approaching the ambient

images
to accompany the essay

approaching the ambient

creative practice and the ambient mode of being

by luke jaaniste
contents
for chapter three: pre-figuring the ambient work

Fig 1 Robert Rauschenberg, White Paintings (1951) 5

seven panel version

Fig 2 Robert Morris, untitled (four mirrored cubes) (1965) 6

indoor and outdoor settings

Fig 3 Olivier Messiaen, Mode de valeurs et d’intensités for piano (1949) 7

notes to the score

Fig 4 Donald Judd, untitled stacks (1969) 8

Fig 5 Carl Andre, Lament for the Children (1976) 9

Fig 6 Gordon Matta-Clark, Window Blow-Out (1976)
Fig 7 Sol Lewitt, Photogrid (1977), one page from the book

for chapter four: verging on the ambient work

Fig 8 Donald Judd, 100 untitled works in mill aluminum (1986–) 11

artillery sheds, The Chinati Foundation, Marfa, Texas

Fig 9 Daniel Buren, Dominant-Dominé, coin pur un espace, 1465.5 m2 á 11°28’48” 12

[Dominant-Dominated, Corner for a Space, 1465.5 m2 at 11°28’48”] (1991)
lower level, capcMusée de Boureaux, France

Fig 10 Daniel Buren, Transparences Colorées [Colour Transparencies] (1999–) 13

Allianz Hauptverwaltung building, Munich

Fig 11 Martin Creed, Work No. 81, a one-inch cube of masking tape in the 14
middle of every wall in a building (1993), Starkman Building, London

Fig 12 Ariane Epars, Piece of Land 240 (2001) 15

Contemporary Art Centre of South Australia

Fig 13 Chemi Rosado-Seijo, El Cerro [The Hillside] (2001–) 16

El Cerro, Naranjito, Puerto Rico

Fig 14 Max Neuhaus, Times Square (1977-1992, 2002–) 17

Times Square, New York City

Fig 15 Martin Creed, Work No. 127, the lights going on and off (1995) 18
Tate Modern, London, 2001

for chapter five: realising the ambient mode

Flat Out, 60 Merivale St, South Brisbane (13–17 Aug 2003) 20

Fig 16 Tape Piece
Fig 17 100 Percent Colour
Fig 18 Paper Piece
 Metro Arts residency, Mar – Nov 2004 21
Fig 19 Level 3 studio, Metro Arts, Brisbane (2004)
Fig 20 Charlotte St, Brisbane (23 June 2004)
Fig 21 Level 3, Metro Arts, Brisbane (Nov 2004)
Fig 22 Elio Moda for Men, Edward St, Brisbane (11 Nov 2004)

Fig 23 City Living exhibition (17 Nov – 3 Dec 2004) 22

various views, Main Gallery, Metro Arts, Brisbane

Fig 24 Car Stereo-ing (21 Sept 2004), part of the SCOPIC event 23
Creative Industries Precinct car park, QUT Kelvin Grove

Fig 25 day-long workshop with secondary students (29 August 2005) 24

Kelvin Grove State College, Brisbane

Going Slow (26–30 Sept 2005), H Block, QUT Kelvin Grove 25

Fig 26 exhibition area
Fig 27 research lounge

visit to Professor Jeff Malpas, University of Tasmania, Hobart 26

Fig 28 Humanities building
Fig 29 courtyard outside Humanities building

for chapter six: presenting the ambient work

Approaching the Ambient exhibition (3–6 Oct 2006)
The Block + surrounds
Creative Industries Precinct, QUT

Fig 30 … before entering The Block … 28

Figs 31-33 … surfacing … 29 – 31

Figs 34-38 … spotting … 32 – 34

Figs 39-40 … orientating … 35 – 38

Fig 41 … tolling … 39

Fig 42 making the work that used black duct tape 40

Fig 43 making the work that used Lego blocks

Fig 44 the first, rejected, version of the work that used the blinds 41

Fig 45 preparing The Block, by removing the screens from the walls 42
and raising them to the ceiling

Fig 46 installation of vinyl lettering signage, at entrance of The Block 43

Fig 47 A-frame signage, at entrance of The Block

Fig 48 counter and table signage, crEATe café 44

Fig 49 Exhibition companion, located in the kitchenette of The Block 45

Fig 50 crEATe café 46

Thanks to Contemporary Art Centre of South Australia for supplying images of Ariane Epar’s
Piece of Land 240, and Chemi Rosado-Seijo for images of his El Cerro.
for chapter three
pre-figuring the ambient work
 

