ANITA GLESTA

ANITA GLESTA

  • PROJECTS
    • WATERSHED Venice 2022
    • WATERSHED, 2013 (ongoing)
      • WATERSHED FOR PARRISH
      • WATERSHED FOR BASILICA
      • WATERSHED, RED HOOK BROOKLYN, 2017
      • WATERSHED, Customs House at Ellis Island, 2016 (Commissioned by Generation Investments)
      • WATERSHED, National Theatre, London, 2015 (Commissioned by Totally Thames Festival)
      • WATERSHED - Stills and Excerpts from Video
      • WATERSHED Installation for the New Museum's Ideas City Festival, 2013
    • PUTTI FOR SARA, 2012
    • SCHILLINGER AND THE DANCER, NYC, 2015
    • GERNIKA / GUERNICA, 2006-2013
      • Museum of Art and Archaeology at Peking University
      • Museum of Contemporary Art Krakow, 2012
      • GUERNICA/GERNIKA, Chase Manhattan Plaza, New York, 2007 (Commissioned by the Lower Manhattan Cultural Council)
      • DESDE EL CIELO HASTA EL FONDO — White Box New York, 2007
    • US CENSUS BUREAU, Maryland, 2010 (Commissioned by General Services Administration)
    • CYCLE INTERRUPTED, Artport - Making Waves for Copenhagen Climate Change Summit, 2009
    • PEDAZOS, Black and White Gallery, New York, 2004
    • TRA, Chianti, Italy, 2001 (Commissioned by Chianti Sculpture Park)
    • AUSTRALIAN WORKS, 1997-2000
      • YURONG WATER GARDENS, Sydney, Australia, 2000 (Commissioned by Sydney City Council)
      • BED BATH BIRD, Sydney, Australia, 1998
      • LENTICULAR LENS, Sydney, Australia, 1998 (Commissioned by Sydney City Council)
      • ENTRE DOS AGUAS, Centennial Park, Sydney, Australia, 1997
      • ECHO OF FARADAY WOOD, Royal Botanical Gardens, Sydney, Australia, 1997 (Commissioned by Art Gallery of New South Wales)
    • PUBLIC WORKS COMPILATION, 2000-2010
  • ANIMATIONS
  • SCULPTURE/VIDEO INSTALLATION
    • SKIN DEEP, multimedia, 2022
    • SUM OF THE PARTS REDUX, multimedia, 2022
    • HEADS AND HEARTS, 2019
    • INTERSECTION, International Art & Culture, Museum of Art and Archaeology at Peking University, 2018
    • ANTHOPODENIAL, 2017
    • REVERIE, Satellite Art Fair, 2016
    • SPIN, 2015
    • I SAW NOTHING BUT I KNEW YOU WERE THERE, 2014
    • HAY ROLL, 2013
    • UNIVERSE UNTOLD, 2012
    • SELF PLATTER, 2012
    • WING, 2011
    • SINK HOLE, 2010
    • PAVER WINDOW, 2010
    • EXPULSION, 2009
  • WORKS ON PAPER
    • RECENT WORKS ON PAPER
    • THE HEART SERIES (Works on paper and 3-channel monitor installation)
    • Ink on Paper
    • Archival Prints of Video Stills
    • THE FISH SERIES (Works on paper and canvas)
  • ABOUT
  • NEWS
  • EVENTS
    • WATERSHED Venice biennale 2022
    • Video Artwork commission in Federal Square Plaza, Melbourne, Australia, "Big Anxiety Festival, 2022"
    • CARDIAC HARMONIUM and other recent works installed in show at Lehman College Art Gallery
    • Basilica Conversation Series: Artists Mary Mattingly and Anita Glesta
    • The impact of Covid-19 on artists, part 4: artistic responses to the coronavirus and the prescient zeitgeist: April 16th, 2020 Studio International
    • In conversation with Anita Glesta: April 14th, 2020 Womenwecreate
    • Art comes to you: April 2nd, 2020 Studio international
    • APRIL 7, 2018 Arts Council of Princeton
    • NYFA - WATERSHED 2017
    • ART W - WATERSHED 2017
    • HYPERALLERGIC
    • JULY 15, 2016 ArtOMI SCULPTURE PARK, GHENT, NY, Panel Discussion, Women in Public Art
    • APRIL 2016 WATERSHED at Customs House at Ellis Island
    • JANUARY 2016 LEAD ESSAY in newly published book: DEVELOPING CIVIC ENGAGEMENT IN URBAN PUBLIC ART PROGRAMS
    • OCTOBER 2015 INTIMATE TRANSGRESSIONS White Box, NYC
    • SEPTEMBER 2015 Interview with Yale University Radio
    • SEPTEMBER 2015 Public Art Projection - WATERSHED at the Royal National Theatre, London
  • CONTACT
The U.S. General Services Admission Art in Architecture Program commissioned this integrated landscape work to celebrate the work of the Census Bureau while also providing a simulating outdoor environment for employees and visitors. Through numerical symbols, words, images, and forms that invite interaction, articulating our human histories was my primary concern when creating this work for the United States Bureau of Census. In my work for the Census Bureau, the abstract concept of data and numerical representation is transformed into its original role as a system invented to promote, stimulate, and record human interaction. The numbers zero through nine tell the story of counting and are used to create a passage that connects the original house for the census data, Suitland House, at the "number 1" area with the other seven acres of the site. A series of numerical forms and structures throughout the grounds introduce the history of census and provides seating and visual gathering places for the ten thousand employees of the building.
The integrated art/landscape reflects the cultural diversity of the United States. For this work, I have incorporated a variety of different numerical systems to represent the diverse cultures of the United States, including Mayan, Sumerian, Chinese, Persian, Roman numerals and many more. This diversity of ancient and modern numbers reflects the many immigrants that have come to this county and contributed to its ever-changing profile. A large area of the walls has also been devoted to the counting systems of the Native American peoples of the United States. It is appropriate to begin the passage of the numbers walk with the counting system of the original inhabitants of this nation. I have also created several tiles that I call “shadow figures.” These tiles represent the millions of uncounted people, now and throughout history, who have made the United States their home.





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