Daniel "Dan" Graham is an American artist and curator. Graham grew up in New Jersey. In 1964 he began directing the John Daniels Gallery in New York, where he put on Sol LeWitt's first one-man show, in groups shows, exhibited works of Donald Judd, Dara Birnbaum, Dan Flavin and Robert Smithson. Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on rock music, Dwight D. Eisenhower's paintings, Dean Martin's television show, his earliest work dealt with the magazine page, predating but associated with Conceptual art. His work focuses on cultural phenomena, incorporates photography, performance art and mirror structures, he works in New York. Dan Graham was born in Urbana, the son of a chemist and an educational psychologist; when he was 3, Graham moved from Illinois to Winfield Township, New Jersey, to nearby Westfield when he was 14. He is self-educated. During his teens, reading included Margaret Mead, Claude Lévi-Strauss, the literary critic Leslie Fiedler and the French Nouveau Roman writers.
He wanted to be a writer, loved rock music which he wrote about critically and because he couldn't afford art supplies his early art took the form of magazine "articles". Graham began his art career in 1964, at the age of 22, when he founded the John Daniels Gallery in New York, he worked there until 1965. During his time at the gallery, he exhibited works by minimalist artists such as Carl André, Sol LeWitt—LeWitt's first solo gallery show, Donald Judd, Robert Smithson, Dan Flavin and Ward Jackson. In the past thirty years, Dan Graham has proved himself to be a wide-ranging artist, his work consists of performance art, video and photography. Few of Graham's works have been exhibited in the United States. In fact, the only major work commissioned in the U. S. in the last decade was the Rooftop Urban Park Project, in which he designed the piece Two-Way Mirror Cylinder Inside Cube and Video Salon. Some other commissions in the U. S. are Yin/Yang at MIT, the labyrinth at the Minneapolis Sculpture Garden, at Middlebury College, in Madison Square Park.
Graham's work was always based within conceptual art practice. Early examples were photographs and numerological sequences printed in magazines, for example Figurative and Schema. With the latter Graham draws on the actual physical structure of the magazine in which it is printed for the content of the work itself; as such the same work changes according to its physical/structural location within the world. His early breakthrough-work however was a series of magazine-style photographs with text, Homes for America, which counterpoints the monotonous and alienating effect of 1960's housing developments with their supposed desirability and the physical-geometry of a printed article. Other works include Detumescence. After this Graham broadened his conceptual practice development with performance, film and sculpture including Rock My Religion and Performer/Audience/Mirror, his installations such as Public Space/Two Audiences or Yesterday/Today further inspired his move to the indoor and outdoor pavilions he most designs.
His many conceptual pavilions including Two Way Mirror with Hedge Labyrinth and Two Way Mirror and Open Wood Screen Triangular Pavilion have increased his popularity as an artist. Dan Graham's first sculpture building project was Café Bravo at Kunst-Werke Institute for Contemporary Art in Berlin. After a lecture at the Berlin University of the Arts, Klaus Biesenbach invited Dan Graham to conceive the pavilion for Kunst-Werke, which Biesenbach founded, he assisted Graham in the realization of the project. In addition to his visual works, he has published a large array of speculative writing. In Sarah Lehrer-Graiwer's publication Pep Talk in 2009, Graham gave "Artists' and Architects' Work That Influenced Me": Michael Asher, Larry Bell, Itsuko Hasegawa, LeWitt, Roy Lichtenstein, Robert Mangold, Bruce Nauman, Claes Oldenburg, Kazuo Shinohara, Michael Snow, Mies van der Rohe and Robert Venturi. Writer Brian Wallis has said that Graham’s works “displayed a profound faith in the idea of the present, sought to comprehend post-war American culture through imaginative new forms of analytical investigation, facto-graphic reportage, quasi-scientific mappings of space/time relationships.”
