related to your art. You once recounted to curator Donna Stein a dream you had about dancing, and she described it in the following way: Marcel Duchamp, illustration of the planes of flow, from Marcel Duchamp, ed. Richard Hamilton, (Translated by George Heard Hamilton), Bride Stripped Bare by Her Bachelors, Even (Stuttgart: Edition Hansjörg Mayer, 1976), n.p.

One night , the artist [Aycock] went out dancing , which since childhood she always had found exhilarating and liberating. W hen she got home, she fell into a deep sleep, jet-lag ged and exhausted. Aycock dreamt she was dancing across history and as the music changed, she moved through space in a time machine, changing centuries and world views from the [ beginnings of art history] … to the 1930’s of Fred Astaire. T his highly condensed narrative was a visceral experience of a compositional system and became a prevailing metaphor for her life and work .

Given this dream about dancing and time and your 1993 drawing Dances on the Starry Night , from the Eaters of the Night (A Continuing Series), I’m tempted to look at your sculptures in the current show as incor porating the movements of a furiously active, disembodied dancer. Is this an inter pretation you would accept? If so, why? If not, what has been your own inter pretation of the meanings of these works. I ask this knowing that once a work of art is completed, the artist becomes another v iewer, a special one of course, but still a v iewer who completed the work with hers or his own reading.

A A: Many of the works of art that I am interested in have what I would call the sensation of k inesthesia. You can feel this sensation of movement in your body when you experience the work. Greek sculpture created a k inesthetic sensation, as well as Francis Bacon’s paintings. The ver y beg inning of my creative consciousness was the immediacy of dance. When I’m mak ing these pieces, I feel it initially as a dance movement in my own body, and then it becomes the movement of wind, water, etc., then it gets translated into ribbons of movement. I feel all these pieces have a ver y strong k inesthetic sensation in them. On ref lection I also think the twisters are ak in to the spinning movements in ice-skating which I practiced throughout my youth.

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R H: The idea of g iv ing tang ible form in your sculptures to the velocities of tornadoes, hurricanes, and particle accelerators by diagramming them is an exciting and certainly compelling idea. How are you able to gain an understanding of their movements so that you can draw them, thereby enabling fabricators to build them? Do you use any of the CA D (computer aided design) software f irst developed in the 1980s to do so? A re the forms of turbulence found in your sculpture generalized or indiv idualized? Do you prov ide a portrait of a specif ic moment of a g iven tornado or do you make changes, as I would suspect you do, in order to make them exciting sculptural forms? If so, would you describe this process?

A A: From the outset my drawings were never intuitive sketches—I always used the graphic standards of architecture – plan, elevation, isometric renderings scaled so that the works could be built. Therefore when computer applications such as FormZ, 3D Max, R hino were developed, it was a natural segue for me. The abilit y to env ision a work on a site from multiple points of v iew and to change and reenv ision my ideas has opened limitless possibilities. I am only limited by my imag ination. I am inf luenced by diagrams and images culled from popular culture as well as theoretical science. I have what I call a v isual image bank/librar y that is ever expanding.

R H: Park Avenue Paper Chase (2014) had the ef fect of an important new beg inning for you. It was “spirals on steroids,” so to speak—great spinning forms that seemed on the edge of veering out of control, yet miraculously appearing to contain the uncontainable forces of hurricanes, tornados, in your words “the chaotic beaut y of f luid or f low dynamics.” Would you recount how you orig inated these truly awesome works?

A A: Much of my work in both the public and private spheres has been a meditation on the philosophical ramif ications of technolog y from the simplest tool (the arrowhead and the plow) to the computer. Many of these works have incor porated images of wheels and turbines and references to energ y in the form of spirals, whirlwinds, whirlpools, spinning tops, whirly-g igs, and so on.

For the Park Avenue project I tried to v isualize the movement of wind energ y as it f lowed up and down the Avenue creating random whirlpools, touching down here and there and sometimes forming dynamic three-dimensional massing of forms. The sculptural assemblages suggest waves, wind turbulence, turbines, and vortexes of energ y.

One of the works, in particular, references the expressive qualit y of wind through draper y and the chaotic beaut y of f luid/f low dynamics. As much as the sculptures are obv iously placed on the mall, I wanted the work to have a random, haphazard qualit y – in some cases, piling up on itself, in others spinning of f into the air.

