immediations 2013 - The Courtauld Institute of Art

immediations 2013

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immediations

immediations 2013

immediations 2013

Postgraduate Research journal

immediations

Vol. 3, no. 2 (2013)

immediations 2013In this issue:

‘Emptiness as a protagonist’. Memory and Melancholy in Gabriele Basilico’s Milano. Ritratti di fabbriche (1978-1980)
Alexandra Tommasini

Art That Does Not Make Noise? Mary Bauermeister’s Early Work and Exhibition with Karlheinz Stockhausen
Irene Noy

Steining Steinberg, Steinberging Stein: From Tree to Landscape
Rebecca K. Wright

Problems and Tensions in the Representatino of the Sapeurs, as Demonstrated in the Work of Two Twenty-first Century Italian Photographers
Elizabeth Kutesko

Conversation
Re-Envisioning Knowledge: An Interview with Joanna Woodall and Eric Jorink

Honorary Address
Carlo Ginzburg

Cover information

An echogram from East Antarctica is superimposed on an echocardiogram of the heartbeat of the pilot who flew the plane. These imaging techniques, radar and ultrasound, are very similar.

The echogram is a computer-generated image of Antarctican ice and bedrock. It was made by sending a radar signal rom the underside of the wing of an aeroplane, down through the ice and back up to a computer in the plane. The total scrolled image is a cross-section of the ice and land beneath that particular flight pattern. When I was first shown these images by a glaciologist in Antarctica, he said that they reminded him of works of mine made from echocardiograms of the heart: the echograms were like the heartbeat of the Earth. It was this statement which prompted me to bring the pilot who flew these imaging flights down to Central Middlesex hospital, where I was doing a project in collaboration with a cardiac unit. They kindly made an echocardiogram scan of his heart. I have superimposed a part of this onto the echogram image from Antarctica.

About the artist

Chris Drury was born in Colombo, Sri Lanka, in 1948 and graduated from Camberwell College of Arts in 1970. His career in environmental art began five years later, following a walk in the Canadian Rockies with the artist-photographer Hamish Fulton. In the years that followed, Drury began to create the eclectic, highly personal sculptural responses to the environment that would define his artistic practice, and secure his international reputation. His work includes ephemeral assemblies of natural materials, in the mode associated with Andy Goldsworthy, as well as landscape art, works on paper, and indoor installations. Drury’s recent projects include a residency at The Niroz Foundation in South Africa, a British Antarctic Survey residency in Antarctica, and an exhibition, titled Mushrooms | Clouds, about place, ecology and politics at The Nevada Museum of Art. Over the past decade, Drury has collaborated on a series of projects with clinicians, making links between body systems and the systems of planet Earth.

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