![]() ![]() You went back to the history of Native Americans and I think you’re getting into many more stuff and not in the least into much political stuff which of course we think is very very very important because an artist cannot shut up. Not only did you make large-scale site-specific installations but you moved on and you really broke into landscapes and not just breaking into landscapes to make monuments but like you just said you’re very interested now in the anti-monumental and I’m very very very curious to hear what you mean by that, “anti- monumental.” I mean, how large can you get? It’s very interesting because Maya is an advocate, an advocate of a new conscious, a conscious for our environment, a consciousness for biodiversity but also you try to raise our conscious about our own histories and the way we have changed for good our worse our landscapes. The Vietnam Veteran Memorial in 1982, but since then you have done many many more things. ![]() Maya Lin, artist and architect and of course we heard for the first time really in Europe, Maya, about your work when you did this truly important Vietnam Memorial, which I think you realized in 1982. And you see that they become very important events. Marjorie, thank you very much for being such a good friend of Tate, a generous friend of Tate, and thank you Virginia and the Art in Embassies team for organizing together with Marco Daniel these important events. That means they get to meet a lot of people and a lot of people get to talk to them. It’s very important to have these artists, to have them here to talk to you about their own practice and I can only thank Missus Susman, Marjorie Susman for having brought to us together with Virginia Shore in the Art in Embassies team for having brought it to us the idea and having introduced us to the idea of let’s have American artists coming over to London and talk to you about what they do and thanks to Marjorie they also stay for quite a bit of time. It seeks to introduce them indeed being here talking about herself, himself about their practices in front of a large audience.Īnd I’m very very happy to be able to address you because I know that many of you are students and many of you are interested in how did Brice Marden decide this, how did Maya Lin go on about that and what is now Ellen Gallagher up to. This is to say that the American Artist Lecture Series which is a three year partnership between Art in Embassies, Tate Modern and the US Embassy is I think a truly important event, a truly important event because it seeks to introduce American modern and contemporary artists to Great Britain. And after Maya, in the spring, we will have Ellen Gallagher. Remember a couple of months ago we had Brice Marden and tonight is the legendary already a legend the famous artist and architect Maya Lin. ![]() Good evening and welcome to Tate Modern for the second event of our American Artist Lecture Series. Her works address how we relate and respond to the environment, and presents new ways of looking at the world around us.CHRIS DERCON: Good evening, ladies and gentlemen, my name is Chris Dercon, I’m the director of Tate Modern. Lin takes micro and macro views of the earth, sonar resonance scans, aerial and satellite mapping devices and translates that information into sculptures, drawings and environmental installations. Utilizing technological methods to study and visualize the natural world, Ms. She peers curiously at the landscape through a twenty-first century lens, merging rational and technological order with notions of beauty and the transcendental. Landscape is the context and the source of inspiration for Ms. Maya Lin has maintained a careful balance between art and architecture throughout her career, creating a remarkable body of work that includes large-scale site-specific installations, intimate studio artworks, architectural works and memorials. Maya Lin received her Master of Architecture from Yale University in 1986, and has maintained a professional studio in New York City since then. ![]()
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