Eastwing (1987), David Ireland. Commissioned by Headlands Center for the Arts. Photo by Andria Lo.
Mess Hall (1989), Ann Hamilton. Commissioned by Headlands Center for the Arts. Photo by Andria Lo.
Renovation of Building 960 (1999), Leonard Hunter and Mark Cavagnero. Commissioned by Headlands Center for the Arts. Photo by Kathryn Reasoner.
Reverse Ark Victory Garden (2008), Amy Franceschini and Michael Swaine. Commissioned by Headlands Center for the Arts. Photo by Andria Lo.
The Key Room (2016), Carrie Hott. Commissioned by Headlands Center for the Arts. Photo by Andria Lo.


Welcome Terrace East & West, Ball-Nogues Studio

Based on the tradition of Kintsugi or “golden joinery”—the Japanese art of mending broken pottery with lacquer and powdered gold, silver, or platinum—Ball-Nogues Studio will revitalize the original cracked concrete driveway at Headlands to become Welcome Terrace East & West (2017) The Los Angeles-based artists and designers, whose work is included in the collections of MoMA, New York, and the Los Angeles County Museum of Art, will collaborate closely with the architect to reshape the fragments, located near the front entry of each of the main buildings, and reassemble them using terrazzo mortar arranged into brightly colored stripes that celebrate repair as part of the history of the site, rather than something to disguise.
In-progress shots of Welcome Terrace East & West, Ball-Nogues Studio.

Wall Space, Chris Kabel

Created by Rotterdam-based designer Chris Kabel, Wall Space is a sculptural installation that turns Headlands’ building façade into a canvas for commissioned texts. Hidden armature, inspired by historical movie theater marquees, features a modular lettering system rendered in transparent metal mesh, which responds to changing light conditions and makes the text readable to viewers as a cast shadow. For the inaugural installation, which will change over the course of the year, Headlands has commissioned San Francisco-based writer Claudia La Rocco (Headlands Artist in Residence, 2013) to curate texts. Wall Space will launch with a new poem by Wendy Rose relating to her Hopi and Miwok ancestry and the Native American history of the Marin Headlands.

Curatorial Statement by Claudia La Rocco

Having spent a glorious ten weeks in residence at Headlands several years ago, I know well its singular combination of land, sea, and art. I sought out writers whose words would echo and reverberate in this wild place, and lead those who come across them down surprising, provocative, and rich pathways. I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become sight-specific collaborations between single authors and an ever-changing flow of readers. I don’t believe in the false distinction between art and activism, and I look to language for ambiguity as much as clarity. This is a surreal year to be contemplating public space, particularly in this country; I chose writers who are formally dazzling and politically fierce, so they could do nuanced justice to these complicated.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.

In-progress shots of Wall Space, Chris Kabel.

Doubledrink, Nathan Lynch

A functional sculpture conceived by San Francisco-based artist Nathan Lynch, Doubledrink is a ceramic drinking fountain designed for two people to drink simultaneously while looking each other in the eye. “Bending over to drink and making that sucking face is awkward and intimate, and an incredibly symbolic way to begin a conversation,” says Lynch. The work continues his ongoing interest in political conflict and environmental issues by heightening the importance of sharing water as a limited natural resource and celebrating its power to bring friends and strangers together for a brief moment.
In-progress shots of Doubledrink, Nathan Lynch.