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Called the “Avatar of
Actualism” He uses rain to make paintings of water-soluble paint; shotguns, explosives & lightning; dust in “dust drawings”; metals that oxidize, or diffuse together over thousands of years, the actuality of any material. His work is in the collections of the Guggenheim, the
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In Actual Art, what future generations will see is programmed into the work, making time an element of the work, as well as space, form or color. The artists introduce time as a tool in the making of art. Actual Art is about energy; specifically, about the energy and life in the materials. Words like
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is quoted as saying, “The work will last forever, as long as you understand it changes.” Actual Art moves one to think about ways to work with nature instead of fighting it. In place of the constant attempts to inhibit materials’ natural tendency to change (to the detriment of the planet), man might
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was already in use. Frankenstein described Aylon's work as a genre of art that involves “the self-conscious enlistment of the forces of nature, by artists, toward the completion of their art”. Collaboration with nature necessarily brings the dimension of time into as an integral component of the
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district of New York City to promote exclusively artists working in the Actual Art genre, and in 1985, obtained its 501-C3 not-for-profit tax-exempt status to fund exhibitions of Actual Art and projects proposed by Actual
Artists. The most notable early exhibitions sponsored by the Actual Art
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hand-blown glass "sea" shells, that living hermit crabs move into and take as their homes; and a glass beehive, that is home to thousands of
Italian honey bees who busy themselves making wax & honey sculptures, as programmed into the construction of the hive, by the
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Clockwork: Timepieces by
Artists, Architects, & Industrial Designer by MIT List Visual Arts, 1989 (Specifically: "In New York City, an internal clock is physically inherent in the materials employed by Fugate-Wilcox in the construction of his many Diffusion
221:, of Israel, making gigantic wall pieces of pigmented & galvanized steel that have weathered over many years; Joseph was commissioned to create all of the art, including major indoor & outdoor installations by the King David Dan Hotel in Elat, Israel.
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Museum of Modern Art in New York, the
Wadsworth Athenium in Hartford, Connecticut, the National Gallery of Australia, and a 36-foot (11 m) sculpture purchased by the City of New York for J. Hood Wright Park.
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artworks, with some requiring many thousands of years for their completion. The artists consider the future of the work to be as important as its present, relinquishing control over the work to nature.
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Mutiny and the
Mainstream: Talk that Changed Art, by Judy Seigal, publ. Midmarch Art Press, 1992 (Specifically: " Alloway included Helene Aylon here, showing two stages of her 'paintings that change in
145:, whose work employing the qualities of linseed oil to “bleed” into patterns or form a “skin”, prompted the naming of the genre by Alfred Frankenstein; "'Actualism' because 'Realism' is already taken."
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The headquarters of Actual Art
Foundation was also used for an episode of Law & Order circa 1990, featuring Actual Art. Actual Art Foundation lost its Tribeca headquarters in the attacks of
131:
be examining and exploiting the inherent qualities of the materials we work with. Actual
Artists have a visionary sense of the natural order of the material world.
177:, of Bermuda, who took his drawings beneath the sea, to allow the salt water to etch his drawings into steel & whose work was reviewed in American Mensa
415:, which (through tectonic action) will rip the artwork in half, sending the west half northward (towards Alaska) over the next few million years or so.
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480:"Fugate-Wilcox's deliberate yielding to the forces over which he has no control measures his awareness of the power of nature." Jonathon Goodman,
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302:
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399:
191:, whose hand-blown glass pieces are permanently part of the trees, as they grow into and become one with the sculptures;
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The Art of Nathan Joseph: Building a
Picture, by Michael J. Amy & Marius Kwint, publ. Antique Collectors' Club, 2007
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806:
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Art's
Prospect: the Challenge of Tradition in an Age of Celebrity, by Roger Kimball, publ. Ivan R. Dee, 2003
25:
171:, using gunpowder, lead, explosives & fuses to make intricate & evolving paintings & sculpture;
253:, of Russia, whose metallic paintings change over time from the effects of patinas & the environment;
75:
617:
N.Y. Times Vivian Rayner Works that Defy the Limitations of Definition, Elaine Lorenze 5-29, 1994 illust.
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20:
661:
393:
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Andy Goldsworthy: a Collaboration with Nature, by Andy Goldsworthy, publ. H.N. Abrams, 1990
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Untitled by Robert DuGrenier, two hermit crabs that have moved into hand-blown glass shells
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287:, using steel, allowed to rust in patterns, slate & rocks, weathered with pigments;
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35:
179:
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Dan Dempster: Waterworks, 1990–1997, by Peter Barton, publ. Peninsula Fine Arts, 1997
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Other artists generally included in the genre of Actual Art or "Actualism", include:
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315:
313:, uses water-soluble paint & rain to make ever-changing painting on canvas;
227:, of Japan, imbedding rust in handmade paper or concrete & stone sculptures;
157:, of Switzerland, grew grass in patterns on canvas & scented soap paintings;
557:
NY Post Whitney Scott In the Gallery, Michele Brody November 16, 1996, illust.
319:"RYB" by Tery Fugate-Wilcox, vegetable pigments & rain on canvas, 48" x 60"
259:"Desna" by Alexia Nikov, metal powders, rain & patinas on canvas, 60" x 72"
506:
79:
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Where Paulette Weiss Nathan Slate Joseph at Fulcrum Gallery Jan. 1994 illust.
