Monumento al ultimo caballo - The Chinati Foundation

54. SOFT SHUTTLECOCK, 1995. SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK.
55. SOFT SHUTTLECOCK, 1995. SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK, SITED IN CORRER MUSEUM, VENICE, ITALY.
do, and you have to believe that
we’re going to make it 145 feet long
and 60 feet high.” As the sculpture
was a gift to the city, Coosje had to
defend it in a meeting with the mayor,
Willie Brown, who gave his approval.
Two years of intense engineering
and complex fabrication
followed, after which, in November
2002, Cupid’s Span was installed in
a little park that had been prepared
for it on the waterfront.
VAN BRUGGEN: Our proposal harmonized
with Mayor Brown’s characterization
of San Francisco as “the
city with a heart.” The truth is we are
very romantic, and in many ways
deal with the subject of Eros. According
to ancient Greek mythology,
the god Eros brought lush greenery
to the earth by shooting his arrow into
the ground. In Rincon Park, surrounded
by newly planted flowers
and trees, the bow and string provide
a frame for the spectacular
landscape and at the same time
make a broad wing-like gesture that
embraces the sky. The form of the
bow links it to a slice of the moon, a
rainbow, and a ship’s keel. The suspended
string and curved bow mimic
the structures of the enormous
bridge behind them, while the feathers–intensely
red so as to penetrate
the incoming fog–mingle with the
wings of gulls and pelicans above.
The asymmetrical placement of the
sculpture implies motion and gives a
sense of acceleration that changes
radically as one walks around it. Cupid’s
Span (ill. 59, 60) appears to
be a sailboat tacking across on a
fiercely independent course.
We try to create large-scale sculptures
that are sited precisely with
and against their surroundings.
That’s one of the things that brought
us together with Donald Judd. All of
us here understand that it’s not easy
to move into architecture from the
angle of a sculptor. Judd did it. He
was able to shift from writing to
sculpture to architecture. He looked
at space in the most specific ways.
Don created this special place.
That’s why we are here—that’s why
we always come back.
FOR FURTHER READING, PLEASE SEE:
The Course of the Knife (Il Corso del Coltello).
Milan: Editions Electa, 1986.
Claes Oldenburg and Coosje van Bruggen,
Large-Scale Projects. New York: Monacelli
Press; London: Thames and Hudson, 1994.
Images à la Carte. New York: PJC, 2004.
Down Liquidambar Lane: Sculpture in the
Park. Porto, Portugal: Fundação de Serralves,
2001.
18
ser un regalo para la ciudad, Coosje tenía
que defenderla en una reunión con
el alcalde, Willie Brown, quien dio su
aprobación. Siguieron dos años de ingeniería
intensa y fabricación compleja,
después de los cuales, en noviembre
de 2002, El puente de Cupido se instaló
en un parquecito cerca del mar que había
sido preparado para este propósito.
VAN BRUGGEN: Nuestra propuesta reforzaba
la caracterización del alcalde
Brown de que San Francisco es “una
ciudad con corazón”. La verdad sea dicha,
somos bastante románticos, y tratamos
el tema de Eros de diversas maneras.
Según la antigua mitología
griega, el dios Eros trajo lozanía y verdura
a la tierra disparando en ella su
flecha. En el Parque Rincón, rodeado
de flores y árboles recién plantados, el
arco y la cuerda proporcionan el marco
para apreciar el espectacular paisaje y
al mismo tiempo hacen un amplio gesto
como de alas extendidas que abrazan
el cielo. La forma del arco lo vincula
con una rebanada de luna, un arco iris,
la quilla de un barco. La cuerda suspendida
y el arco curvo imitan las estructuras
del enorme puente detrás de
ellos, mientras que las plumas–de un
rojo intenso para penetrar la niebla–se
confunden con las alas de gaviotas y
pelicanos que vuelan en las alturas. La
colocación asimétrica de la escultura
implica movimiento y presta una sensación
de aceleración que cambia radicalmente
mientras uno camina por su
alrededor. El puente de Cupido parece
un velero que emprende viaje atrevido
e independiente.
Intentamos crear esculturas a gran escala
que se acomoden con precisión al
sitio donde se encuentran, que se acoplen
y se contrasten con ese sitio. Ese es
uno de los factores que nos acercó a
Donald Judd. Todos nosotros aquí comprendemos
que no es fácil instalarse en
la arquitectura desde el punto de vista
del escultor. Judd lo logró. Fue capaz
de hacer la transición desde la escritura
a la escultura a la arquitectura. Concebía
el espacio de la manera más específica.