Much of the energ y of the cit y is inv isible. It is the energ y of thought and ideas colliding and being transmitted outward. The works are the metaphorical v isual residue of the energ y of New York Cit y. The pieces also have a 7

reference to the practice of mak ing cutout paper models of v isual ideas in architecture and sculpture dating back to Russian Constructiv ism.

The concept I developed for Park Avenue is constructed of painted structural and sheet aluminum and f iberglass.

The six sculpture proposals can be read from both sides of the Avenue and the v isual narrative plays to both the uptown and downtown movement of traf f ic patterns.

R H: In what ways do the dif ferent velocities exhibited in many of your works, including the Twisters in your present show, ser ve as metaphors for the world in which we live?

A A: A jet eng ine (turbine) is both physically intimidating and also mesmerizing, eliciting an approach/withdrawal response. I think of it as a k ind of “catching one’s breath” experience. When these new pieces are exhibited together and their complex chaotic movements intersect v isually with each other, I hope they create a compositional system that feels like what it’s like to be in the world today -all of these var ying systems coming together in a chaotic way, interacting and intersecting in uncontrollable and unknowable ways. I think of it as a ver y complex Venn diagram.

In preparation for this inter v iew I reread the Borges stor y, Pascal’s Sphere, which ends with the phrase – “a frightful sphere, the center of which is ever y where, and the circumference nowhere.”

R H: While this series could not be predicted from your past work until you began creating it, once one sees these distinctly innovative pieces, one beg ins to rethink past sculptures that appear to anticipate them.

A A: I believe that these new Twister works of the past ten years are a distillation of the work that came before.

Some years ago I found a poem on the subway by W.S. Mer win titled Utterance. I have read it over and over. It embodies what I aspire to in a work of art.

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Utterance Sitting over words very late I have heard a kind of whispered sighing not far like a night wind in pines or like the sea in the dark the echo of everything that has ever been spoken still spinning its one syllable between the earth and silence --W.S . Merwin There are two Borges stories that I read and reread. T he Aleph in which Borges discovers a tear in the universe through which he can see the inf inite and the limitless and T he Zohar in which he becomes obsessed by a single image.

At the beg inning of my career I was taken by Baudelaire’s phrase, “I have more memories than a thousand years.”

Now I like to say, “Maybe all these stories are really the same stor y…” But maybe not.

If you could take a stroll in the external world, and somehow unassisted by the apparatus of eye and ear, look about you , you would f ind there, so science declares, a complicated web of movements and nothing else but movements, neither shaped nor coloured….

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--Mr. Barnes Excer pt from Aycock’s M A thesis, An Incomplete Examination of the Highway Network/User/Perceiver System(s), May 1971

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Thunderdome, 2017

white powder coated aluminum, edition of

3 109 x 104 x 123 inches; 276.9 x 264.2 x 312.4 cm

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Untitled Cyclone, 2017 aluminum, edition of 3 105 x 117 x 123 inches; 266.7 x 297.2 x 312.4 cm

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Twister Grande (wide), 2017

white powder coated aluminum, edition of

3 111 x 110 x 98 inches; 281.9 x 279.4 x 248.9 cm

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Devil Whirls, 2017 white powder coated aluminum, edition of 3 232 x 273 x 226 inches; 589.3 x 693.4 x 574 cm (shown as a computer rendered image)

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Twister Again, 2017

white powder coated aluminum, edition of 3 182 x 187 x 162 inches; 462.3 x 475 x 411.5 cm (shown as a computer rendered image)

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The Riddle of the Flying Saucer #1, 2015/2017 aluminum, edition of 3 24 1/2 x 23 x 22 inches; 62.2 x 58.4 x 55.9 cm

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Small Twist (additional view) 24

Small Twist, 2013/2016 white powder coated aluminum, edition of 3 39 x 33 x 39 inches; 99.1 x 83.8 x 99.1 cm 25

Twister Variation I (additional view) 26

Twister Variation 1, 2017 aluminum, edition of 5 42 x 34 x 27 inches; 106.7 x 86.4 x 68.6 cm (shown as a computer rendered image)

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Another Twister (additional view) 28

Another Twister, 2017 aluminum, edition of 5 39 x 28 x 36 inches; 99.1 x 71.1 x 91.4 cm

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From the Series Entitled “Sum Over Histories�: Study for a Timescape V, 2013 inkjet print and handpainted watercolor on paper

