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430:, San Francisco, and replicated a full-scale elevated version of the street outside the gallery. Seator recreated every micro-detail of the outside street, including sidewalk cracks with bits of grass, chipped red curb paint, and graffiti on a telephone pole. The installation was created from 150 tons of concrete, asphalt and other building materials. In addition to the street scene, Seator also replicated the front exterior western facade of the gallery inside the gallery.
355:(1991-1995) by enacting a long-term procedural action in which he used sweeping compound to clean the floor of the auditorium gallery nightly. In time, the piles accumulated into larger and larger arrays of material. These piles of material held in a "perpetual state of interruption" were individually lit from the grid of ceiling lights that had been lowered on cords to hover just above the piles of dirt.
482:. The exhibition was sponsored by the MAK Center for Art and Architecture, incorporating neon signage, typography and language, and included a series of mass-media print forms including 25 outdoor art billboards. The project critiqued the advertising industry, and shed light on the role of corporate identity. In 2002, Hatje Cantz Publishers in conjunction with the MAK Center published the book,
458:, Andover, Massachusetts and the Institute of Fine Arts|Institute of Fine Art, Philadelphia, was composed of three large-scale sculptural corner forms, each balanced on point. Seator replicated to scale a corner of the USAirways terminal at Boston Logan Airport; a corner of the Addison Gallery; and a corner of the Friendly's sandwich and ice cream shop in Andover. While this work references
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418:, was a reconstruction of a full-scale office tilted at a 45-degree angle; an exact replication of the museum director's office. Art critic David Joselit wrote that the artwork enabled spectators to "carefully scrutinize" reality. Viewing the installation gave the audience a sense of disorientation and dizziness.
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442:, Beverly Hills, CA, in 1999, was an exact replica of a check-cashing store located in a Latino neighborhood on Sunset Boulevard. The installation was one of three works created specifically for the gallery in a solo exhibition entitled,
390:, (1996). Commissioned by the New York Kunsthalle, was a full-scale replication of an office and bathroom, tilted on its side. The 10,000 pound off-kilter structure was anchored to the floor with three steel cables. In his essay,
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251:, California. Seator's first solo exhibition was in New York, followed by major installations in Warsaw, Vienna, San Francisco, London and Basel. In 2000-2001 his work was featured in a two-person exhibition,
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462:, it is distinct from it in that Seator reconstructs architectural fragments in an additive manner, whereas Clark cut off and represented fragments through a subtractive process of selective demolition.
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Seator was well known in the 1990s and early 2000s for his architecture-inspired installations and architectural interventions. Seator's work has been compared to other conceptual sculptors,
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to mother, Lynette
Hubbard Seator (d. 2012), a professor of Modern Languages, and father Gordon Douglas Seator (d. 1988), a judge. While growing up his family lived in the small community of
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into a work of installation art. Seator also created large panoramic photo-installations dealing with the landscape and "emptiness" of the desert; the vernacular architecture of
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In
December 2002, Seator died in an accidental fall from his roof while repairing the chimney of his three-story townhouse located at 12 Duffield Street in Brooklyn, New York.
371:-style salon walls with horizontal strips of masking tape, creating "an etherial yet overwhelming image of itself." The installation covered 8,000 square feet of wall space.
212:. In his full-scale architectural reconstructions, the artist addressed the delicate balance of place, power and position. In an interview with the architectural historian,
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His most recent work at the time of his death were large-scale panoramic photographs of landscapes and urban street-scenes.
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art critic Terry R. Myers describes the work as "dangerous minimalism," and compares Seator's work to that of
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has written that Seator's sculptural work had "a dramatic kinesthetic effect which may bring on vertigo."
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in Queens, NY, as well as the transformation of a townhouse he owned in the historical neighborhood of
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Institute named Seator a
Scholar-in-Residence from 2000 to 2001. He received a fellowship from the
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Seator's work is included in the permanent collections of the
Whitney Museum of American Art, the
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140:(1956-2002) was an American visual artist and conceptual sculptor. He lived in Brooklyn, NY and
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was established in 2004, and has been working with Steidl Verlag
Publishers on a
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Museum in Long Island City, New York, extrapolated on his studio-based project
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Seator's first one-person shows were held in New York City in 1991, at the
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Phillips Academy in Andover, Massachusetts. The show traveled to the
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Glen Seator, B.D.O. (Biennial
Director's Office (1997), collection
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1086:"Tracing a History of Architecture Installations in the Bay Area"
470:(2001-2002). A collaborative project with the Canadian designer
885:"Glen Seator's Daring Desiring Machines" in Glen Seator: Three
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302:, Los Angeles. His work was included in group exhibitions at
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Moving Things, Moving Places: The Work of artist Glen Seator
367:, in Warsaw, Poland, Seator meticulously covered the ornate
345:(1993). Seator's large-scale process-oriented exhibition at
1427:. Göttingen: Stedl Books GmbH & Co. OHG. p. 1888.
160:. Seator had three sisters, Patricia, Penelope and Pamela.
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622:"Glen Seator, 46, Whose Sculptures Replicated Rooms, Dies"
910:"Looking and Listening: A Collaboration with Glen Seator"
216:, Seator stated that a primary influence was the work of
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Pallister, Kay; Joselit, David; Myers, Terry R. (2000).
