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Art Basel in Hong Kong: Exhibitions to See Ocula Report Art Basel in Hong Kong: Exhibitions to See 23 Mar 2019 : Tessa Moldan for Ocula

For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...

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Firenze Lai Ocula Conversation Firenze Lai

Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...

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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Nancy Holt

(1938 - 2014), USA

Nancy Holt (1938-2014) was a key member of the Earth, Land and Conceptual art movements and a pioneer of both site-specific installation and film and video work. Holt is best known for her iconic work Sun Tunnels (1973-6) located in the Great Basin Desert, Utah, but worked in many media, including concrete poetry, audiotapes, videos, photographs, site-specific installations, artist's books, and major public sculpture commissions.

Holt's major themes were vision, memory, perception, time and space. Using the natural environment as both medium and subject, Holt endeavoured to make her audience conscious of the cyclical time of the universe, the daily axial rotation of the Earth and its annual orbit around the sun. In doing so she transformed perception of the landscape. Within her work photography played a central role, both as a way of engaging with landscape and representing a passage through space, and as a way of documenting site-specific works.

Holt's interest in physical space and the geographical specificity was a key concern throughout her work. Western Graveyards (1968), an extended sequence of individually framed images, demonstrates her fascination with the history of the American land, the work depicting numerous graveyards within enclosed spaces, framed by fences. The graves bear a striking morphological similarity to Minimalist sculpture and her photographic approach revises the movement's drive for serial production. California Sun Signs (1972) consists of bright coloured photographs, capturing the humor and spontaneity of the artist's gaze, through a linguistic play on sunshine and rays of light. Each sign contains some variation of the word sun but the immediate surroundings in which the signs are found introduce entirely different meanings. Holt's interest with natural and artificial light are demonstrated in this work, as certain images traces of sunlight reflect off the camera's lens or off the slick surface of the signs themselves.

Holt is best known for her large-scale environmental sculptural works, including the Sun Tunnels. Four large concrete tunnels are aligned in pairs along an axis of the rising and setting sun on a summer or winter solstice, the pipes acting as viewing devices for the sky, the surrounding landscape and each other. Cut through the wall in the upper half of each tunnel are holes, which form the constellations of Draco, Perseus, Columba and Capricorn, the diameter of the holes differing in relation to the magnitude of the stars to which they correspond. The holes cast spots of daylight in the dark interiors of the tunnels, which appear almost like stars. The light in the tunnels is continuously changing, the shapes and positions of the cast light differing at each hour, day and season, relative to the positioning of the sun and moon in the sky. The viewer's perception of space and scale is questioned as the tunnels sit amongst an unquantifiable panoramic landscape. The tunnels when looked through allow parts of the landscape to become framed and come into focus acting as visual reference points; they extend the viewer visually into the landscape, opening up the perceived space. When stood inside of the tunnels, the work becomes enclosed and a frame is given to the landscape.

Holt's primary aesthetic and social interests converge in her public observatories, which reflect her determination to 'connect people with the planet earth', to bring 'the sky down to earth' and to render the vast spaces of the desert 'back down to human scale'. While the Sun Tunnels are accessible to only a small audience Holt has made numerous photographic studies of the changing conditions within the sculpture, allowing a wider audience to engage with the experience of the work.

Nancy Holt's work has been exhibited internationally at major museums including the Hayward Gallery, London, Musee d'Art Modern de la Ville de Paris, Palais des Beaux Arts, Brussels, Kunsthallen Brandts, Centro de Cultura Contemporania, Barcelona, Tate Modern, London, Los Angeles Museum of Contemporary Art, Hirschorn Museum, Washington, Whitney Museum, New York, and the Museum of Modern Art, New York. Her work is held in important public collections including the Whitney Museum of American Art, New York, MoMA, New York, Utah Museum of Fine Arts, Salt Lake City and the Museum fur Gegenswartkunst, Siegen. Works by Holt are permanently installed at the University of South Florida, Tampa; University of Massachusetts, Dartmouth; Rosslyn, Virginia; Miami University Art Musum, Ohio; Toronto, Ontario and in Avignon, France and Nokia, Finland, amongst others.

In 2010-12 a retrospective exhibition, Nancy Holt: Sightlines travelled from the Wallach Art Gallery, Columbia University, New York, to the Badischer Kunstverein, Karlsruhe, Tufts University Art Gallery, Boston, the Graham Foundation in Chicago, the Santa Fe Arts Institute and the Utah Museum of Fine Arts, Salt Lake City. Other recent exhibitions include Nancy Holt: Photoworks, Haunch of Venison, London (2012), Nancy Holt: Land Art, Whitworth Art Gallery, Manchester (2013) and Nancy Holt: Selected Film and Photo Works, at the Contemporary Art Gallery, Vancouver (2013). In addition her work was recently been included in Ends of the Earth and Art to 1974 at the Museum of Contemporary Art, Los Angeles and the Haus der Kunst, Munch (2012-13) and in Light Show at the Hayward Gallery, London (2013).

In 2013 Nancy Holt was presented with a Lifetime Achievement Award by the International Sculpture Center in New York.

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In Related Press

Dia Acquires ‘Sun Tunnels,’ Its First Piece of Land Art by a Woman Related Press Dia Acquires ‘Sun Tunnels,’ Its First Piece of Land Art by a Woman The New York Times : 7 March 2018

The newly formed Holt-Smithson Foundation has made its first move to secure the legacy of the pioneering land artist Nancy Holt (1938–2014), better known for safeguarding the work of her husband, Robert Smithson, after he died in 1973 than for promoting her own.

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New Foundation Aims to Further Legacy of Robert Smithson and Nancy Holt Related Press New Foundation Aims to Further Legacy of Robert Smithson and Nancy Holt ARTnews : 7 November 2017

Drawing on the legacies of two artists whose lives and work were intertwined, the new Holt-Smithson Foundation has been established to honour Nancy Holt and Robert Smithson and promulgate their ideas.

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The Importance of Nancy Holt, the Woman Who Revolutionized Land Art Related Press The Importance of Nancy Holt, the Woman Who Revolutionized Land Art Atlas Obscura : 26 September 2017

THE FIRST TIME NANCY HOLT visited the American West, she didn't sleep for four days. Growing up an only child in the Northeastern part of the U.S. had instilled in her a feeling of displacement, and she felt a kinship to the open desert space. Years later she likened its boundless landscape to her own internal vastness, saying, 'I was experiencing...

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In Related Video

Nancy Holt Related Video & Audio Nancy Holt Haunch of Venison : 4 September 2012
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