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Perhaps the most ambitious work of art envisioned by an Actual artist is the
245:"Contemplation" by David Myers, lead shot & mixed media, 38" x 38" by 30"
241:
645:, "Rust Never Sleeps-it just Becomes Art" April 10, 1995, pg 16, illust.
589:
568:
408:
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The "Time Will Tell" exhibit was documented in articles appearing in the
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Anne Pasternak; Michael Brenson; Ruth A. Peltason; Lucy Lippard (2007).
588:
Alter, Morry (April 14, 1996). "Exotic Mobile Homes, Robert Dugrenier".
159:
87:
83:
49:
33:’s work. The name was chosen because the art was "real", but the term
567:
Alter, Morry (January 13, 1995). "Watching Grass Grow", Maria Ceppi".
126:“decay”, “deterioration” or “destruction” are replaced with “change”.
239:, put lead shot in enclosed, tilting table, making endless patterns;
701:
Six Years: The Dematerialization of the Art Object from 1966 to 1972
810:
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281:, encasing uranium, transmuting to lead, in exquisite metal boxes;
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163:"Grass Alive # IX" by Maria Ceppi, grass on cotton duck, 46" x 46"
158:
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Untitled by Robert DuGrenier, hand blown glass sculptures on tree
183:"Dubhe" by Dan Dempster, etched steel & sea water, 23" x 27"
114:
680:
Walker, Michael (December 3, 1995). "Tectonics, The Crack-up".
627:
Weiss, Paulette (Jan 1994). "Alexia Nikov at Fulcrum Gallery".
466:
Frankenstein, Alfred (September 28, 1975). "NY, Helene Aylon".
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Model of the San Andreas Fault Sculpture, by Tery Fugate-Wilcox
396:, which the Actual Art Foundation has committed to sponsoring.
273:"Winding" by Tony Reason, rust in encaustic on linen, 44" x 44"
60:"Time Will Tell" at Squibb International, Princeton, NJ in 1984
518:
Weiss, Paulette (July 1997). "Actual Art at Fulcrum Gallery".
151:, who suspended living plants in long, hanging tubes of water;
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The Art of Dove Bradshaw: Nature, Change & Indeterminancy
215:, who used the materials of photography as a painting medium.
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and created an Art Center at Candlewood Lake in Connecticut
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K. Lancion, “Contrarian Gallery gains Cultural Leverage”,
63:"Slow Kinetic Art" at the Wadsworth Athenium, Hartford, CT
267:, of England, who works with rust in encaustic on linen;
411:, 20 feet (6.1 m) thick, is intended to span the
57:"It's About Time" at the New York City Gallery in 1983
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World Trade Center / World Financial Center complex
792:Creative Time: 33 years of Public Art in New York
48:In 1982, the Actual Art Foundation formed in the
19:is a genre of art that was first named by critic
660:Gerston, Jill. "Park Gets 36 ft. Silver Wafer,
329:Other galleries exhibiting Actual Art include:
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734:Studio International by Medical Tribune Group
8:
68:Johannes, 11th Prince of Thurn and Taxis
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829:: Australian National Gallery archives
824:: Australian National Gallery archives
819:: Australian National Gallery archives
719:Natural Phenomenon as Public Monuments
708:Diana Chicure; Thelma Stevens (1974).
493:Lou Cook, "Actual Exhibit at Squibb",
301:during Ward's solo art exhibit in the
7:
507:www.actvalartfovndation.blogspot.com
435:This article incorporates text from
441:, which has been released into the
390:San Andreas Fault Sculpture Project
629:Where Magazine, Art & Antiques
66:"Time Waits..." co-sponsored with
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759:Originals: American Women Artists
703:. University of California Press.
233:, with living plants in concrete;
794:. Princeton Architectural Press.
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1:
780:New Practices, New Pedagogies
407:This proposed 1-acre slab of
297:-ist by key movement leader
293:, declared an important new
859:
682:Los Angeles Times Magazine
757:Eleanor C. Munro (2000).
736:. Univ.of Michigan. 1992.
721:. Neuberger Museum Press.
710:Super Sculpture, New York
344:Sandra Gehring Gallery, (
770:. Mark Batty Publishing.
766:Thomas McEvilly (2003).
807:"Actual Art Foundation"
745:Merrill Wagner (1994).
664:November 16, 1974, p.C6
534:Craine’s Small Business
468:San Francisco Chronicle
26:San Francisco Chronicle
778:Malcolm Miles (2005).
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333:John Gibson Gallery, (
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100:Bergen County Record
749:. University Press.
219:Nathan Slate Joseph
76:Schloss St. Emmeram
21:Alfred Frankenstein
843:Visual arts genres
747:Time and Materials
662:the New York Times
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394:Tery Fugate-Wilcox
339:Eve Andree Laramee
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310:Tery Fugate-Wilcox
299:Tery Fugate-Wilcox
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693:References: Books
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413:San Andreas Fault
53:Foundation were:
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495:Trentonian
419:References
295:Actual Art
291:Terry Ward
169:Gregg Degn
108:Trentonian
106:, and the
80:Regensburg
17:Actual Art
726:Pieces.")
684:. illust.
631:. illust.
522:. illust.
837:Category
741:time'.")
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