36 x 53 inches; 91.4 x 134.6 cm 30

Hoodo (Laura) From the Series, “How to Catch and Manufacture Ghosts”—Vertical & Horizontal Cross-section of the Ether Wind (1981), 1990/2012 watercolor and ink on paper

27 1/2 x 39 1/4 inches; 69.9 x 99.7 cm

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The Game of Flyers, Part II— International Arrivals Bldg, Dulles Airport, 2012, 2012 inkjet print and handpainted watercolor on paper

36 x 60 inches; 91.4 x 152.4cm

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Devil Whirlwinds on the Clouds for 2 Players: From the Gameboard Series #6, 2012 inkjet print and handpainted watercolor on paper

66 x 47 inches; 167.6 x 119.4

cm

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Super Twister (1) View B, 2017 inkjet print and handpainted watercolor on paper

38 x 32 inches; 96.5 x 81.3 cm

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A Startling Whirlwind for University of Tennessee, Knoxville, 2013 inkjet print and handpainted watercolor on paper

24 x 30 inches; 61 x 76.2 cm

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From the Series Entitled “Sum Over Histories�: Study for a Timescape , 2011 watercolor on paper

50 x 72 inches; 127 x 182.9 cm

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Terra Incognita for Sappho, 2017 1/1 57 1/4 x 97 3/4 inches; 145.4 x 248.3 cm

digital inkjet print on watercolor paper, edition

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A L I C E AYCO C K 1946 1968 1971 1983 1990 2013-4

Born in Harrisburg, Pennsylvania Received B.A. from Douglass College, New Brunswick, New Jersey Received M.A. from Hunter College, New York, New York First major retrospective at Wurttembergischer Kunstverein in Stuttgart Retrospective at Storm King Art Center, Mountainville, NY Retrospective of Drawings, organized by the Parrish Art Museum, Water Mill, NY and in collaboration with the Grey Art Gallery, New York, NY; traveled to the University Art Museum at the University of California, Santa Barbara, and the Santa Barbara Museum of Art, CA

AWARDS AND GRANTS 1975-76 1976 1980 1983 1986 1991 1994 1996 2008 2013 2013 2014 2018

National Endowment for the Arts Fellowship Creative Artists’ Public Service Grant National Endowment for the Arts Fellowship C.U.N.Y. Research Award National Endowment for the Arts Fellowship La Fondation Cartier, 3-month residency National Endowment for the Arts Fellowship Fourteenth Annual Art Commission Award for Excellence in Design, (for East River Roundabout, New York, New York) Americans for the Arts Public Art Award Anonymous Was a Woman Award National Academician Induction, National Academy Museum, New York, NY International Association of Art Critics Award, (for Alice Aycock Drawings: Some Stories are Worth Repeating) Lifetime Achievement in Contemporary Sculpture, International Sculpture Center, Hamilton, New Jersey

SELECTED SOLO EXHIBITIONS 2016 2014

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Alice Aycock: Waltzing Matilda And Twin Vortexes, The Mennello Museum of American Art, Orlando, Florida Twists and Turns, Georgia Museum of Art, Athens, Georgia

Paper Chase, temporary installation on Lake Shore Drive, Chicago, Illinois

Park Avenue Paper Chase, Park Avenue Malls, New York, New York 2013 New Works on Paper, The Drawing Room, East Hampton, New York

Super Twister II, Galerie Thomas Schulte, Berlin, Germany

Some Stories Are Worth Repeating: Retrospective of Drawings by Alice Aycock, organized by the Parrish Art Museum, Water Mill, NY and in collaboration with the Grey Art Gallery, New York, NY, traveled to University Art Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art, CA in 2014 2012 A Simple Network of Underground Wells and Tunnels, 1975/2012, Loretta Howard Gallery, New York, New York 2011 Two Person Show with E.V. Day, Salomon Contemporary, New York, New York

Wavy Enneper, Galerie Thomas Schulte, Berlin, Germany 2010 The Wonderful Pig of Knowledge, Galerie Thomas Schulte, Berlin, Germany 2009 Sand/Fans, Art Dubai, United Arab Emirates

