Installation at the Architecture + Design Museum in Los Angeles. Ask E.T. thread, "ET sculpture and print show in Los Angeles--and better alternatives!"
Before the actual pieces are installed, full scale mock-ups (made from sheets of silver-surfaced insulation foam) are assembled and positioned. The mock-ups can be moved around easily to assess various locations and relationships of the pieces in relation to the light, room, and sculptural volumes.
Meanwhile, underneath the museum, in the basement of the
Bradbury building (where the last part of Blade Runner was
filmed), shoring is placed under the floor in line with the
pieces above - just to be completely safe.
Each of the 8 stainless steel plates is shifted in orientation several times
(from the truck to forklift 1 and forklift 2) and then inserted in the pass-through
(barely tall enough) in the freight elevator.
Positioning the first plate. No motorized equipment could be used
in the building, so it was medieval gantries, pulleys, and chains.
An A-frame supports the first plate (ET, Peter Taylor, and
a strong person).
The rigging becomes very serious as the large plate (6' by 12', 1600 lbs.) is lifted upright.
"Well, it fit back in the foundry." Peter Taylor and Andy
Conklin measure for plate alignments.
Andy Conklin drills into floor as ET holds square to align drill.
Andy Conklin, who has worked on the entire series of pieces
(at Tallix foundry in Beacon, New York near Storm King)
installs some extra bolts serving as seismic pinning since we
are in Los Angeles.
Andy Conklin and Penny Close from Tallix clean the pieces
after installation.
A happy installation artist.
Escaping Flatland #9 and #10 installed; also a few of the bookprints are shown.
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I gave talks about the sculpture and prints at the museum.
Students of fine art:
Black and white photographs of installation: Genevieve Liang
Color photographs of installation and show: ET
Color photographs of show activities: Dawn Finley and Virginia Tufte