Graham's work has been influenced by the social change of the Civil Rights Movement, The Vietnam War, the Women's liberation movement as well as many other cultural changes. These prolific events and changes in history affected minimalist movements. Like LeWitt, Morris and Flavin, Graham has worked at the intersection of minimalism and conceptual art. Graham prints, his prints of numeric sequences, words and graphics reflect his minimalist qualities. His works have become conceptual, examine the relationships between interior space, exterior space, the perception of the viewer when anticipated boundaries are changed. Soon after he left the John Daniels Gallery, Dan Graham started a series of photographs which started in the sixties and continues into the present. Of his magazine work, Graham said, There was this whole idea of defeating monetary value in the air in the ’60s, so my idea was to put things in magazine pages where they’d be disposable with no value. And, a hybrid because the work was a combination of art criticism
Karl Gunnar Vougt Pontus Hultén was a Swedish art collector and museum director. Pontus Hultén is regarded as one of the most distinguished museum professionals of the twentieth century, he was the pioneering former head of the Museum for modern art in Stockholm and in the 1970s he was invited to participate in the creation of the Centre Georges Pompidou in Paris, where he was its first director in 1974-1981. Pontus Hultén was born in Stockholm. In 1958, he curated the exhibition Constructivist Design at Paris. In 1960, Hultén was named head of the Moderna Museet, shaping the museum into a powerhouse of modern art. Under Hultén, the Moderna Museet was to be one of the most dynamic contemporary art institutions of the 1960s. During his tenure, the museum played a seminal role in bridging the gap between Europe and America, staging numerous exhibitions with works by early modern artists like Vincent van Gogh, modernists Paul Klee, René Magritte, Jackson Pollock and Wassily Kandinsky, Swedish artists including Sven Erixson, Bror Hjorth and Sigrid Hjertén.
Hultén organized theme exhibitions including 4 Americans in 1962 with pop artists Robert Rauschenberg and Jasper Johns, did solo exhibitions with Claes Oldenburg, Andy Warhol and Edward Kienholz. Followed in 1964 by one of the first European surveys of American Pop art. In return, Hultén was invited to curate an exhibition at New York's Museum of Modern Art in 1968: his first historical and Interdisciplinary show, it explored the machine in art and industrial design. Following Önskemuseet in the winter of 1963-1964, Hultén persuaded the Swedish government a one-time grant of 5 million kronor to help the museum expand its collection with works by Ernst Ludwig Kirchner, Max Ernst, Joan Miró, Salvador Dalí, Piet Mondrian and Pablo Picasso; the museum won international fame in 1966 with the exhibition SHE – A Cathedral, which consisted of a gigantic sculpture of a reclining woman whose womb was an entrance for visitors who could experience various things inside. The artists behind the work were Jean Tinguely and Pontus Hultén himself.
The 1968 exhibition Andy Warhol, was Andy Warhol's first retrospective ever. According to author and art critic Carl-Johan Malmberg, " understood what good art was way before others did, was therefore way ahead of his times." In 1973, Hultén left Stockholm to enter one of the most significant periods of his career. As founding director of the new museum of modern art at the Centre Georges Pompidou, which opened in 1977, Hultén organized large-scale shows that examined the making of art's history through the links between artistic capitals: Paris-Berlin, Paris-Moscow, Paris-New York, Paris-Paris included not only art objects that ranged from Constructivist to Pop, but films, posters and reconstructions of exhibition spaces such as Gertrude Stein's salon. Multivalent and interdisciplinary, these shows marked a paradigm shift in exhibition making, entering the collective memory of generations of artists and critics as few others have. Hultén's career after Centre Pompidou reflected the same commitment to working with artists that has caused so many to remember him fondly.