Alice Aycock: Sculptures and Drawings, Fredric Snitzer Gallery, Miami, Florida

Some Night Action, Salomon Contemporary Warehouse, East Hampton, New York 2008 Sand/Fans, Salomon Contemporary Warehouse, East Hampton, New York 1998 The Juggler of Memories, John Weber Gallery, New York, New York 1997 Waltzing Matilda, Guild Hall Museum, East Hampton, New York, 1996 Some Stories Are Worth Repeating: Projects 1973-1995, Retrospective, Drawings and Models, John Weber Gallery, New York, New York 1995 New Work, Grand Arts Gallery, Kansas City, Missouri 1994 Historical Survey of Projects 1975-1992, silkscreen prints, John Weber Gallery, New York City 1993 This is an Endless Tale...., Sculpture and Drawings, John Weber Gallery, New York, New York 1991 Alice Aycock: Zeichnungen, Galerie Grita Insam, Wien, Austria 1990 Selected Drawings by Alice Aycock, Yoshiaki Inoue Gallery, Osaka, Japan

Drawings & Sculpture, Insam Gleicher Gallery, Chicago, Illinois

Drawings, John Weber Gallery, New York, New York

Complex Visions: Sculpture and Drawings, Storm King Art Center, Mountainville, New York 1989 Atlantic Arts Center, New Smyrna Beach, Florida 1988 Drawings, John Weber Gallery, New York, New York 1987 The Six of Pentacles: To Know All Manner of Things, Kunstforum, Munich, West Germany

Galerie Walter Storms, Munich, West Germany 1986 Kansas City Art Institute, Kansas City, Missouri

John Weber Gallery, New York, New York

Sitings: Three-fold Manifestation I, Tel Aviv Museum, Tel Aviv, Israel 1985 Resource and Response, The Machine That Makes the World, Sheldon Memorial Art Gallery, Lincoln, Nebraska

Alice Aycock: Selected Drawings and Sculptures, Vanguard Gallery, Philadelphia, Pennsylvania

Madison Art Center, Madison, Wisconsin

New Drawings, Insam Gallery, Vienna, Austria

Serpentine Gallery, London, England 1984 Three New Sculptures, McIntosh/Drysdale Gallery, Houston, Texas

New Work, John Weber Gallery, New York, New York 1983-84 Retrospective of Projects and Ideas 1972-1983, The Thousand and One Nights in The Mansion of Bliss, Part II, The Fortress of Utopia, Wurttembergischer Kunstverein; traveled to Kolnischer Kunstverein, Cologne, Germany; Sculpturenmuseum Glaskasten, Marl, Germany; The Hague Municipal Museum, The Hague, the Netherlands; Kunstmuseum Luzern, Luzern, Switzerland 1983 The Thousand And One Nights In The Mansion Of Bliss, Protetch McNeil Gallery, New York, New York

Klein Gallery, Chicago, Illinois

The Nets Of Solomon, Phase II, Museum of Contemporary Art, Chicago, Illinois 1982 New Work, John Weber Gallery, New York, New York

Projects and Proposals, McIntosh/Drysdale, Houston, Texas

A Theory For Universal Causality (Time/Creation Machines), Lawrence Oliver Gallery, Philadelphia, Pennsylvania 1981 Drawings, Locus Solus, Genoa, Italy

New Work, John Weber Gallery, New York, New York

The Savage Sparkler, State University of Plattsburgh, Plattsburgh, New York 1980 Protetch-McIntosh Gallery, Washington D.C.

The Rotary Lightning Express, P.S.1, Institute for Art and Urban Resources, Long Island City, New York 1979 Explanation, An, Of Spring And The Weight Of Air, The Contemporary Art Center, Cincinnati, Ohio

Flights of Fancy, San Francisco Art Institute, San Francisco, California

The Central Machine, Protetch-McIntosh Gallery, Washington, D.C.

How to Catch and Manufacture Ghosts, and The Machine That Makes The World, John Weber Gallery, New York, New York

Studies in Mesmerism, University Gallery, Amherst, Massachusetts 1978 A Precarious Method For Attacking An Enemy Fortress, Portland Center for Visual Arts, Portland, Oregon

Untitled (Medieval Wheel House) and Untitled (Ramp Sculpture), John Weber Gallery, New York, New York The Angels Continue Turning The Wheels Of The Universe Despite Their Ugly Souls..., Salvatore Ala, Milan, Italy

The Happy Birthday Coronation Piece, “Projects and Proposals”, Muhlenberg College Center for the Arts, Allentown, Pennsylvania

History Of Beautiful May Rose Garden In The Month of January, “Project for PCA 4”, Philadelphia College of Art, Philadelphia, Pennsylvania 1977 Studies For A Town, Project Room, Museum of Modern Art, New York, New York

