Upon first approach, Meg Webster’s Untitled (1990) seems to be little more than a planter sparsely covered with dormant vegetation, positioned in an awkward, out-of-the-way location on the edge of campus. To the average passerby, that is what this piece will likely remain. Of course, further inspection reveals the true wonder of a piece like this: the addition of life. Physically, Webster’s piece is nothing to revere; yet, its simplicity and subtlety fascinate the viewer and evoke an emotional response of tranquility and stability. A copper band emerges from the muddied grass and stands a mere 18 inches tall; but, with a diameter of 10 feet, it stands firm. Contained inside of this metal ring is a small garden of cloudberries, arranged thoughtfully on a shallow inverted cone of soil.

In Untitled (1990), Meg Webster’s intent remains a mystery. Though there is little public information regarding this piece, much can be inferred from the information that is there. According to the artist, Webster’s work is meant to be “directly perceived by the body.” (Webster). This piece is representational of direct perception in that it’s a planter displayed publicly for anyone to interact with. Furthermore, the inclusion of famously delicate cloudberries in this piece adds a level of uniqueness and evokes appreciation for the fragility of nature. Webster’s work responds to environmentalism, thus her installations and other artwork utilizes natural materials (ArtSpace).

Meg Webster, born in 1944, was diving into the art world at the tail end of the land art ventures of Smithson and De Maria, with similar concerns about the environment to Nancy Holt. Webster uses largely natural materials to create installation (and, more recently, gallery) pieces with minimal impact to the surrounding environment–contrasting Smithson’s deep cuts into the earth for his work. Webster is not as well known for her individual pieces as she is for her overall aesthetic and broader message. Her sculpture work has been exhibited worldwide, from the Guggenheim in New York to the Rooseum in Malmö, Sweden.

Artist Statement

For our reaction piece, we wanted to create something that complimented Webster’s artistic simplicity while simultaneously portraying her affinity for nature as a medium. The short film utilizes shots composed with the surrounding natural areas in mind; the organic essence of swaying trees, falling leaves and swirling snow help to offset the rigid complexion of Webster’s piece. We also wanted to continue Webster’s minimalist theme. We opted for slowed, simple shots accompanied by an ambient musical composition and audio from an interview with the artist. Webster’s art is subtle but expressive, portraying the delicate but balanced character of our environment with the one medium that can speak the loudest: nature.

Created by: Greg Morgan, Lachelle Mckinney, Griffin Morse

Sources:

Guggenheim, www.guggenheim.org/artwork/artist/meg-webster.

“Meg Webster.” Artspace, www.artspace.com/meg_webster.

“Meg Webster.” Artsy, www.artsy.net/artist/meg-webster.

“Meg Webster.” Meg Webster, megwebsterstudio.com/.

“Western Washington University.” Western Gallery, westerngallery.wwu.edu/sculpture/untitled-0.

“Meg Webster · I Want You to Care More.” YouTube, 16 June 2016, www.youtube.com/watch?v=PgZhmsiG1X4.

Song used in film: Emily A. Sprague-Your Pond