Fig 1
Robert Rauschenberg, White Paintings ( 1951)
seven panel version
 

Fig 2
Robert Morris, untitled (four mirrored cubes) (1965)
indoor and outdoor settings
 

Fig 3
Olivier Messiaen, Mode de valeurs et d’intensités for piano (1949)
notes to the score
 

Fig 4
Donald Judd, untitled stacks (1969)
 

Fig 5
Carl Andre, Lament for the Children (1976)

Fig 6
Gordon Matta-Clark, Window Blow-Out (1976)

Fig 7
Sol Lewitt, Photogrid (1977)
one page from the book
for chapter four
verging on the ambient work
 11

Fig 8
Donald Judd, 100 untitled works in mill aluminum (1986–)
artillery sheds, The Chinati Foundation, Marfa, Texas
 12

Fig 9
Daniel Buren, Dominant-Dominé, coin pur un espace, 1465.5 m2 á 11°28’48”
[Dominant-Dominated, Corner for a Space, 1465.5 m2 at 11°28’48”] (1991)
lower level, capcMusée de Boureaux, France
 13

Fig 10
Daniel Buren, Transparences Colorées [Colour Transparencies] (1999–)
Allianz Hauptverwaltung building, Munich
 14

Fig 11
Martin Creed, Work No. 81, a one-inch cube of masking tape in the middle of every wall in a
building (1993)
 15

Fig 12
Ariane Epars, Piece of Land 240 (2001)
 16

Fig 13
Chemi Rosado-Seijo, El Cerro [The Hillside] (2001–)
El Cerro, Naranjito, Puerto Rico
 17

Fig 14
Max Neuhaus, Times Square (1977-1992, 2002–)
Times Square, New York City
 18

Fig 15
Martin Creed, Work No. 127, the lights going
on and off (1995)
Tate Modern, London, 2001
for chapter five
realising the ambient mode
 20

Fig 16 Tape Piece

Fig 17 100 Percent Colour Fig 18 Paper Piece

Flat Out, 60 Merivale St, South Brisbane (13–17 Aug 2003)

 21

Fig 19
Level 3 studio, Metro Arts, Brisbane (2004)

Fig 20
Charlotte St, Brisbane (23 June 2004)

Fig 21
Level 3, Metro Arts, Brisbane (Nov 2004)

Fig 22
Elio Moda for Men, Edward St, Brisbane (11 Nov 2004)
 22

Fig 23
City Living exhibition (17 Nov – 3 Dec 2004)
various views, Main Gallery, Metro Arts, Brisbane
 23

Fig 24
Car Stereo-ing (21 Sept 2004), part of the SCOPIC event
Creative Industries Precinct car park, QUT Kelvin Grove
 24

Fig 25
day-long workshop with secondary students (29 August 2005)
Kelvin Grove State College, Brisbane
 25

Fig 26
Going Slow (26–30 Sept 2005), exhibition area
H Block, QUT Kelvin Grove

Fig 27
Going Slow (26–30 Sept 2005), research lounge
H Block, QUT Kelvin Grove
 26

Fig 28
visit to Professor Jeff Malpas
Humanities building, University of Tasmania, Hobart

Fig 29
visit to Professor Jeff Malpas
courtyard outside Humanities building, University of Tasmania, Hobart
for chapter six
presenting the ambient work

Approaching the Ambient exhibition (3–6 Oct 2006)

The Block + surrounds
Creative Industries Precinct, QUT
 28

Fig 30
... before entering The Block ...
 29

Fig 31
... surfacing ...
 30

Fig 32
... surfacing ...
 31

Fig 33
... surfacing ...
 32

Fig 34
... spotting ...
 33

Fig 35
... spotting ...
 34

Fig 36
... spotting ...
 35

Fig 37
... spotting ...
 36

Fig 38
... spotting ...
 37

Fig 39
... orientating ...
 38

Fig 40
... orientating ...
 39

Fig 41
... tolling ...
 40

Fig 42
making the work that used black duct tape

Fig 43
making the work that used Lego blocks
 41

Fig 44
the first, rejected, version of the work that used the blinds
 42

Fig 45
preparing The Block, by removing the screens from the walls and raising them to the ceiling
 43

Fig 46
installation of vinyl lettering signage, at entrance of The Block

Fig 47
A-frame signage, at entrance of The Block
 44

Fig 48
counter and table signage, crEATe café
 45

Fig 49
exhibition companion, located in the kitchenette of The Block
 46

Fig 50
crEATe café