Invited by Robert Irwin and Sam Francis to establish the Museum of Contemporary Art. Hultén went to Los Angeles in 1980, after four years of infrequent exhibitions and much fundraising, returned to Europe. In 1984-1990, he was in charge of Palazzo Grassi in Venice, in 1985, he founded, along with Daniel Buren, Serge Fauchereau, Sarkis, the Institut des Hautes Études en Arts Plastiques in Paris, which Hultén described as a cross between the Bauhaus and Black Mountain College. In 1991-1995, Hultén was the Artistic director of the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland in Bonn, he became the director of the Jean Tinguely Museum in Basel, where he curated the inaugural exhibition. Of Pontus Hultén, Niki de Saint Phalle once said, " the soul of an artist, not of a museum director."Pontus Hultén is known for selling exhibition copies of Andy Warhol's boxes. These boxes were copies created around 1990, in the south of Sweden, on the direction of Pontus Hultén which he sold for millions.
Some were given to the Swedish Modern Museum. These boxes have been "downgraded" by The Andy Warhol Art Authentication Board. Pontus Hultén defined the museum as an elastic and open space, hosting a plethora of activities within its walls: lectures, film series and debates. Hultén always maintained a special dialogue with artists, establishing lifelong friendships with Sam Francis, Jean Tinguely, Greg Colson and Niki de St. Phalle, whose careers he not only followed but shaped from the start. Hultén devoted his life to art and being an avid art collector, he donated his private collection of 700 works to the Moderna Museet in November 2005. One of his requests was that the donated works should not be hung as part of the collection, but should be accessible to the public in a user-friendly viewing storehouse – a Hulténesque solution that would give the public the freedom to browse among the masterpieces as in an art library. After retiring, he lived his last years in Stockholm where he died. Evans, Angela Care.
"Sutton Hoo and Snape and Valsgärde". In Hultén, Pontus & von Plessen, Marie-Louise; the true story of the Vandals. Museum Vandalorum Publications. 1. Värnamo: Museum Vandalorum. Pp. 48–64. ISSN 1650-5549. "Pontus Hultén, former director of the Moderna Museet, has died" Haraldsson, Anders: "Mod
Sérgio de Camargo
Sérgio de Camargo was a sculptor and relief maker, born in Rio de Janeiro, Brazil. De Camargo studied at the Academia Altamira in Buenos Aires under Emilio Pettoruti and Lucio Fontana. Camargo studied philosophy at the Sorbonne in Paris. On a protracted trip through Europe in 1948, Camargo met Brâncuși, Henri Laurens and Georges Vantongerloo. Sérgio de Camargo began to work in sculpture and his early pieces are reminiscent of Picasso and H. Laurens. Returning to Brazil in 1950, Camargo came into contact with Brazilian Constructivists. In 1952-53 he again returned to Europe and went to China in 1954. Between 1961 and 1974 Sérgio de Camargo remained in Paris, where he became in 1963 as a member of the Groupe de Recherche d’Art Visuel. During that period he concentrated on structuring monochrome white surfaces some in "Polyhedral Volumes of Mutable Readings" using parallelepiped shapes and others with cylindrical wooden reliefs, in both cases proposing the play of lights and shadows alternating between order and chaos and emptiness.
In 1963 received the International Sculpture Prize of the Paris Biennale. After this period of work, Sérgio de Camargo returned to Brazil. There he contributed a monumental element to Oscar Niemeyer's Foreign Ministry in Brasília - a rhythmically structured 25-m wall. During the late 1960s Sérgio de Camargo showed work at numerous international exhibitions, marking the high point of the recognition accorded de Camargo's work outside Brazil. Sérgio de Camargo died in Rio de Janeiro in 1990; the Tate Gallery in London has one of de Camargo's work in their permanent collection. Brecheret, Vítor. Brazilian sculpture from 1920 to 1990. Washington, DC: Cultural Center, Inter-American Development Bank, 1997. Brito, Ronaldo. Sergio Camargo: Espacos da arte brasileira. São Paulo: Cosac & Naify Edições, 2000
The Singapore Biennale is a contemporary art biennale in Singapore. The first Singapore Biennale operated as one of a lineup of Singapore 2006 events. Fumio Nanjo, Director of Tokyo's Mori Art Museum, has been reappointed Artistic Director of the Singapore Biennale 2008. Working with Mr Nanjo on Singapore Biennale 2008 are two curators: independent curator Joselina Cruz a curator at the Singapore Art Museum and the Lopez Museum in Manila; the first Singapore Biennale employed the theme of "Belief", commencing on 4 September 2006 and ended on 12 November 2006. The event was held in various locations throughout Singapore, it featured 195 artworks, from collectives from 38 different countries. The event was part of the Singapore 2006 events which included the 2006 Annual Meetings of the International Monetary Fund and the World Bank Group held at the Suntec Singapore International Convention and Exhibition Centre; the event was organised by the National Arts Council in conjunction with the National Heritage Board.