The True and The False Project Entitled, “The World Is So Full of a Number Of Things”, 112 Greene Street Gallery, New York, New York 1974 Stairs (These Stairs Can Be Climbed), 112 Greene Street Gallery, New York, New York

2014

2013

2012

2011

SELECTED GROUP EXHIBITIONS 2016 2015

Sculpture at Pilane 2016, Pilane Heritage Museum, Sweden Blickachsen 10, Contemporary Sculpture in Bad Homburg and Frankfurt RheinMain in collaboration with Middelheim Museum, Antwerp, Belgium

Alternativa 2015 Vernacularity, Wyspa Institute of Art, Gdansk, Poland 40 Years/40 Artists, University Museum of Contemporary Art, University of Massachusetts Amherst, Massachusetts Maelstrom, Crystal Bridges Museum of American Art, Bentonville, Arkansas Rumeurs du Météore, Fonds Régional D’Art Contemporain de Lorraine, Metz, France In the Beginning/End-States, Curated with Thomas Arnold, Sgorbati Projects, New York, New York Maelstrom, LongHouse Reserve, East Hampton, New York Group show, The Drawing Room, East Hampton, New York Beyond Limits, Sotheby’s at the Chatsworth House, Derbyshire, United Kingdom Drawing Line into Form: Works on Paper by Sculptors, Tacoma Art Museum, Tacoma, Washington Art Public Art Basel Miami Beach, Bass Museum, Miami, Florida Cellblock I & II, curated by Robert Hobbs, Andrea Rosen Gallery, New York, New York Art, Talks and Sensations: The Island/A Game of Life, Abu Dhabi Art, United Arab Emirates ReFocus: Art of the 1980s, Museum of Contemporary Art, Jacksonville, Florida Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art, Brooklyn Museum, New York Wish You Were Here: The Buffalo Avant-Garde in the 1970s, Albright-Knox Art Gallery, Buffalo, New York Ends of the Earth: Art of the Land to 1974, traveling show: April–July 2012 The Museum of Contemporary Art, Los Angeles, California; October–February 2013 Haus der Kunst, Munich, Germany Artists Choose Artists, Parrish Art Museum, Southampton, New York Art=Text=Art: Works by Contemporary Artists University of Richmond Museums, Virginia White Sale, Loretta Howard Gallery, New York, New York 112 on 112: A Nexus of Ideas in the Early 70’s, Salomon Contemporary, New York, New York I Am the Cosmos, New Jersey State Museum, Trenton, New Jersey Seven Artists Inspired by Hannukah, The Jewish Museum, New York, New York

2010

Artists at Max’s Kansas City 1965-1974: Hetero-holics and Some Women Too, Loretta Howard Gallery, New York, New York

Paper, Fredric Snitzer Gallery, Miami, Florida

5+5: New Perspectives, Storm King Art Center, Mountainville, New York

Isole Mai Trovate/ Islands Never Found, traveling show- March-June 2010, Palazzo Ducale, Genoa, Italy; June-November 2010 The State Museum of Contemporary Art, Thessaloniki, Greece; December 2010-March 2011 Museum of Modern Art, Saint Etienne, France Contemplating the Void, Guggenheim Museum, New York, New York 2009 Abstraction for Everyday Life, Museum of Contemporary Art San Diego, La Jolla, California

Four at the Start, Vito Acconci, Laurie Anderson, George Trakas, Jackie Winsor, curated by Alice Aycock, Salomon Contemporary Warehouse, East Hampton, New York

Sites, Whitney Museum of American Art, New York, New York 2008 Here Is Every: Four Decades of Contemporary Art, Museum of Modern Art, New York, New York

Sand: Memory, Meaning, and Metaphor, Parrish Art Museum, Southampton, New York

Decoys, Complexes and Triggers: Feminism and Land Art in the 1970s,Sculpture Center, Long Island City, New York

Paper Trail II: Passing Through Clouds, The Rose Art Museum, Waltham, Massachusetts 2005 North Fork- South Fork: East End Art Now, Parrish Art Museum, Southampton, New York 2001 A Salon for the 21st Century, John Weber Gallery, New York, New York 2000 In Process: Photographs From the 60’s and 70’s, Curt Marcus Gallery, New York, New York American Sculpture of the 20th Century, Monaco, Monte Carlo 1996 Art at the End of the 20th…, Whitney Museum, New York & National Gallery, Athens

