The Actual Art Foundation was founded in 1985, to promote and encourage the support and development of Actual Art and to educate, assist and instruct the public toward awareness of this important genre of art which is related to environmental issues by the unique way the art works with nature in a positive mind set. To this end, the Actual Art Foundation has curated and sponsored art exhibitions in Princeton, New Jersey, Hartford, Connecticut; Regensburg, Germany; and the City Gallery, New York City. The Foundation is currently organizing shows world wide and has several group shows scheduled at the Fulcrum Gallery SoHo.
The Foundation has worked with other not-for-profit organizations such as The Public Art Fund, Lower Manhattan Cultural Council and City Walls to assist artists in realizing major works of art throughout the City, both temporary installations as well as permanently installed site-specific works. The Foundation also works with many major international corporations towards the completion and promotion of temporary art exhibitions as well as permanent installations of art, and to assist in the education of the public, especially school children, about art in general and environmentally conscious art in particular.
The Foundation is working with private individuals to realize their dream of creating a living monument to the memory of the late A.H. Dean,. This is being done in the form of living trees, created by artist Robert DuGrenier, incorporating hand-blown glass, marble, gold, silver, and stone, which will grow into the trees as they mature. The works are planted at Cornell University, Smith College and Princeton University.
Currently, the Actual Art Foundation is also dedicated to raising funds for the San Andreas Fault Sculpture Project by artist Tery Fugate-Wilcox, This $9,500,000 project is being constructed over the San Andreas Fault in Palm Springs, California.
Actual Art Foundation is a 501C-3 charitable organization and all donations to it are tax deductible to the full extent allowed by law.
For further information:
call 212.966.6848 or e-mail: fvlcrvm@actvalart.com
The Foundation has worked with other not-for-profit organizations such as The Public Art Fund, Lower Manhattan Cultural Council and City Walls to assist artists in realizing major works of art throughout the City, both temporary installations as well as permanently installed site-specific works. The Foundation also works with many major international corporations towards the completion and promotion of temporary art exhibitions as well as permanent installations of art, and to assist in the education of the public, especially school children, about art in general and environmentally conscious art in particular.
The Foundation is working with private individuals to realize their dream of creating a living monument to the memory of the late A.H. Dean,. This is being done in the form of living trees, created by artist Robert DuGrenier, incorporating hand-blown glass, marble, gold, silver, and stone, which will grow into the trees as they mature. The works are planted at Cornell University, Smith College and Princeton University.
Currently, the Actual Art Foundation is also dedicated to raising funds for the San Andreas Fault Sculpture Project by artist Tery Fugate-Wilcox, This $9,500,000 project is being constructed over the San Andreas Fault in Palm Springs, California.
Actual Art Foundation is a 501C-3 charitable organization and all donations to it are tax deductible to the full extent allowed by law.
For further information:
call 212.966.6848 or e-mail: fvlcrvm@actvalart.com
Los Angles Times Magazine Tectonics
The Crack-Up
It took 5 million years, but someone finally wants to use the San Andreas fault the way teen-age boys use cherry bombs on public-school restroom plumbing.
To wit: New York artist Tery Fugate-Wilcox' proposal to pour an acre-sized, 20 foot-high concrete slab directly over the San Andreas near Palm Springs. Because the fault slips about two inches a year there, the slab would almost certainly tear into two rectangles that will creep apart as the north American & Pacific tectonic plates grind past each other. The adolescent weird-science id fairly gapes in wonderment:
..........What a cool idea.
The scale of the project is heroic even by Christo standards: 188 feet by 232 feet (visible from space, claims its creator), 65,424 tons of low-exothermic, uncolored concrete (the type used in dam construction). To ensure that it actually breaks apart, the slab would be anchored directly to bedrock, with no reinforcing rods spanning the fault. "The earthquake people told me the crack there runs right down to the mantle," Tery enthuses, "that's why it moves so beautifully."
Time & decay, mortal enemies of most artists, are Tery’s close personal friends. Most of his creations - he's shown at New York's Museum of Modern Art - are literally works in progress: He bolts together strips of metal (gold, copper, lead, silver, etc.) & decrees the pieces unfinished until the metals fuse (2,000 years in some cases). Other works are kept in constant flux by gravity or deviations in humidity & temperature.
Plate tectonics are another matter. At the San Andreas' present rate of slip, the 32,000-ton halves of Tery’s- concrete slab would separate in about 1,200 years; the western half, along with Palm Springs & Los Angeles, would theoretically be in present-day Alaska in roughly 60 million years.
The project will cost about $19 million. "The people who have supported this are international businessmen who could fund it with change from their limousine ashtrays," he notes. Much of the money will go toward preparing the site, including bringing in a rail spur to deliver the concrete.