The first and second editions of the Biennale were organised by the National Arts Council. For the third edition, Singapore Art Museum - Singapore's contemporary art museum - came on board as a venue organiser. In the fourth and fifth editions, the National Arts Council of Singapore appointed the Singapore Art Museum as the Singapore Biennale organiser. Under the direction of the Singapore Art Museum, the Biennale has focused on deepening awareness and understanding of Southeast Asian contemporary art, attracted over 500,000 visitors over 4 months; the 2016 edition of the Singapore Biennale takes place from 27 October 2016 to 26 February 2017, is titled "An Atlas of Mirrors". Exploring shared histories and current realities within and beyond the region, Singapore Biennale 2016 will be a constellation of artistic perspectives that provide unexpected ways of seeing the world and ourselves; the international contemporary art exhibition will feature site-specific and never seen before contemporary artworks by more than 60 artists across Southeast Asia, East and South Asia.
The Biennale aims to cultivate deeper public engagement with contemporary visual arts through its accompanying public engagement and education programmes, that include artist and curator talks and tours, school visits and workshops, community days. Singapore Art Museum including SAM at 8Q Asian Civilisations Museum National Museum of Singapore The Peranakan Museum Singapore Management University 1st Singapore Biennale - "Belief" - The first Singapore Biennale featured different types of contemporary art including drawings, installations, new media, photography, publishing, wall painting, furniture. Artists of note included Ilya and Emilia Kabakov, Fujiko Nakaya, Jenny Holzer, Mariko Mori, Shigeru Ban, Yayoi Kusama, Jenny Holzer and Takashi Kuribayashi; the Curatorial Team for the Singapore Biennale was headed by renowned curator Fumio Nanjo. The other curators involved were Sharmini Pereira and Eugene Tan. 2nd Singapore Biennale - "Wonder"- The second Singapore Biennale, held over 8 weeks in 2008, was again helmed by Fumio Nanjo, this time working with the curatorial team of Joselina Cruz and Matthew Ngui.
Under the theme of'Wonder', the Biennale invited people to be'surprised and tantalised' by contemporary art. Foregrounding beauty and aesthetic experience, the exhibition used the other meaning of the title to encourage questioning and debate. 66 artists from 36 countries participated in the exhibition. 3rd Singapore Biennale - "Open House" - Led by Matthew Ngui as Artistic Director and curators - Russell Storer and Trevor Smith, the third Biennale featured 60 artists from 30 countries. Held over nine weeks, the Singapore Biennale was titled'Open House', examining multiple perspectives and myriad creative approaches to questions of how we move across borders, see other points of view, form connections with others. 4th Singapore Biennale - "If the World Changed" - Featuring works by 82 artists and artist collectives from 13 countries, the fourth Biennale has harnessed the energy of the Southeast Asian region to bring to the fore unique practices and myriad perspectives of artists from this part of the world.