Trilogy Art-Nature-Science, Kunsthallen, Odense, Denmark 1993 Different Natures, La Defense, Paris & “la Virreina”, Barcelona 1991-92 Schwerlos, Museum Fur Moderne Kunst, Berlin, Germany 1990 Enclosures and Encounters, Storm King, Mountainville, New York

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1989

Making Their Mark, traveling exhibition to Cincinnati Art Museum; New Orleans Museum of Art, Los Angeles, California; Denver Art Museum, Colorado 1986 Sitings, La Jolla Museum, San Diego, California

An American Renaissance, Museum of Fort Lauderdale, Florida 1985 Sao Paulo Biennale, Sao Paulo, Brazil

Triennale Di Milano, Viale Alemagna, Milano, Italy 1984 Content: A Contemporary Focus, 1974-84, Hirshhorn Museum

Time-4th Dimension in the Visual Arts, Societe Des Expositions, Due Palais Des Beaux-Arts, Brussels, Belgium; travelling to Bordeaux (CAPC), Geneva (Raith Museum), Vienna (Museum

of Modern Art), and London (Barbican Center) 1982 Venice Biennale, Venice, Italy 1981 Aycock, Holste, Singer, Three-person exhibition, The Fort Worth Art Museum, Fort Worth, Texas 1979 Metaphor, New Projects…, Hirshhorn Museum Washington D.C.

Myth & Ritual, Kunsthaus, Zurich, Switzerland

Machineworks, ICA, University of Pennsylvania, Philadelphia

American Drawing in Black & White: 1970-80, Brooklyn Museum, New York

Whitney Biennial-1979, Whitney Museum, New York (also in ‘81) 1978 Venice Biennale, Venice, Italy (also in ‘80, ‘82)

Made by Sculptors, Stedelijk Museum, Amsterdam 1977 Documenta 6, Kassel, Germany (also in ‘87) 1971 26 Contemporary Women Artists, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut

Los Angeles County Museum Sculpture Garden, Los Angeles, CA. Louis Vuitton Foundation, Paris, France.

Louisiana Museum, Humlebaek, Denmark.

Metropolitan Museum of Art, New York, NY. Middelheim Sculpture Park, Antwerp, Belgium.

Museum Ludwig, Koln, Germany.

Museum of Contemporary Art, Chicago, IL. Museum of Contemporary Art, Los Angeles, CA. Museum of Contemporary Art, San Diego, CA. Museum of Modern Art, New York, NY. National Gallery of Art, Washington, D.C. Omi International Arts Center, Ghent, NY. Pérez Art Museum, Miami, FL. Philadelphia Museum of Art, Philadelphia, PA. Power Gallery, Sydney, Australia.

Roanoke College, Roanoke, VA. Sheldon Memorial Art Gallery, Lincoln, NE. Skulpturenmuseum Glaskaten, Marl, Germany.

Solomon R. Guggenheim Museum, New York, NY. Sprengel Museum, Hannover, Germany.

Staatsgalerie, Stuttgart, Germany.

Storm King Art Center, Mountainville, NY. University Gallery Fine Arts Center, University of Massachusetts, Amherst, MA. Walker Art Center, Minneapolis, MN. Whitney Museum of American Art, New York, NY. Yale University Art Gallery, New Haven, CT.

SELECTED COMMISSIONS AND INSTALLATIONS

2010 2009

2008

2007

2005 2004 2003

2002 2001

SELECTED PUBLIC COLLECTIONS Australian National Gallery, Australia.

Brooklyn Museum, Brooklyn, NY. JPMorgan Chase Art Collection, New York, NY. Cincinnati Museum, Cincinnati, OH. Haag Gemeentemuseum, Den Haag, Holland.

Kunstmuseum, Basel, Switzerland.

Laumeier Sculpture Park, St. Louis, MO. Lincoln Center Library for the Performing Arts, New York, New York

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2017

2016

2013 2012

A Series of Whirlpool Field Manoeuvres for Pier 27, Toronto, Canada Commission for Art-in-Buildings at 50 West, New York, New York Whirlpools, MGM National Harbor, Oxon Hill, Maryland Passion/Passiflora Incarnation, Coral Gables, Florida Super Twister, University of Cincinnati, Cincinnati, Ohio The Butterfly Effect, Michigan State University, East Lansing, Michigan

