Alice Aycock Drawing Circling Round the Ba, 1985, Framed 64" x 74"
Alice Aycock Drawing Circling Round the Ba, 1985, Framed 64" x 74"
Alice Aycock (b. 1946) Circling 'Round the 'Ba 1985 Pastel and Charcoal on Paper Black and White Hand Painted Frame 64" x 74" Signed and inscribed lower right.
Provenance: The Max Protetch Gallery, New York Private Swiss and American Collection
Information on the Artist whose work resides in major museum collections around the world: Alice Aycock (born November 20, 1946) is an American sculptor and installation artist. She was an early artist in the land art movement in the 1970s, and has created many large-scale metal sculptures around the world. Aycock's drawings and sculptures of architectural and mechanical fantasies combine logic and imagination, and intermingle science and faith. (Source: the MoMA website and Wikipedia) Source: Marlborough Gallery, NY: Alice Aycock is an American born sculptor and installation artist. Aycock was born in Harrisburg, Pennsylvania in 1946. She attended Douglas College in Brunswick, New Hampshire where she graduated with a bachelor of arts degree. She then went to New York City to get her masters at Hunter College. Aycock's drawings and sculptures of architectural and mechanical fantasies exist as “intersections of logic and imagination.” Her early work focused on associations with the environment, where her pieces were often built into or onto the land. She has created installations at the Museum of Modern Art, New York (1977), the San Francisco Art Institute (1979), Museum of Contemporary Art, Chicago (1983), and outside the United States, including Israel, Germany, The Netherlands, Italy, Switzerland, and Japan and has had two major retrospectives—the first surveyed her work between 1972 and 1983, organized by the Wurttembergischer Kunstverein in Stuttgart, and the other retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY.
In September 2005 the MIT Press published the artist’s first hardcover monograph, entitled Alice Aycock, Sculpture and Projects, authored by Robert Hobbs. In April 2013, a retrospective exhibition of her drawings, Alice Aycock Drawings: Some Stories Are Worth Repeating, opened at the new Parrish Art Museum in Water Mill, New York, coinciding with the Grey Art Gallery in New York City, and traveled to the University Art Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. Aycock’s public sculptures are seen throughout the United States, including a permanent suspended work completed in 2012 at the Dulles International Airport, the San Francisco Public Library, a large-scale sculptural roof installation for the East River Park Pavilion on 60th Street in NYC, and “Star Sifter” for Terminal 1 at John F. Kennedy International Airport. Source: Galerie Thomas Schulte, Berlin: Alice Aycock was born in Harrisburg, Pennsylvania, in 1946. In the 1970’s she was one of the youngest members of the circle of New York artists around Gordon Matta-Clark and the 112 Greene Street Gallery. Aycock first gained international recognition with her contribution to Documenta 6 (1977), The Beginnings of a Complex… . In her often large-scale sculptures and installations Aycock channels various themes; from cybernetics, phenomenology, physics, post-structuralism, information-overload, scientific discoveries, and computer programming to create works that sit on the cross-section between architecture and sculpture, eliciting both intellectual and emotional responses from their viewers. Alice Aycock studied at Douglass College in New Brunswick and at Hunter College in New York City. She has received numerous awards, including the Lifetime Achievement in Contemporary Sculpture Award from the International Sculpture Center in Hamilton (2017), the International Association of Art Critics Award (2014), the Anonymous Was a Woman Award (2013) and the Americans for the Arts Public Art Award (2008). Her work has been presented in exhibitions around the world, including solo shows at MoMA, MCA Chicago, Serpentine Gallery, as well as comprehensive European museum retrospectives in Germany, the Netherlands and Switzerland. In 1990, a second retrospective with the title Complex Visions was organized by the Storm King Art Center in Mountainville. Major group exhibitions include the 1979 and 1981 Whitney Biennials in New York, the Hirshhorn Museum and Sculpture Garden, Documenta (1977; 1987), the Venice Biennale (1978; 1980; 1982), LACMA and Haus der Kunst (2012), as well as the seminal exhibition Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art at the Brooklyn Museum (2012). Alice Aycock’s works can be found in the collections of MoMA, the Whitney Museum of American Art, the Brooklyn Museum, the Louis Vuitton Foundation, LACMA, the National Gallery of Art, Washington D.C., and many others. Numerous early and recent outdoor installations are permanently located in public and private collections in the US, Europe and Asia. Some of these pieces include: East River Roundabout, New York, the New San Francisco Public Library, the Sacramento Convention Center, Star Sifter at Terminal One of JFK International Airport, Ghost Ballet for East Bank Machineworks in Nashville, What Every Traveler Needs To Know at the Philadelphia International Airport, and the recently completed The Game of Flyers Part Two at Washington Dulles International Airport. Permanent reconstructions of A Simple Network of Underground Wells and Tunnels from 1975 and Low Building with Dirt Roof (for Mary) from 1973 are installed at Omi International Arts Center in Ghent and the Storm King Art Center, respectively. Alice Aycock lives and works in New York City. FROM AAYCOCK.COM About the artist Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hanover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was organized by the Wurttembergischer Kunstverein in Stuttgart in 1983 and traveled to Kolnischer Kunstverein Koln; Sculpturenmuseum Glaskasten, Marl; Haags Gemeentemuseum, Den Haag; Kunstmuseum Luzern. In 1990, the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the new Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City. The retrospective traveled to the Art, Design & Architecture Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. A fully illustrated catalogue, Some Stories are Worth Repeating, with an essay by Jonathan Fineberg accompanied the retrospective. She received the International Association of Art Critics Award for this exhibition. From March 8th through July 20th 2014, a series of seven sculptures were installed on the Park Avenue Malls in New York City, entitled Park Avenue Paper Chase, in collaboration with Galerie Thomas Schulte, Berlin. Three of the sculptures traveled to the Chicago Lakefront in August 2014. Two other works from this series were exhibited in “Beyond Limits: Sotheby’s at Chatsworth” at the Chatsworth House, Derbyshire, UK in 2013/2014. In 2015, Hoop-La was exhibited in a large outdoor sculpture exhibition in Bad Homburg, Germany.