1139:"GLEN SEATOR / BRUCE MAU This by the Light of That ..."
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Weinberg, Adam; Wigley, Mark; Vidler, Anthony (2000).
1168:"Glen Seator/Bruce Mau: This by the Light of That..."
494:Seator was awarded grants and fellowships from the
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937:World Art: The Magazine of Contemporary Visual Art
521:in 1990. His work was the subject of a symposium,
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726:"Interview with Glen Seator by Anthony Vidler"
696:. New York and Los Angeles: Gagosian Gallery.
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247:and the pristine architectural storefronts of
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1021:"Reviews: Glen Seator, Capp Street Project"
410:, (1997). Installation commissioned by the
265:Institute of Contemporary Art, Philadelphia
1339:"Glen Seator: Making Things Moving Places"
387:N.Y.O. + B. (New York Office and Ballroom)
208:and has affinities to some of the work of
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1365:"American Sculptor Glen Seator, 46, Dies"
887:. Los Angeles: Gagosian. pp. 41–48.
508:John Simon Guggenheim Memorial Foundation
286:; and at several art galleries including
130:John Simon Guggenheim Memorial Foundation
1424:Glen Seator: Making Things Moving Places
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563:Glen Seator: Making Things Moving Places
333:, 1993, sweeping compound, dirt, light.
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188:in 1989. Prior to that he attended the
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392:Glen Seator's Daring Desiring Machines
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654:. Chicago Tribune. 29 December 2002.
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1201:The Louis Comfort Tiffany Foundation
1092:from the original on 25 January 2021
849:"Glen Seator, 46; Sculpted Replicas"
796:from the original on 4 November 2019
486:, documenting a decade of his work.
1111:Baker, Kenneth (February 1, 1997).
658:from the original on 1 January 2019
152:Born Glen Thomas Seator in 1956 in
1255:. The Edward F. Albee Foundation.
792:. Museum of Modern Art, New York.
555:12 Duffield Glen Seator Foundation
342:Untitled (Auditorium Installation)
331:Untitled (Auditorium Installation)
231:, such as the sweep-action piece,
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1148:from the original on 16 June 2020
1119:from the original on 29 June 2020
1065:from the original on 15 June 2020
1001:from the original on 15 June 2020
620:Johnson, Ken (30 December 2002).
407:B.D.O. (Breuer Director's Office)
1507:People from Beardstown, Illinois
1421:Holland, Ed., Nina (June 2015).
985:Ostrow, Saul (January 1, 1997).
950:Stevens, Mark (March 31, 1997).
825:. The Getty Research Institute.
496:Louis Comfort Tiffany Foundation
233:Untitled Auditorium Installation
118:Louis Comfort Tiffany Foundation
1492:20th-century American sculptors
786:"Glen Seator: Sleepless Nights"
724:Vidler, Anthony (1 July 2002).
456:Addison Gallery of American Art
261:Addison Gallery of American Art
253:The Architectural Unconscious:
192:, New York, from 1981 to 1982.
168:Seator attended high school in
1313:Whitney Museum of American Art
1088:. TraceSF: Bay Area Urbanism.
454:, (2000). Commissioned by the
451:Places for Balanced Sculptures
438:, (1999). Commissioned by the
426:, (1997). Commissioned by the
412:Whitney Museum of American Art
363:, (1994). Installation at the
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314:, Purchase, NY among others.
1392:"Seator Foundation Launched"
1279:"Visual Artist: Glen Seator"
535:Solomon R. Guggenheim Museum
478:, designed by the architect
178:Massachusetts College of Art
86:Massachusetts College of Art
1463:Glen Seator - little steidl
1115:. San Francisco Chronicle.
935:"Construction in Process".
561:of his work, to be titled,
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1341:. Steidl Verlag, Germany.
916:. Steidl - littlesteidl.de
519:Edward F. Albee Foundation
500:Pollock-Krasner Foundation
298:Gallery, Los Angeles; and
122:Pollock-Krasner Foundation
1142:MAK Ă–ffnungszeiten Museum
484:Glen Seator: Moving Still
467:This by the Light of That
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883:Myers, Terry R. (1999).
180:, Boston in 1984, and a
1512:Sculptors from Illinois
1055:"Approach: Glen Seator"
1031:(6). July–August 1997.
823:"Glen Seator Symposium"
312:Neuberger Museum of Art
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308:Greene Naftali Gallery
245:Echo Park, Los Angeles
241:Vinegar Hill, Brooklyn
196:Career and exhibitions
170:Jacksonville, Illinois
1253:"Albee Fellows: 1990"
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360:Preventative Measures
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142:San Miguel de Allende
1396:ArtNet News 11/18/04
352:Interrupted Sweeping
220:. The art historian
154:Beardstown, Illinois
57:Beardstown, Illinois
428:Capp Street Project
1025:Sculpture Magazine
855:. 2 January 2003.
694:Glen Seator: Three
626:The New York Times
559:catalogue raisonné
460:Gordon Matta Clark
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304:Mary Boone Gallery
218:Gordon Matta Clark
75:Brooklyn, New York
1434:978-3-86930-572-1
1390:Walter Robinson.
956:New York Magazine
952:"The Ends of Art"
853:Los Angeles Times
580:Site-specific art
490:Awards and honors
480:Rudolph Schindler
435:Fifteen Sixty One
321:Significant works
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