Lift Ticket Artwork
Lift Ticket Artwork Program
Swiss-born Comte calls the mountains near Basel, Switzerland her home. As a multi-discipline artist with a B.A. in visual arts an M.A. in science of education, Comte works in installation, painting, engraving, murals, and sculpture. Her wood pieces depicting cactuses, for example, were created using her chainsaw.
The 2023-2024 ArtUP collection consists of five of Comte’s recent works, each offering a unique perspective on how we view the environment and climate crisis. Some are more subtle, like “Underwater Sculpture Park, Jamaica,” which depicts cactus sculptures on an ocean floor, or “10 Rooms, 40 Walls, 1059 m2,” showing a beautifully hand-crafted wooden cactus sculpture in a studio setting with a drawn fence, moon, and sun on the wall behind it.
Born and raised in Chicago, Johnson studied at both Columbia College Chicago and the School of the Art Institute of Chicago, before spending a large part of his career in New York City. He is known for his photography, sculptures, mosaics and collages, text work, drawing, filmmaking, and more. Considered prolific due to the volume and impact of his multi-disciplinary work—like his film adaptation of Richard Wright’s book “Native Son” on HBO Max or his plant installations exhibited in Moscow’s Garage Museum of Contemporary Art which transcended tense international politics—his artwork is often a nuanced and subtle commentary on culture, history, identity, and beyond.
The works decorating the 2022-2023 season’s Aspen Cards will include images of Johnson’s mosaics and collages titled “Broken Men,” “Escape Collage,” and “Broken Crowd,” as well as photography of his towering plant installation titled “The Crisis.” In addition to the works featured on this season’s Aspen Cards, there will be a limited-edition ski featuring Rashid’s work, exclusively available for sale at ASPENX.
As part of her third solo exhibition in the United States, Paola Pivi worked with a taxidermist to design colorful, feathered polar bears arranged in charming and uncannily human-like positions, which are included on this edition of our lift ticket art.
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Susan Te Kahurangi King
For the 2019–2020 ski season, Aspen Snowmass is proud to be working with Susan Te Kahurangi King, an artist whose body of work captures the emotions found in life's more vivid moments.
"Susan King’s art sparks a similar joy to spending time in our beautiful mountains and in this incredible community," says Mike Kaplan, president and CEO of Aspen Skiing Company. “Though her point of view was formed on the other side of the globe, there’s an appeal to her visual language that resonates equally well here.”
A native of New Zealand, the 68-year-old King has always made art for herself, not the marketplace, and this authenticity is transmitted in the series of drawings showcased on Aspen Snowmass’ lift tickets. King’s artistic journey began as a young child, when at age 5, she began to lose her ability to speak. By age 7, she had stopped speaking entirely. During the same period, encouraged by her grandmother, King became an increasingly talented and prolific artist, capable of focusing on her drawing for hours on end. In the ensuing six decades, King has produced a substantial body of work, despite taking a 15-year break starting in the mid-90s.
According to her website’s biography, “King’s exhibition history is extensive with representation in major art fairs, galleries and museums by prominent curators. She has been featured in many exhibitions, events and publications in a range of contexts both as an ‘Outsider Artist’ and a ‘Contemporary Artist’. These include The Institute of Contemporary Art, Miami; American Folk Art Museum, New York; Marlborough, London; Outsider Art Fairs in New York and Paris with Chris Byrne; Andrew Edlin Gallery, New York; Robert Heald Gallery, Wellington; City Gallery Wellington, TSB Wallace Arts Centre, Auckland; and the Auckland Art Fair 2018.”
Hank Willis Thomas
Thomas recontextualizes the same text that was once used to try to sell the idea of polluting our air and our lungs, which now become words of encouragement as skiers conquer the mountain at high altitude. These slogans remind us that in this atmosphere, the oxygen that is available is vital and only our continued protection of the environment can make it possible.
In their full form, SOLO TOGETHER’s cups stand in the absence of a party, each sculpture titled with the personality that may have created it. With titles like “Failing Out” and “Keeping Up Appearances,” a taxonomy of characters is assigned to the forms. The imagined internal and social energy is stored in the facsimile of crushed plastic. Crown points to the transference of energy that takes place as we record our presence in everything we touch. Looking toward a new generation defined by climate change, SOLO TOGETHER takes the leftover traces we make in plastic and makes them uncannily heavy underneath the bright and cheerful red coating.