Recent museum group shows include the reinstallation of her sculpture Studies for a Town as part of the exhibition “Here Is Every,” curated by Connie Butler at MoMA (2008-9), and the Whitney Museum’s reinstallation of Untitled (Shanty) in “Sites,” curated by Carter Foster and Gary Carrion-Murayari. Clay #2, first executed in 1971, was reproduced for “Ends of the Earth: Art of the Land to 1974,” a comprehensive survey of the period held in 2012 at LAMOCA and traveled to Haus der Kunst, Munich. Aycock’s early works are land art pieces that involve reshaping the earth such as A Simple Network of Underground Wells and Tunnels, Low Building With Dirt Roof (For Mary), and the Williams College Project, situated on land in Pennsylvania, New Jersey, and Massachusetts. A permanent reconstruction of A Simple Network… from 1975 was sited in 2012 at Omi International Arts Center, in Ghent, NY. Her large-scale installations can be found at numerous universities including, The Miraculating Machine in the Garden at Rutgers University (1982); The Solar Wind at Roanoke College, in Salem, VA (1983/2010); The Islands of the Rose Apple Tree… at Western Washington State University, Bellingham (1987); Tree of Life Fantasy… at the University of Illinois, Urbana-Champaign (1992); Summaries of Arithmetic… at the entrance to the Engineering Department at the University of Michigan in Ann Arbor (1992); a Waterworks Installation for the University of Nebraska in Omaha (1993); Maze 2000 for University of South Florida, Tampa (2002); Starsifter, Galaxy NGC 4314 at Ramapo College in Mahwah, New Jersey (2005); A Startling Whirlwind of Opportunity, University of Tennessee, Knoxville (2009); Entangling/Disentangling Space, Weber State University, Ogden, Utah (2009); Accelerations, Western Connecticut State University, Danbury (2010); and most recently, The Butterfly Effect at Michigan State University (2012) and Super Twister for University of Cincinnati (2013). Aycock's public sculptures can be found in many major cities in the U.S. Some of her public commissions include a roof top sculpture for the 107th Police Precinct House in Queens, NY, associated architects Perkins, Eastman (1992); and East River Roundabout (1995/2014) for the East River Park Pavilion at 60th Street in New York City, associated architects Quennell Rothschild Associates and HOK/TCA. In 1996 she inaugurated a work for the San Francisco Public Library – a functional and fantasy spiral stairs, and a suspended piece entitled Cyclone Fragment. The work required close collaboration with the library's principal architect James Ingo Freed of Pei, Cobb, Freed and Partners. Concurrently, she opened a suspended sculpture for the Sacramento Convention Center in California. Star Sifter, a large architectural sculpture for the rotunda of the Terminal One at JFK International Airport was completed in 1998 and resited above the entrance to the security zone in 2013. Other public installations include a suspended work for the Philadelphia International Airport (2001); GSA commission for the entrance to the Fallon Building, Baltimore (2004); Strange Attractor for Kansas City, International Airport (2007); The Uncertainty of Ground State Fluctuations, Clayton, Missouri (2007); Ghost Ballet for the East Bank Machineworks, Nashville, Tennessee (2008); Whirls and Swirls and a Vortex on Water, Central Broward Regional Park County (2008); and The Game of Flyers Part Two, Washington Dulles International Airport (2012). In 2016, she completed a large-scale outdoor public artwork in Coral Gables, FL, and an 80-foot long entrance sculpture for the new MGM National Harbor, MD. She installed a sculpture for the lobby of 50 West, New York, NY in July 2017. A permanent large-scale installation was inaugurated at Pier 27 on the Toronto waterfront in the fall of 2017.