Donald Judd ha creado este
lugar tan especial. Es por eso que estamos
aquí y por lo que siempre volvemos.
PARA OTRAS FUENTES DE INFORMACION,
CONSULTE:
The Course of the Knife (Il Corso del Coltello).
Milan: Editions Electa, 1986.
Claes Oldenburg and Coosje van Bruggen,
Large-Scale Projects. New York: Monacelli
Press; London: Thames and Hudson, 1994.
Images à la Carte. New York: PJC, 2004.
Down Liquidambar Lane: Sculpture in the Park.
Porto, Portugal: Fundação de Serralves, 2001.
60. CUPID’S SPAN, 2002. RINCON PARK, SAN FRANCISCO, CALIFORNIA.
57. CUPID’S SPAN, SITED IN RINCON PARK, SAN FRANCISCO, 2000.
56. RESONANCES, AFTER J. V., 2000.
58. CUPID’S SPAN—PRESENTATION
MODEL, 2000.
59. CUPID’S SPAN, 2002. RINCON PARK, SAN
FRANCISCO, CALIFORNIA.
19
Additional information
on works described in
Caviar Mousse and
Other Specials
1 Hat in Three Stages of Landing, 1982.
Sherwood Park, Salinas, California.
Steel and aluminum painted with polyurethane
enamel
Three hats, each 9 ft. 5 in. x 18 ft. x 15 ft. 5 in.
(2.9 x 5.5 x 4.7 m)
Each hat is supported on two poles at a different
height, equidistant from one another, over an area
approximately 162 ft. (49.4 m) long:
(1) 19 ft. 3 in. (5.9 m) high
(2) 12 ft. 10 in. (3.9 m) high
(3) 6 ft. 1 in. (1.9 m) high
2 Notebook Page: Variation on a Western Hat, 1980.
Pencil and clippings
11 x 8 1/2 in. (27.9 x 21.6 cm)
3 Notebook Page: Stages of the Split Button, 1983.
Ballpoint pen
8 1/4 x 8 1/2 in. (21 x 21.6 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
4/5 Split Button, 1981.
Levy Park, University of Pennsylvania, Philadelphia.
Aluminum painted with polyurethane enamel
16 ft. (4.9 m) diameter x 10 in. (0.3 m) thick
Height from ground when sited: 4 ft. 11 in. (1.5 m)
6 Notebook Page: Cross Section of Toothbrush
in Glass, “Sun Dial”, 1980.
Ballpoint pen, felt pen, pencil, colored pencil
11 x 8 1/2 in. (27.9 x 21.6 cm)
7 Cross Section of a Toothbrush with Paste, in a Cup,
on a Sink: Portrait of Coosje’s Thinking, 1983.
Haus Esters, Krefeld, Germany.
Steel and cast iron painted with polyurethane
enamel
19 ft. 8 in. x 9 ft. 2 in. x 7 in. (6 x 2.8 x 0.2 m)
8 Notebook Page: Coosje’s Idea to Place the Stake
and Rope inside the Dallas Museum of Art, 1982.
Pencil, crayon, felt pen
8 1/8 x 5 13/16 in. (20.6 x 14.8 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
9 Notebook Page: Studies for Stake and Rope, 1982.
Pencil
Four sheets, each 5 x 2 3/4 in. (12.7 x 7 cm),
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
10/11 Stake Hitch, 1984.
Dallas Museum of Art, Dallas, Texas.
Stake: steel, aluminum, epoxy; painted with
polyurethane enamel
Rope: polyurethane foam, plastic materials,
fiber-reinforced plastic; painted with latex
Total height: 53 ft. 6 in. (16.3 m)
Stake with knot, upper floor: 13 ft. 6 in. x 18 ft.
2 in. x 14 ft. 7 in. (4.1 x 5.5 x 4. 5 m)
Stake, lower floor: 12 ft. 10 in. x 5 ft. x 3 ft.
(3.9 x 1.5 x 0.9 m)
Rope, knot to ceiling: 40 ft. (12.2 m) high x 20 in.
(0.5 m) diameter
12 Notebook Page: Costume Studies for
Il Corso del Coltello: Leading Characters, 1985.
Ballpoint pen, pencil, colored pencil, felt pen
5 3/16 x 8 1/2 in. (13.2 x 21.6 cm)
on sheet 8 1/2 x 11 in. (21.6 x 27.9 cm)
13 Notebook Page: Study for Proposed Events
for Il Corso del Coltello, 1984.
