The Class on Sept. 26: Krzysztof Wodiczko, Ann Hamilton, Cai Guo-Qiang

Wodiczko is internationally renowned for his large-scale slide and video projections on architectural facades and monuments. Since the late eighties, he has developed a series of nomadic instruments for both homeless and immigrant operators that function as implements for survival, communication, empowerment, and healing. He creates art by projecting images upon the monumental architecture found in large cities. The image of a homeless person materializes on a Boston war monument. The message of his medium adds to/edits that of the monument.
The artist spent half his life behind "the Iron Curtain" and the other half in Canada and the United States, so he has a well developed critique of power and it's abuses. Wodiczko's art is profoundly democratic. It forces the viewer to reexamine the function of architecture and to reconsider the political nature of the steel and concrete caverns of commerce that make up large cities.

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Hamilton was born in 1956 in Lima, Ohio. She trained in textile design at the University of Kansas, and later received an MFA from Yale University. While her degree is in sculpture, textiles and fabric have continued to be an important part of her work, which includes installations, photographs, videos, performances, and objects. She also questions the space around the art piece and ends up using the whole space. She is an important name of installation art.

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Cai Guo-Qiang was born in 1957 in Quanzhou City, Fujian Province, China, and lives and works in New York. He studied stage design at the Shanghai Drama Institute from 1981 to 1985 and attended the Institute for Contemporary Art: The National and International Studio Program at P.S. 1, New York. His work is both scholarly and politically charged.
He combines installation and traditional forms of Chinese art. His most prominent element od his body of work is called "gun powder drawings". He draws a comparison between drawing and love making; thus puts the emphasis on performance rather than the final image.
He says: "Art is not about what it is saying."

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