The U.S. Geological Survey & other earthquake-related organizations, Fugate-Wilcox says, have expressed interest in rigging the interior reaches of the slab with seismic measuring devices. If all goes according to plan, the project would be ready for viewing in 2009.
As for the inevitable but-is-it-art? assault, Fugate-Wilcox says of his slab: "The fault is a very negative thing--I had ranchers yell at me when I was out looking at it. I just want to bring out the positive aspect of it & make a big brush-stroke statement about the energy of the earth."
MichaelWalker
Response to the LA Times article:....
All That It's Cracked Up To Be
Tery Fugate-Wilcox' project involving a one-acre-sized slab placed over the San Andreas Fault would be one I'd be willing to back if I had the means ("The Crack-Up," by Michael Walker, Palm Latitudes, Dec. 3). Californians greatly fear earthquakes because they've been bombarded by silly myths. No, our state is not going to fall into the ocean, nor is the ground going to open up & swallow us. Those back East stand a far greater danger from the immense power of tornadoes.
Perhaps such a display as Fugate-Wilcox's will bring enthusiasm to future prospective seismologists. There will always be earthquakes in California; the state is geologically alive. But instead of living in fear, we should cherish a great learning opportunity such as this.
Dennis Chamberlain, Hollywood
Contact: Valer!e Monroe Shakespeare
director, Actual Art Foundation 2 1 2 . 9 6 6 . 6 8 4 8
The Crack-Up
It took 5 million years, but someone finally wants to use the San Andreas fault the way teen-age boys use cherry bombs on public-school restroom plumbing.
To wit: New York artist Tery Fugate-Wilcox' proposal to pour an acre-sized, 20 foot-high concrete slab directly over the San Andreas near Palm Springs. Because the fault slips about two inches a year there, the slab would almost certainly tear into two rectangles that will creep apart as the north American & Pacific tectonic plates grind past each other. The adolescent weird-science id fairly gapes in wonderment:
..........What a cool idea.
The scale of the project is heroic even by Christo standards: 188 feet by 232 feet (visible from space, claims its creator), 65,424 tons of low-exothermic, uncolored concrete (the type used in dam construction). To ensure that it actually breaks apart, the slab would be anchored directly to bedrock, with no reinforcing rods spanning the fault. "The earthquake people told me the crack there runs right down to the mantle," Tery enthuses, "that's why it moves so beautifully."
Time & decay, mortal enemies of most artists, are Tery’s close personal friends. Most of his creations - he's shown at New York's Museum of Modern Art - are literally works in progress: He bolts together strips of metal (gold, copper, lead, silver, etc.) & decrees the pieces unfinished until the metals fuse (2,000 years in some cases). Other works are kept in constant flux by gravity or deviations in humidity & temperature.
Plate tectonics are another matter. At the San Andreas' present rate of slip, the 32,000-ton halves of Tery’s- concrete slab would separate in about 1,200 years; the western half, along with Palm Springs & Los Angeles, would theoretically be in present-day Alaska in roughly 60 million years.
The project will cost about $19 million. "The people who have supported this are international businessmen who could fund it with change from their limousine ashtrays," he notes. Much of the money will go toward preparing the site, including bringing in a rail spur to deliver the concrete.
The U.S. Geological Survey & other earthquake-related organizations, Fugate-Wilcox says, have expressed interest in rigging the interior reaches of the slab with seismic measuring devices. If all goes according to plan, the project would be ready for viewing in 2009.
As for the inevitable but-is-it-art? assault, Fugate-Wilcox says of his slab: "The fault is a very negative thing--I had ranchers yell at me when I was out looking at it. I just want to bring out the positive aspect of it & make a big brush-stroke statement about the energy of the earth."
MichaelWalker
Response to the LA Times article:....
All That It's Cracked Up To Be
Tery Fugate-Wilcox' project involving a one-acre-sized slab placed over the San Andreas Fault would be one I'd be willing to back if I had the means ("The Crack-Up," by Michael Walker, Palm Latitudes, Dec. 3). Californians greatly fear earthquakes because they've been bombarded by silly myths. No, our state is not going to fall into the ocean, nor is the ground going to open up & swallow us. Those back East stand a far greater danger from the immense power of tornadoes.
Perhaps such a display as Fugate-Wilcox's will bring enthusiasm to future prospective seismologists. There will always be earthquakes in California; the state is geologically alive. But instead of living in fear, we should cherish a great learning opportunity such as this.
Dennis Chamberlain, Hollywood
Contact: Valer!e Monroe Shakespeare
director, Actual Art Foundation 2 1 2 . 9 6 6 . 6 8 4 8
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