Ballpoint pen and pencil
5 1/2 x 4 1/4 in. (14 x 10.8 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
18 Notebook Page: Costume for Il Corso del
Coltello: Georgia Sandbag with Mule’s
Head, 1985.
Ballpoint pen and felt pen
11 x 8 1/8 in. (27.9 x 20.6 cm)
19 Notebook Page: Costume for Il Corso del
Coltello: Sleazy Dora: Dancing with Paddle,
1986.
Felt pen and watercolor
10 7/8 x 8 7/16 in. (27.6 x 21.4 cm)
20 Notebook Page: Costume for Il Corso del
Coltello: Sleazy Dora, with Inner Tube,
1986.
Felt pen and watercolor
12 x 9 in. (30.5 x 22.9 cm)
21 Notebook Page: Costume for Il Corso del
Coltello: Chateaubriand, 1985.
Pencil on photocopy
11 x 8 1/2 in. (27.9 x 21.6 cm)
22 “Chateaubriand” in performance of Il Corso
del Coltello, Venice, Italy, 1985.
23 Knife/Ship I, 1985.
Guggenheim Museum Bilbao, Spain.
Steel, wood, plastic coated fabric, motor
Closed, without oars: 7 ft. 8 in. x 10 ft. 6 in.
x 40 ft. 5 in. (2.3 x 3.2 x 12.3 m)
Extended, with oars: 26 ft. 4 in. x 31 ft. 6 in.
x 82 ft. 11 in. (8 x 9.6 x 25.3 m)
Height with large blade raised: 31 ft. 8 in.
(9.7 m)
Width with blades extended: 82 ft. 10 in.
(25.2 m)
24 Notebook Page: Costume for Il Corso del
Coltello: Waiter, 1985.
Pencil, felt pen, collage
Irregular 8 x 5 in. (20.3 x 12.7 cm)
on sheet 11 x 8 7/16 in. (27.9 x 21.3 cm)
25 Notebook Page: Menu for Il Corso
del Coltello: Farfalle de Busboys, 1985.
Ballpoint pen and felt pen
Irregular 3 1/2 x 6 1/4 in. (8.9 x5 15.9 cm)
on sheet 8 1/2 x 11 in. (21.6 x 27.9 cm)
26 Notebook Page: Menu for Il Corso
del Coltello: Obelisco Vegetariano, 1985.
Ballpoint pen and felt pen
Regular 4 1/16 x 5 3/4 in. (10.3 x 14.6 cm)
on sheet 8 1/8 x 11 in. (20.6 x 27.9 cm)
27 Notebook Page: Quartered Apple Core, 1993.
Pencil, colored pencil, pastel
5 13/16 x 4 5/16 in. (14.8 x 11 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
28 Apple Core, 1992.
Israel Museum, Jerusalem, Israel.
Cast aluminum painted with urethane enamel
17 ft. 7 in. x 7 ft. 6 in. x 7 ft. 9 in.
(5.4 x 2.3 x 2.4 m) (includes removable
stem 4 ft. 7 in. [1.4 m] high)
29 Profiteroles—Coming and Going, New York,
1987.
Pencil and watercolor
Two sheets, each 2 3/4 x 5 in.
(7 x 12.7 cm), on sheet 11 x 8 1/2 in.
(27.9 x 21.6 cm)
30 Château Marmont as Caviar/Avocado
Mousse, Los Angeles, 1991.
Ballpoint pen, pencil, watercolor on
sheet of hotel memo paper
5 15/16 x 4 in. (15.1 x 10.1 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
31 Notebook Page: “Britiship” and Bottle
with Writing, 1987.
Pencil and felt pen
2 3/4 x 5 in. (7 x 12.7 cm)
on sheet 11 x 8 1/2 in. (27.9 x 21.6 cm)
33/33 Bottle of Notes, 1993.
Central Gardens, Middlesbrough, England.
Steel painted with polyurethane enamel
30 x 16 x 10 ft. (9.1 x 4.9 x 3.1 m)
34 Sculpture in the Form of a Writing Quill
and an Exploding Ink Bottle, on a Fragment
of Desk Pad, 1990.
Expanded polystyrene, steel, wood, cloth,
resin, painted with latex
7 ft. 8 in. x 22 ft. 11 in. x 11 ft. 9 in.
(2.34 x 6.99 x 3.58 m)