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For over a decade, Sachs has pondered the technical ingenuity and romance with the unknown that brought America the Apollo program. This publication documents the culmination of his research: the realization of his own life-size Space Program, comprised of three main sculptural elements (Lunar Module, Mission Control, and Space Suit) and a Flight Plan, all put to use during a live demonstration of a lunar landing. In his exuberant manufacture of objects and scenarios, Sachs asks barbed questions of modern creativity that relate to conception, production, consumption, and circulation. Space Program features 797 full-color and 30 black-and-white images; a conversation among Buzz Aldrin, Tom Sachs, and Louise Neri; a critical essay by Arthur C. Danto, contextualizing this work among the artist’s contemporaries; and a comprehensive discussion of the work by Mark Van de Walle. These are accompanied by appendices that provide a full visual and descriptive account of the innumerable components that make up Sachs’s work and illustrate the artist’s related drawings and source materials.
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Tom Sachs’ work has been included in many exhibitions in the U.S. and abroad, and has been collected by several museums including the Guggenheim, the Whitney, the Pompidou, and the San Francisco MOMA, among others.Excerpt. © Reprinted by permission. All rights reserved.:
Buzz Aldrin: And I’m very proud of the fact that when I look at something, I consider whether it is the best way to do it or whether there is possibly a better way. That is what really came up in my work. I looked at all the systems in the spacecraft and all the information and considered how to join things together–I came up with different strategies of going from the Earth to the Moon. Some of them made some sense, some of them didn’t.
Tom Sachs: JFK said, “We choose to go to the Moon not because it is easy, but because it is hard.” In my studio, by building functional elements, by making systems that really work, we create new problems that require even more work to solve. This compounded work process, with things built according to our strict code of love and haste, defines the look of what we do. So for us, going to the Moon is a physical armature for continuing to practice what we do.
Louise Neri: Could you both discuss the relationship between art and exploration?
Buzz Aldrin: There are rather perfect models of spacecrafts in the Smithsonian, and young children visit and learn from them. They can’t play in them. As soon as you begin to get something that young people can understand, crawl into, look around inside in different ways, it begins to depart from reality because the real thing is too expensive and too much of a memorial to allow kids to mess around in it. But if you can begin to humanize that spacecraft the way Tom has done, humanized in varying ways that are somewhat of a surprise because they’re not thought of as being part of the real spacecraft . . .
~An excerpt from the conversation "Art in Space" in Tom Sachs
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Book Description Rizzoli, 2009. Condition: New. book. Seller Inventory # M0847832260