Drawing on the combined expertise of its team of 27 curators from Southeast Asia, a significant 93% of works are by artists or collectives from the region, resulting in the strongest Asian representation to date. 5th Singapore Biennale - "An Atlas of Mirrors" - Retaining a collaborative curatorial framework, the fifth Biennale is led by a curatorial team of SAM Curators Ms. Joyce Toh, Ms. Tan Siuli, Mr. Louis Ho, Ms. Andrea Fam and Mr. John Tung, as well as four Associate Curators who are invited by SAM to work together; the four Associate Curators are Ms. Suman Gopinath - based in India; the curatorial team will work with SB2016 Creative Director, Dr. Susie Lingham, who shapes and facilitates curatorial discussions, oversees all SB2016 creative content. Singapore Art Museum Singapore Arts Festival Singapore Art Show Culture of Singapore Official Event Website National Arts Council Website
Catherine Millet is a French writer, art critic and founder and editor of the magazine Art Press, which focuses on modern art and contemporary art. Born in Bois-Colombes, she is best known as the author of the 2002 memoir The Sexual Life of Catherine M.. The book was reviewed by Edmund White as "the most explicit book about sex written by a woman". In 2008 she published a sequel of sorts called Jour de Souffrance, translated to English in 2009 as Jealousy: The Other Life of Catherine M, she is married to novelist Jacques Henric. In April 2016, Catherine Millet received the Prix François Morellet from Régine Catin, Laurent Hamon and Philippe Méaille. Awarded during the National Days of Book and Wine, in partnership with the Château de Montsoreau-Museum of Contemporary Art, it rewards a personality for his commitment and his writings in favor of contemporary art. On December 2017, during an interview on the French radio France Culture she claimed "I regret not having been raped, because I could show that you can recover from it".
In January 2018 she co-authored a public letter to Le Monde newspaper criticising the #MeToo movement.. The letter was signed by over a hundred French women, including actress Catherine Deneuve, generated considerable controversy. Officer of the Order of Arts and Letters Books That Changed My Life PEN World Voices at the New York Public Library May 4, 2008 Guardian Unlimited Book: Interview, Catherine Millet The Actual Lives of Catherine Millet and Robert Storr
Henri-Robert-Marcel Duchamp was a French-American painter, chess player, writer whose work is associated with Cubism and conceptual art. He was not directly associated with Dada groups. Duchamp is regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art, he had a seminal influence on the development of conceptual art. By World War I, he had rejected the work of many of his fellow artists as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to use art to serve the mind. Marcel Duchamp was born at Blainville-Crevon in Normandy and grew up in a family that enjoyed cultural activities; the art of painter and engraver Émile Frédéric Nicolle, his maternal grandfather, filled the house, the family liked to play chess, read books and make music together.
Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of: Jacques Villon, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter; as a child, with his two elder brothers away from home at school in Rouen, Duchamp was closer to his sister Suzanne, a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille, in Rouen. Two other students in his class became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont. For the next eight years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school, he won a prize for drawing in 1903, at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist.
He learned academic drawing from a teacher who unsuccessfully attempted to "protect" his students from Impressionism, Post-Impressionism, other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities; that summer he painted landscapes in an Impressionist style using oils. Duchamp's early art works align with Post-Impressionist styles, he experimented with classical subjects. When he was asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but individual, he studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp sold cartoons which reflected his ribald humor. Many of the drawings use visual puns, or both.
Such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his work. Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire—who was to become a friend—criticized what he called "Duchamp's ugly nudes". Duchamp became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d'Automne, Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living. In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay, Fernand Léger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, Alexander Archipenko.
Poets and writers participated. The group came to be known as the Section d'Or. Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery. During this period Duchamp's fascination with transition, change and distance became manifest, as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art, his painting Sad Young Man on a Train embodies this concern: First, there's the idea of the movement of the train, that of the sad young man, in a corridor and, moving about. There is the distortion of the young man—I had called this elementary parallelism, it was a formal decomposition. The object is stretched out, as if elastic; the lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question
Daniel Buren is a French conceptual artist. Sometimes classified as a Minimalist, Buren is known best for using regular, contrasting colored stripes in an effort to integrate visual surface and architectural space, notably on historical, landmark architecture. Among his chief concerns is the "scene of production" as a way of presenting art and highlighting facture; the work is site-specific installation, having a relation to its setting in contrast to prevailing ideas of an autonomous work of art. He graduated from the Ecole Nationale Supérieure des Métiers d'Art in Paris, in 1960, he began painting in the early 1960s. However, by 1965 – a year he spent in the Grapetree Bay Hotel on the Caribbean island of Saint Croix where he was contracted to make frescoes – he had abandoned traditional painting for the 8.7 cm-wide vertical stripes, which alternated between white and one color, which have become his signature. Working on-site, he strives to contextualise his artistic practice using the stripe – a popular French fabric motif – as a means of visually relating art to its situation, a form of language in space rather than a space in itself.
