Dia-Art-Foundation

On view since 1980:

Earth Room
 Walter De Maria

141 Wooster St., NYC (bt Prince & Houston)
commissioned and maintained by Dia Art Foundation
Wednesday-Sunday, 12-6 pm (closed from 3-3:30 pm)

“Earth Room is a room full of dirt on the second floor of a loft on Wooster Street in Soho. 250 cubic yards of earth to be exact. That is pretty much it. Its quiet and calming.  It doesn’t do anything. You can’t walk into it, it is just for viewing from one vantage point. The person who works at the desk is probably extremely bored. It is considered an “interior earth sculpture” by Walter De Maria. The dirt in the sculpture is the same dirt from its conception in 1977. It is closed during summers for cleaning. (can you imagine the bio-graffiti you could do with just a handful of seeds?)” -ArtNerdNY

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Throwback Thursday! Here’s a photoset from the opening reception for Andy Warhol: Shadows in New York City in 1979. We see Robert Mapplethorpe, Sam Wagstaff, Truman Capote, Leo Castelli, and Andy Warhol. The monumental painting is now on view at MOCA Grand Avenue.

[Andy Warhol: Shadows, Opening reception for solo exhibition presented by the Lone Star Foundation (now Dia Art Foundation) at Heiner Friedrich, Inc., 393 West Broadway (the current home of Walter De Maria’s The Broken Kilometer), 1979, New York City.]

100 untitled works in mill aluminum, 1982-1986

At the center of the Chinati Foundation’s permanent collection are 100 untitled works in mill aluminum by Donald Judd installed in two former artillery sheds. The size and scale of the buildings determined the nature of the installation, and Judd adapted the buildings specifically for this purpose. He replaced derelict garage doors with long walls of continuous squared and quartered windows which flood the spaces with light. Judd also added a vaulted roof in galvanized iron on top of the original flat roof, thus doubling the buildings’ height. The semi-circular ends of the roof vaults were to be made of glass.

Each of the 100 works has the same outer dimensions (41 x 51 x 72 inches), although the interior is unique in every piece.

Carl Andre: Sculpture as Place 1958 - 2010 in New York

Tracing the full evolution over five decades of the thinking of Carl Andre – a crucial figure in the redefinition of contemporary sculpture – Dia Art Foundation presents “Carl Andre: Sculpture as Place, 1958–2010” until 2nd of March, 2015 (so luckily still plenty of time for a visit) at Dia:Beacon.

This is the first museum survey of Andre’s entire oeuvre, and the first retrospective in North America since 1978–80. More info here.

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IN DAYLIGHT OR IN COOL WHITE: DAN FLAVIN 

1. Before launching his art career, Dan Flavin (American, 1933 - 1996) studied for the priesthood at the Immaculate Conception Preparatory Seminary of Brooklyn, where he was instructed in the theology of light.

2. In 1953, Flavin enlisted in the Air Force, where he was trained to as a meteorological technician.

3. He worked in the mailroom at the Guggenheim Museum and as an elevator operator at the Museum of Modern Art, where he met Sol LeWitt, Michael Venezia, Robert Ryman, Robert Mangold, Lucy Lippard, and Sonja Severdija, his first wife, who was the assistant office manager at MoMA.

4. In his art practice, Flavin limited his materials to commercially available fluorescent tubing in standard sizes, shapes, and colors.

One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.

Dan Flavin, 1987

This week’s Modern Art Notes Podcast features Carl Andre.

Andre’s work is featured in “Carl Andre: Sculpture as Place, 1958-2010,” a retrospective organized by the Dia Art Foundation and co-curated by Yasmil Raymond and Philippe Vergne. The show will be on view at Dia’s museum in Beacon, New York through March 2, 2015, after which it will travel to Madrid, Berlin and Paris.

Andre is one of the most influential artists to emerge from the minimalist movement of the 1960s. The exhibition includes not just Andre’s sculptures, but also many of his poems. Both are featured in the exhibition catalogue, which was published by Yale University Press. Amazon offers it for $44.

Special thanks to Phyllis Tuchman and Jock Reynolds for their assistance with this week’s program.

The Modern Art Notes Podcast is an independent production of Modern Art Notes Media. The program is edited by Wilson Butterworth. The MAN Podcast is released under this Creative Commons license. 

Listen to or download this week’s program above, on SoundCloud, via direct-link mp3, or subscribe to The MAN Podcast (for free) at:

Bruce Nauman, Mapping the Studio I, (Fat Chance John Cage), 2001

The multiscreen projection Mapping the Studio I (Fat Chance John Cage) displays Nauman’s exploration of issues related to artmaking and the role of the artist. Over the course of the summer of 2000, he set up an infrared camera in multiple positions in his studio to track the nocturnal activities of mice, moths, and other creatures. The footage, which is roughly six hours per projector, offers a view on the mundanities of daily studio activity, as replete with languor as with moments of visionary insight. Each projection is accompanied by its own stereo soundtrack, which consists mostly of ambient noises: trees rustling in a gale, a heavy rainstorm, the occasional barking of a dog, and a train passing in the distance.