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
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.]
Gagosian Gallery remembers Walter DeMaria, who would be celebrating his 80th birthday today, October 1st.
Image: Walter De Maria, Lightning Field, 1977. A permanent earth sculpture consisting of 400 stainless steel poles spaced 220 feet apart in a rectangular grid array (16 poles wide by 25 poles long). The average pole height is twenty feet seven inches. Solid steel pointed tips on the poles form an even plane covering an area of one mile by one kilometer. Located in western New Mexico. Commissioned by the Dia Art Foundation, New York. Photo: John Cliett.
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.
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.
From the late 1960s to the mid-1980s, Schärer created over 100 paintings entitled Madonna, made from oil paints layered on thick, with occasional stones, hairs and keys tangled up in the layers of pigment. The surreal facial features he painted hover somewhere between a Byzantine portrait and a voodoo doll. During the same period, Schärer painted over 150 Erotic Watercolors, which, by contrast, are joyfully carnivalesque scenes in which bodies lustfully cavort and play. As the first US solo exhibition of Hans Schärer, the exhibition pairs two of the artist’s most significant bodies of work, recently seen in an extensive exhibition in Switzerland this summer.
Schärer: Madonnas and Erotic Watercolors, installation view.
One feels isolated upon entering the space, in contrast to the physical location, which is in the heart of hectic SoHo. As a companion piece to De Maria’s Vertical
Earth Kilometer (1977) in Kassel, Germany, The Broken Kilometer has been on long-term view to the public since 1979. The room is filled with 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters in diameter. In five parallel rows of 100 rods, each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back. As a minimalist as well as land artist interested in site-specificity, De Maria makes visible the tension between inside and outside, public and private. Here, the primary experience is not only through the act of seeing, but also psychological.
Walter De Maria: The Broken Kilometer, installation view.
“Throughout their Session, Total Effekt will
research and develop a new publication, titled
Living Magazine. To create this journal, the
artists will conduct a speculative
archaeological study of “the home,”
examining the practical and symbolic value of
the dwelling and its constituent parts. Living
Magazine’s contents will envision furniture for
rooms that do not yet exist, propose updated
standards for inhabiting a room, and outline
novel methods for reprogramming
perceptions of our surroundings.
Total Effekt will generate materials for the
publication by researching present and
historical references related to the home, collecting stories from Recess visitors about meaningful spaces,
commissioning texts that interpret and
expand upon the accumulated stories, and
creating objects that respond and give form
to the project’s findings.” - via Recess.
Post by Jessica Seung-Joo Han, Communications Intern at The Drawing Center.
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.