ALICE AYCOCK

The Savage Sparkler, 1981. Structural steel, anodized aluminum,
fans, fluorescent lighting, motors, galvanized sheet metal,
copper tubing, rack of hot coils, approx. 20’ long x 10’
diameter x 10’ high.
Collection: Myers/Kent Gallery, Center for Art, Music and
Theatre, State University College, Plattsburgh, New York.

Hoodo (Laura). From The Series Entitled How To Catch And
Manufacture Ghosts. Vertical And Horizontal Cross-Sections
Of The Ether Wind, 1981/1991. Plexiglas, glass, steel,
galvanized steel, moving parts, neon light, approx. 10’ high x
34’ wide x 30’ long.
Los Angeles County Museum of Art, Sculpture Garden,
Los Angeles, California, 1991, permanent installation.

Explanation, An. Of Spring and Weight of Air. An Account of
the Substances Which Have Been Used to Describe Events Up
to and Including Eunice Winkless’s Dive into a Pool of Water.
(From The Angels Continue Turning the Wheels of the
Universe Part III), 1979. Wood, 18’ wide x 36’ long x 19’high.
Contemporary Arts Center, Cincinnati, Ohio.

How to Catch and Manufacture Ghosts, 1979. Wood, glass,
water, theatrical lights, galvanized steel containers, birds,
copper, zinc, lemon battery connected to a bird in a glass bottle
floating in a pan of water, approx. 10’ high x 15’ long x 8’ wide.
Storm King Art Center, Mountainville, New York.

Collected Ghost Stories From The Workhouse from the Series
Entitled How to Catch and Manufacture Ghosts, detail, 1980.
Cable, copper, galvanized steel, glass piping, steel, wire, and
wood, 30’ high (at highest point) x 75’ x 120’ (variable).
University of South Florida, Tampa, Florida.

The Game of Flyers, detail, 1980. Wood, steel, fire, water, birds,
buckets, carousel, column, ladders, platform, pulleys, tower,
trenches, wheels, 40’ high x 25’ wide x 100’ long.
Sited for Washington Public Arts, Twelfth and G Streets,
Washington, D.C.

The Miraculating Machine in the Garden (Tower of the Winds),
1980-1982. Glass, concrete, steel, sheet metal, copper, neon
light, and vegetation, approx. 30’ high x 30‘ wide x 20’ long.
Collection: Douglass College, New Brunswick, New Jersey.

Leonardo’s Swirl, 1982.
Galvanized sheet metal, 5’ diameter x 3’ high.
Private collection of Camille Hoffman, Chicago.

The Solar Wind, From the Series Entitled A Theory of
Universal Causality (Time/Creation Machines), 1983. Painted
steel, aluminum, galvanized sheet metal, Plexiglas, cable, and
blue neon light; 40’ high x 40’ wide x 31’ deep.
Collection of Roanoke College, Salem, Virginia.

The Nets of Solomon, Phase II, 1983. Aluminum, steel,
concrete, plumbing system, water, approx. 13’ wide x 75’ long.
The Museum of Contemporary Art Chicago, Illinois.

The Thousand and One Nights in the Mansion Of Bliss, 1983.
Steel, aluminum, lights. 30’ high x 22’ wide x 80’ deep.
Protetch-McNeil Gallery, N.Y.C.
Collection: Artist

The House of the Stoics Structure A, 1984. Wood painted
white, 32’ high x 13’ 6” wide x 11’ 9” long.
International Contemporary Sculpture Symposium,
Lake Biwa, Japan.

A Salutation to the Wonderful Pig of Knowledge, 1984. Steel,
copper, brass, aluminum, formica, wood, Plexiglas, L.E.D.s,
motorized parts, 9.25’ long x 11.5’ wide x 6.75’ high.
John Weber Gallery, New York.

The Hundred Small Rooms, 1984-1986. White painted wood,
28’ high x 12’4” wide x 12’ 4” diameter.
Collection: Laumeier Sculpture Park, Saint Louis, Missouri.

The Silent Speakers: Every Day I’m Born, Every Night I Die,
1984. Painted steel, galvanized sheet metal, theatrical lights,
etched, mirrorized and clear glass, a spring, motorized parts.
Dimensions are 87" x 60" x 30".

Three-fold Manifestation II, 1987. Three elliptical steel bowl
forms each containing a skewed step formation supported by
three vertical steel poles, steel painted white, 32’ high x 12’
wide x 14’ diameter.
Permanent Collection: Storm King Art Center,
Mountainville, New York.