Mark Dotzler is an American artist making sculpture. He loves metal, science and technology. Deep relational aesthetics often play an important part in his work (see Bourriaud), which is also influenced by the minimal artists of the 1960s. Instead of using the industrial materials of that period, he often uses today’s more scientifically advanced materials and many of the technological things that surround us all. Computer microchips (silicon wafers), computer hard drives, antennas and thermionic valves (early binary code devices) are just some of the materials he began using when he first started making artwork at the age of forty. His influences include Constantin Brancusi, Richard Serra and Marcel Duchamp.
Mark Dotzler has exhibited with professors from Washington University’s School of Art (Saint Louis) and also has his artwork in the President’s office of The Pulitzer Foundation for the Arts. Recently he completed a major outdoor commission for the Catholic Church in Chicago. Profile – Imprimatur – Interview
“WIRED” 1993, 50”H x 109”W x 12”D (thermionic valves-early binary code devices, wire) is also a lobby piece at Washington University’s Des Lee Gallery and art-loft living facility in downtown Saint Louis. Created from the primary ingredients of the early computers (Colossus & MIT’s Whirlwind), it attempts to give a physical presence to our early notions of the internet and being on-line or wired in (you may remember those early dial-up modem sounds). It also tries to show the importance and the tremendous transformational power that was being unleashed through the Internet.
“Wi-Fi” 2002, 48”H x 53”W x 3.5”D (computer chip silicon wafers, antenna) is similar to “Wireless”in that it also attempts to give physicality to the omnipresent yet ethereal digital networks, which surround us all today. Wi-Fi (wireless fidelity) and cellular devices are basically just silicon chips, antennas and power. Note: The number of nodes (units) varies from installation to installation. “Like notes in mid-air…the ones and zeros of binary code.
“missing joe” 2007, 3.25”H x .8”W x .8”D (cor-ten steel, stainless steel) is a companion piece to “link”.
“inside joe” (or “link”) 2001 (cor-ten steel) is located inside those windows above “Joe” at The Pulitzer Foundation for the Arts. This small, site-specific piece not only refers (or links) to the inside of Richard Serra’s wonderful “Joe” sculpture (deep beyond the rust, the inner metal), but also to Joe Pulitzer’s love of art (his inside) which is fully shown in the foundation for the arts he and Emily created together. — A letter from The Pulitzer
“evidence box” 2000, 9”H x 9”W x 7.5”D (media box, computer hard drives, light, electrical cord) It has become a common practice by authorities in recent years to confiscate the computer hard drives of all persons of interest (taking their memories). This is significant when you consider that not too long ago an individual’s library records were private, respected and only made available to authorities in the most extreme cases. This piece is part of Dotzler’s memory box series.
“The Split” 2006 – 2010, 26″H x 20″W x 18″D (aluminum, physics books, iPod running a countdown timer program, light, shadow) uses the shadow of a High School Physics book to represent World Trade Center, Building #7 that fell into its own footprint at free fall speed (6.5 seconds) on the afternoon of September 11, 2001. We were told that fire caused it to fall, but that is impossible and defies the basic Laws of Physics. The title “The Split” has a number of meanings here, but chiefly refers to a split in the seam of reality that occurred on that day.
Referenced in Dr. David Ray Griffin’s important new book, Cognitive Infiltration, as follows:
Another essay, comparing Newton’s laws with George Orwell’s “secret doctrine that 2 + 2 = 4,” says:
Professor Steven Jones found himself forced out of [a] tenured position for merely reminding the world that physical laws, about which there is no dissent whatsoever, contradict the official theory of the World Trade Center Towers’ collapse.
This essay’s author then pointed out that, if NIST’s account of why these buildings collapsed is accepted, “the specifications of design for all skyscrapers ought, in the public interest, to be subjected to major review.” NIST’s account also requires, he added, a revision of the physical laws regarding the behavior of steel that have long been presupposed in the engineering sciences. His point, of course, was that no scientists or engineers believe that these laws need to be revised, so that the contradiction between NIST’s account of the destruction of the World Trade Center, on the one hand, and some elementary principles of physics, on the other – a contradiction that has been expressed by artist Mark Dotzler in a piece of artwork titled The Split  – means that all architects and engineers aware of this contradiction should be joining Jones in publicly rejecting NIST’s report.
 Matthew T. Witt, “Pretending Not to See or Hear, Refusing to Signify: The Farce and Tragedy of Geocentric Public Affairs Scholarship,” American Behavioral Scientist 53 (February 2010): 921-39 (http://abs.sagepub.com/content/vol53/issue6), at 935.
 Ibid., 932 (emphasis in original).
 Ibid., 932-34.
 A photograph of The Split can be seen on Dotzler’s website (http://www.markdotzler.com/Mark_Dotzler/split.html).
For more artwork and information on Artist Mark Dotzler go to: www.markdotzler.com