1998 1997

1996

The Game of Flyers Part Two, Dulles Airport, Washington, D.C. Accelerations, Western Connecticut State University, Danbury, Connecticut Entangling/Disentangling Space, Elizabeth Hall, Weber State University, Ogden, Utah Sculpture for Montbello Recreation Center, Montbello, Colorado A Startling Whirlwind of Opportunity, Johnson-Ward Pedestrian Mall at the University of Tennessee, Knoxville, Tennessee Whirls and Swirls and a Vortex on Water, Central Broward Regional Park County, Lauderhill, Florida On the Interaction of Particles of Thought, Tunxis Community College, Farmington, Connecticut Ghost Ballet for East Bank Machineworks, Nashville, Tennessee A Little Cosmic Rhythm, 654 Madison Avenue, New York, New York (relocated to Lincoln Center, New York, New York) The Uncertainty of Ground State Fluctuations, Clayton, Missouri Strange Attractor for Kansas City, Kansas City International Airport, Kansas City, Missouri Starsifter, Galaxy NGC 4314, Ramapo College, Mahwah, New Jersey Swing Over, General Services Administration Fallon Building, Baltimore, Maryland Spindizzy, Rowland Government Center, Waterbury, Connecticut Dallas Dahlia, Dallas Police Headquarters, Dallas, Texas Maze 2000, University of South Florida, Tampa, Florida What the Traveler Needs to Know for Mechanical Operations on the Stars, US Airways, Terminal F, Philadelphia International Airport, Philadelphia, Pennsylvania The Star Sifter, Terminal One, JFK International Airport, Queens, New York Fantasy Sculpture for the Orchard, Kunst in Kattenbroek, Amersfoortse, Culturele Raad, The Netherlands Tuning Fork Oracle, Center for the Arts and Planning, Mason Gross School of the Arts, Rutgers University, New Brunswick, New Jersey Functional and Fantasy Stair and Cyclone Fragment, San Francisco Main Library, San Francisco, California

1995 1993 1993

1990

1988 1987 1986

1984 1983 1982

1980

1976 1975

Project for East Lobby Ballroom, Sacramento Convention Center, Sacramento, California East River Roundabout, 60th Street East River Pavilion, New York, New York Waterworks Installation, University of Nebraska Medical Center, Omaha, Nebraska Tree of Life Fantasy, Synopsis of the Book of Questions Concerning the World Order and/or the Order of Worlds, University of Illinois at Urbana-Champaign (originally built for Abington Art Center, Jenkintown, Pennsylvania, 1990) Summaries of Arithmetic Through Dust, Including Writing Not Yet Printed, University of Michigan, Ann Arbor, Michigan Project for the107th Police Precinct, Queens, New York Three-Fold Manifestation II, Storm King Art Center, Mountainville, New York (originally installed at Doris Freedman Plaza, New York, New York, 1987) The Universe Wheel, SUNY Buffalo, Buffalo, New York The Islands Of The Rose Apple Tree Surrounded By The Oceans Of The World For You, My Darling, Western Washington University, Bellingham, Washington The Tower Of Babel, Buhsnami Sculpture Garden, Texas The Hundred Small Rooms, Laumeier Sculpture Park, St. Louis, Missouri (destroyed) The House of Stoics, Environment and Sculpture: The International Contemporary Sculpture Symposium, Lake Biwa, Japan (destroyed) The Solar Wind, Roanoke College, Salem, Virginia Nets of Solomon, Parco di Villa Celle, Pistoia, Italy The Miraculating Machine in The Garden (Tower of the Winds), Douglass College, New Jersey The Large Scale Dis/Integration Of Micro-Electronic Memories, Battery Park City Landfill, New York (destroyed) The Game of Flyers, Washington Public Arts, Washington D.C. (destroyed) Collected Ghost Stories from The Workhouse, University of South Florida, Tampa, Florida (destroyed) Circular Building, Silver Springs, Pennsylvania (destroyed) Simple Network of Underground Wells And Tunnels, Projects in Nature, Merriewold West, Far Hills, New Jersey (original destroyed, permanently reconstructed at Omi International Arts Center, Ghent, New York, 2012)

1974

1973

1972

Walled Trench/Earth Platform/Center Pit, Gibney Farm, New Kingston, Pennsylvania (destroyed) Williams College Project, Williams College Museum of Art, Williamstown, Massachusetts (destroyed) Low Building With Dirt Roof (For Mary), Gibney Farm, New Kingston, Pennsylvania (original destroyed, permanently reconstructed at Storm King Art Center, Mountainville, New York, 2010) Maze, Gibney Farm, New Kingston, Pennsylvania (destroyed)

SELECTED PUBLICATIONS Lippard, Lucy, Six Years: The Dematerialization of the Art Object from 1966-72, Praeger, New York, 1972, p. 208 Sondheim, Alan, editor, Individuals: Post-Movement Art in America, Work 1972-1974, by Alice Aycock, pp.

