![]() ![]() “Because the site isn’t just a physical site. “I call it a fishing expedition,” she said. She interviews many people, often having to assure them that their answers might not end up in the artwork. Her three-wave fields offer insight into her artistic process. Anything else looked miniature and didn’t really relate to the landscape it was in.” “Because in the end, I am very site-specific, and I had to create a dialogue with the faraway hills. “The idea was, what happens if I could make a wave field where you would get lost, in a way,” she said. The waves in “Storm King Wavefield” are 12-to-18-feet high. Her wave work crested in 2009 with the final work in the series, which covers four acres of a former gravel pit at the Storm King Art Center in New Windsor, New York. “They were very concerned about snipers,” she said, so she made the waves in the resulting work, called “Flutter,” only about 2-feet high, to evoke “how water, before it hits the shore, creates ripples within the sand.” Its waves are smaller, but its footprint is triple the size of the Michigan piece. Federal Courthouse in Miami, she wanted to continue experimenting with waveforms. I’m also relating to the site.”įor a 2005 commission outside the U.S. … An iteration, a series, allows me to explore an idea and change scale, change subtle ideas about it, and then go on because I’m very site-specific. Maybe it’s because I range a bit in my medium. “As an artist, I work in series,” she said. “You could … curl up in a wave and read a book until the sprinklers pop up,” she said.Įven after that project was finished in 1995, she remained preoccupied with the form. The result became “The Wave Field,” a 10,000-square-foot patch of grassy waves, each 3-to-5-feet tall. “I saw this, and I went, ‘I have to make a piece about this,’” she said. For the first of these, a project at the University of Michigan, she was inspired by a photo of “a naturally occurring repetitive waterway” called a Stokes wave, she said. Lin told the story of how she built the wave fields and how each one got larger. “I will always talk about all three,” she said.īodies of water and waveforms have often occupied her, resulting in museum pieces and site-specific installations, including three “wave fields.” In opening a 50-minute photographic tour of some of her creations, Lin said she views her work as a tripod: art, architecture and the memorials. She is a recipient of the National Medal of Arts and the Presidential Medal of Freedom. Lin’s artwork has been featured in solo exhibitions at museums and galleries around the world, with works in the permanent collections of the National Gallery of Art and the Metropolitan Museum of Art, among others. Since then, she has designed other prominent memorials, including the Civil Rights Memorial in Montgomery, Alabama. ![]() Her simple design of black granite panels, rising from the ground in a V-shape, contains the name of every American service member who died in the war. Guskiewicz introduced Lin, best known for winning the 1982 design competition for the Vietnam Veterans Memorial in Washington, D.C., while still an undergraduate at Yale. Established in 1989, this free public lecture brings to campus renowned speakers from a variety of fields, including government, public policy, international affairs and the arts and sciences.Ĭhancellor Kevin M. The Frey Foundation Distinguished Visiting Professorship is one of the highest honors bestowed by the College of Arts & Sciences to distinguished public leaders. University Development Opens in new siteĪrtist Maya Lin described her approach to art, architecture and design, and her desire to make audiences consider climate change during the 2022 Frey Lecture on April 12 at Carolina’s FedEx Global Education Center.Gillings School of Global Public Health.News and Updates Display Sub Menu for News and Updates.Life at Carolina Display Sub Menu for Life at Carolina. ![]() ![]()
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