Robert Smithson

I don’t really connect to sculpture on emotional level too much, but I did enjoy Smithson’s exhibit. What I did react to was learning that Smithson had died. I had always been under the impression that what made the difference between a pile of dirt and art was the artist’s intent and hand; that every little pebble had been placed by and carried the signature of the artist. I had proposed during our debrief the question whether pieces like that being installed by another diminished the quality or effect of the piece. Obviously the value is then placed on the concept, but I wonder how others feel. I personally loathe artists like Jeff Koons, who has a massive workshop and hardly even touches his work besides creating the concept. Does the artist need to have a physical relationship the art, like I believe, or is simply having the idea good enough?

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-Kam

DIA Beacon

DIA Beacon was by far my favorite space and I had the best connection with the art. Being so overwhelmed by the city and people the train ride to Beacon pulled me away from all the noise. I never thought I would enjoy minimalist work so much but I think because of the disconnect I felt with the city I really was able to connect in the space with the art. It also helped that there weren’t heaps of tourist filling each gallery. Below were the pieces I spent the most time with (30 minutes each).

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DIA: Serra’s Inner Sanctum

      

Today turned out to be quite a day for introspection, which was not an expectation I typically hold towards viewing minimalist and conceptual art. When I entered the space that housed Richard Serra’s Elliptical Torq installations, I knew I was about to have an experience. Walking a circular labyrinth, around and around till reaching the inner space was incredibly transcendent. I felt all alone, and when I got to the center, the walls seemed to unfold and open up and evoked a feeling of heady vastness…I felt alone, but I was okay with that. I felt at peace. 

   
  This experience was in striking contrast to how I felt when I encountered Serra’s other installation just before–Union of the Torus and the Sphere, 2001. 

  

Trying to navigate around this massive vessel-like object was nearly impossible to manage without pulling your arms close and squeezing around it. The large shape in the small space had the affect of compression– evoking a claustrophobic anxiety. 

I’m glad that DIA had arranged the installation in this way, guiding the viewer into the small space first and the large space last. It served to amplify the feeling of release. For myself , anyway.  

 

DIA Beacon: Aracnophobia

   

The evening before our DIA Beacon excursion, I was a bit anxious. I think I was subconsciously preparing for an encounter–I was having disturbing dreams… 

In my dreams I was wandering through exhibition space from exhibition space with my fellow classmates ( gee, wonder why I was dreaming about that? 😉 and it was getting strange and mazelike, I was turning corner after labyrinthine corner until I was alone wandering through some kind of twisted art museum funhouse. I entered a white room with a group of strangers ( evil museum staff? ) trying to guide me into a dark room that I was pretty sure I didn’t want to see. 

They tried to tempt me anyway: “Your mother is in there,” one of them said. I knew it was a lie. My mother has been dead for 8 months. It angered me that they said it…yet, the room was so dark and on some level I was worried… What if it was true? 

I tried to act tough. I stood up to them. “Have her come out here then!!” I yelled as loud as I could, so loudly I woke myself up, and one of my roommates (sorry JL)! 

When I encountered Louise Bourgois’ ode to her mother, Crouching Spider, (2003), at DIA, I knew what my dream meant. Bourgois said that she was exploring both the nurturing protector and predatory aspects of motherhood. 

I have stopped looking for my mother. Yet, as I was moved to tears in the presence of this larger than life arachnid, I realized I have not forgiven her–I’m still angry, so angry she was ill, angry she didn’t protect me, angry she abandoned me…time after time. I’m also relieved– that she’s gone, and I don’t have to mother her anymore. What kind of daughter does that make me? What kind of mother?  Now, that’s  a scary thought. 

M.A.D: Hidden Worlds

 
After exiting the Museum of Arts and Design, classmate Rebekkah James pointed out this little gem of an installation embedded in the side of the building. Good eyes, Rebekkah! I almost missed it…

   

Dandelion Cluster, 2011 by Patrick Jacobs combines exquisite detail with innovative materials, which include: vellum, cast wax, neoprene, extruded styrene, acrylic gel medium, polyurathane, starch, talc, wood, metal, and CAT HAIR??!! ( for the dandelion fluff, perhaps?) 

It just goes to show…every nook and cranny in the city has a story to tell… You have to keep your eyes open! 😉 

Rad Jewelry at M.A.D

     
I was so enamored with the amazing display of jewelry at the Museum of  Arts and Design. Shown here: Goose Feathered neck pieces with lamb suade and paint by K. Lee Mauel, c. 1988, and blown glass baubled neckpiece by Giorgio Vigna ( b. 1955) titled Gorgoglio, 2002. 

   

  

I also wouldn’t mind sporting some this superior craftsmanship with an LBD at an art reception some time…  This neckpiece and bracelet are made of delicate rolled PAPER!! 

But my favorite discovery was found in the many drawers beneath the displays:  

    
A gold and enamel necklace designed by German artist Hermann Junger c.1980, displayed with graphite conceptual drawings!! (Gifted to MAD in 2004. )

As a jewelry lover, wearer and maker myself ( as a hobby) this was all very exciting to see such unique pieces!!!

I’m dying to know what else is hiding in all those display drawers…! (There were too many to examine all at once!) 

Bruce Nauman in the Dia:Beacon

I was pleasantly surprised to see Bruce Nauman’s Performance Corridor in the exhibition space. I had recently learned about Bruce Nauman and his work in Barbara Miller’s Art and Tech class this past Spring Quarter. Since the quarter ended, I had become attached to his surveillance pieces. Kameron and I spent a good minute running down the corridors and figuring out which cameras were projected onto what televisions. I spent most of the time laughing and flailing my arms. The first long corridor had two televisions at the end which projected me walking toward the televisions, but viewed from the back. It was as if I was walking further away from myself. The next camera was pointed out from the second corridor, and was shown at a television off to the side of the corridor, so I could not fully see myself when in full view of the camera. This gave me a sense of frustration because I felt like I was being watched and at the same time, unable to see myself. It gave me a sense of “dislocation,” as if I was denied to fully understand my surroundings. There was a third television that showed us what a moving camera was seeing, but we could not locate the third camera. We ended up asking one of the gallery attendants where the third camera was – she told us she had wondered the same thing when she first saw the exhibition, and that the third camera was hidden in a secret closet, not accessible to the public. Bruce Nauman, you sneaky man.