Denoting the trademark stripes as a visual instrument or "seeing tool," he invites viewers to take up his critical standpoint challenging traditional ideas about art. He began producing unsolicited public art works using striped awning canvas common in France: he started by setting up hundreds of striped posters, so-called affichages sauvages, around Paris and in more than 100 Metro stations, drawing public attention through these unauthorised bandit-style acts. In June 1970 he put stripes on the back of Los Angeles bus benches without permission. In another controversial gesture he blocked the entrance of the gallery with stripes of his first solo exhibition. Expanding on this idea, in 1971 he created a six-foot banner, Peinture-Sculpture, to divide the Solomon R. Guggenheim Museum's rotunda in New York. For his first New York City solo show in 1973, Buren suspended a set of nineteen black and white striped squares of canvas on a cable that ran from one end of the John Weber Gallery to the other, out the window to a building on the other side of West Broadway and back.
Nine pieces were inside nine outside. In 1977 Buren cut up one of his artworks from 1969 and made a new work, designating that the sections should hang in the corners of a wall, whether that wall was empty, had doors or windows, or had other artworks hanging on it; as a conceptual artist, Buren was regarded as visually and spatially audacious, objecting to traditional ways of presenting art through the museum-gallery system while at the same time growing in hot demand to show via the same system. In the late 1960s he connected to the ideas of space and presentation arising through deconstructionist philosophies that had as their background the May 1968 student demonstrations in France. Between 1966 and 1967, he joined forces with fellow artists Olivier Mosset, Michel Parmentier, Niele Toroni to form the BMPT, whose intention was to reduce paintings to the most basic physical and visual elements through the systematic repetition of motifs. Referred to as "the stripe guy," Buren expresses his theme in paint, laser cut fabric, light boxes, transparent fabrics and ceramic cup sets.
His stripes are displayed in private homes, public places, museums worldwide. Since the 1950s he has amassed some 400,000 of what he calls photos-souvenirs, documenting his work and travels around the globe. From 1960 on, Buren designed a number of permanent site-specific installations in the United States, Belgium and Germany. In 1986 he created a 3,000-square-meter sculpture in the great courtyard of the Palais Royal, in Paris: Les Deux Plateaux, more referred to as the Colonnes de Buren; this provoked an intense debate over the integration of historic buildings. In 1993, Buren was commissioned to design the work in situ, Poser/Déposer/Exposer, for the Café Richelieu at the Louvre in collaboration with Jean-Pierre Raynaud. Since the 1990s, Buren's work has become more architectural, he creates new spaces within existing environments such as city centers, public parks, entire museums, beaches. For Green and White Fence Buren installed a functional fence sculpture, consisting of fence posts at four-meter intervals, painted green and white 87-millimeter stripes along a single ridge line: Since the first part's installation, the artist’s theme has been extended until, over time, it will become the only form of fence on Gibbs Farm in New Zealand.
In 2004, for the occasion of the opening of the French cultural year in China, Buren exhibited in his in situ installation De l'azur au Temple du Ciel at Temple of Heaven in Beijing. A Rainbow in the Sky consisted of thousands of colorful pennant flags hovering over a busy pedestrian square in Pasadena, California for two months. Buren collaborated with Hermès on a number of occasions; the artist inaugurated Hermès' contemporary art gallery La Verrière in Brussels in 2000 by transforming its walls with bold graphics and his trademark stripes, opened the Atelier Hermès in Dosan Park, Seoul with his Filtres colorés, coloured panels that diffused the light to dramatic effect. In 2010, he created "Photo souvenirs