Bigindicator

Jack Sal

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White Wash ll a monument to the victims of the 1946 Pogrom Kielce, Poland, 2006 Hand Made Cement Blocks, Lead & Limewash 2m X 4m X 1m © the artist
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Art/&/Memory, 2006 Sand, Steel, Various Various
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Cafè Quadri, Piazza San Marco, Venice, Italy, 2005 Performance
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Project/Projekt Kunsthalle Bielefeld, Germany, 1995 Straw, Steel & Photographic Paper Various
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Edge/To/Edge Haifa Museum of Art, Haifa Museums, Israel, 1999/Permanent Galvanized Corrugated Steel & Fibreglass Panels Various
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Black/Box/Whole Spazio Espositivo Contemporaneo Deruta, Italy, 2007 Plaster Board, Lime 2 M L X 1.2 M W X 1.2 M H
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White/Block/Box Galerie Markus Winter, Berlin, Germany, 2007 Floor Piece: Wood/other Piece: Wood, Plaster Board, Lime Floor Piece: 6.35 M L X 2.5 M W by 12 Cm H/other Piece: 1.27 M L X .50 M W X .80 M H
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Recent Paintings & Drawings Galerie Dittmar Berlin, Germany, 2007 Various
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Re/Place Munich, Germany, 1998-2000 A Permanent Site Specific Sculpture Installation Bronze 25"X65"/63.5cmX165.1cm
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White/Wash Galeria Stuzki Wspólczesenej, Kielce, Poland, 2003 Objects & Limewash Various
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House/Haus Kunsthaus Schuster, Gelnhausen, Germany, 1999 Aluminum, Rubber, PVC Tubing, Filters, Clamps, Etc. & Photographic Paper Variable to Dimensions of Each Room
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Performance Trebisonda Assoc. Culturale , 2002 Photographic Paper, Paper & Light Fixture Variable
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Criss/Cross Group Exhibition: Edge Level Ground, 2005 Shering.finearts Berlin Germany Steel Cable, Plumb Bob & Photographic Paper 3.2m H, 14m L
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His/Torre, 2008 Found/archive Ceramics From Cama Deruta 2m H X 75cm Dia © The Artist
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Re/Vision, January 22-Febuary 28, 2009 © Zone Contemporary 41 W57th St NYC
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Crossed House, 2009
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New York, 1999 Ink and Tape on Paper 22.5 X 30 Inches
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Pigmented Ink and Silk Tape on Canvas © Jack Sal, 2011
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Quick Facts
Lives in
New York/Berlin/Todi, Italy
Works in
New York/Berlin/Todi, Italy
Representing galleries
Zone Contemporary Art New York, NY
Statement

 

 

 

 

installations, drawings, and photography have been shown and collected by such institutions as The Museum of Modern Art New York and the Musem Ludwig Cologne. In Italy he has participated in the Venice Biennale and The Festival of Two Worlds in Spoleto.


 

 

 

My work has involved the use of "Mark Making" in the creation of site specific installations in architectural settings. By using materials as varied as Boun/True Fresco and cliché-verre, the installations address the use of aesthetictformal elements as they effect the meanings of works of art. By incorporating the architectural elements of the site i.e. by using the wall as both support for objects and the skin of the room, the works direct the viewer to consider the experience of art as a totality. Color, which under traditional applications has come to signify emotive values in some aesthetic usages, can also be used to articulate the form of the work as it delineates space in both its physical sense, as it reiterates the surface of the wall and as it conveys the illusionistic qualities of a painted/photographic surface.

The photographic aspect of the work, with its use of printing out paper to measure and react to light, invokes the temporal. Theses works lead the viewer/observer to take into account not only the real time experience of the site but also the time frame of the installations existence. Time and place act as an immediate modifier of our experience with objects and the space they occupy.

Thought in works of art is expressed in formal decisions

Form in works of art is the object occupied by decision making

 
  The goal of the Artist is to produce Art that creates a context.

Without context neither knowledge nor understanding can be reached.

Art remains, even in the late 20th century, beyond the official recognition of merit. Take for example the exclusion of the visual arts from consideration for the Nobel Prize.

This lack of inclusion is not important for what it intends but rather for what it includes.

Modernism has maintained its influence because it was one of the first true manifestations of the international ideal of a unified and shared culture.

This sharing is the meeting point of late 20th century Western Art.