104-121 Lippard, Lucy, From the Center, Feminist Essays on Women’s Art, E.P. Dutton and Co., Inc., New York, 1976, pp.

38-42, 139-148 Aycock, Alice, Project Entitled, ‘The Beginnings of A Complex...’

(1976-1977): Notes, Drawings, Photographs, Lapp Princess Press, Ltd. in association with Printed Matter, Inc., 1977 Lucie-Smith, Edward, Art in The Seventies, Cornell University Press, Ithaca, New York, 1980 112 Workshop/112 Greene Street, History, Artists & Artworks, edited by Robyn Brentano with Mark Savitt, New York University Press, New York, 1981, p 18.

Diamonstein, Barbaralee, editor, Artists and Architects Collaboration, Whitney Library of Design, WatsonGuptill Publications, NY, 1981, pp. 90-95, 152-155 Foster, Hal, editor, The Anti-Aesthetic: Essays on Postmodern Culture, Bay Press, Washington, 1983, p. 39 Lippard, Lucy, Overlay, Contemporary Art and the Art of Prehistory, Pantheon Books, New York, 1983 Sonfist, Alan, editor, Art in The Land: A Critical Anthology of Environmental Art, E.P. Dutton, Inc., New York, 1983 Stevens, Andrew, Five Years of Collaboration and Experimentation, Tandem Press, Elvehjem Museum of Art,University of Wisconsin-Madison, 1994 Art in Arcadia, The Gori Collection at Celle, with an introduction

by Giuliano Gori and essays by Renato Barilli, Francesco Gurrieri, Robert Hobbs, Knud W. Jensen, Pierre Restany, Torino: Umberto Allemandi, Italy, 1994

Fineberg, Jonathan, Art Since 1940: Strategies Of Being, Harry N. Abrams, Inc., Publishers, New York, NY, 1995 Stiles, Kristine and Selz, Peter, Theories and Documents of Contemporary Art, University of California Press, California, 1996, pp. 558-560 Archer, Michael, Art Since 1960 (World of Art), Thames and Hudson Ltd, London, pp.97-98, 1997 Davies, Hugh and Onorato, Ronald, Blurring the Boundaries: Installation Art 1969-1996, Museum of Contemporary Art, San Diego, D.A.P./ Distribution Art Publishers, New York, New York, pp.22, 108, and 179, 1997 Schneckenburger, Manfred, Art of the 20th Century, Taschen, Ingo F. Walther, 1998 Boettger, Suzaan, Earthworks: Art and Landscape of the Sixties, University of California Press, Berkeley and Los Angeles, pp. 148, 150, 242, 2002 Hobbs, Robert, Alice Aycock: Sculpture and Projects, M.I.T. Press, Cambridge, Massachusetts, 2005 (hardcover monograph) Harper, Glenn and Moyer, Twylene (ed.), A Sculpture Reader: Contemporary Sculpture Since 1980, isc Press, Hamilton, NJ, pp. 224-231, 2006 Varnedoe, Kirk, Pictures of Nothing: Abstract Art Since Pollock, Princeton University Press, Princeton, NJ & Oxfordshire, UK, p. 149, 2006 Treib, Mark (ed.), Spatial Recall: Memory in Architecture and Landscape, Routledge, New York, NY and Oxon, United Kingdom, 2009 Butler, Cornelia and Schwartz, Alexandra (ed.), Modern Women: Women Artists at the Museum of Modern Art, The Museum of Modern Art, NY, pp. 412-427, 2010 Rubin, William, A Curator’s Quest: Building the Collection of Painting and Sculpture of The Museum of Modern Art, 1967-1988, Overlook Duckworth, 2012 Butler, Cornelia, From Conceptualism to Feminism: Lucy Lippard’s Numbers Shows 1969-74, Afterall Books in association with the Academy of Fine Arts Vienna, the Center for Curatorial Studies, Bard College and Van Abbemuseum, 2012 Fineberg, Jonathan, Alice Aycock Drawings: Some Stories are Worth Repeating, Yale University Press, 2013 Filippone, Christine, Science, Technology, and Utopias: Women artists and Cold War America, Routledge, 2016

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