Installation artist Taezoo Park’s “Digital Being”
It’s hard to write coherently about art if you’re not sure what you’re looking at. I wonder about some well regarded writers in the field with star quality bylines in prestigious venues because I can’t make out what they–or the art they are writing about–are trying to say.
On the other hand Ralph Gardner did a great job describing installation art in “Composed Chaos” in his Wall Street Journal Urban Gardner column. I was particularly interested as this weekend–October 25-27–my clients, Joanna and Richard Rothbard, have invited installation artists to the Contemporary Art Fair NYC they founded and produce along with the concurrent American Fine Craft Show NYC at Javits Center North.
“Purple Lights” by Vito Bonanno
Like Gardner installation art puzzles me but so did the Impressionists’ now well-loved paintings confound and bewilder their contemporaries.Next weekend you can query two installation artists [Ms.] Noa Leshem-Gradus and Taezoo Park whose 2,500 square foot “Plato’s Cave” and “Digital Being” [photo at top] will be there. Other exhibitors at the art fair such as Vito Bonanno [photo above] also love to do such work.
Gardner focused on installation artist Sarah Sze. Here are excerpts of his clear, unpretentious descriptions of the work of the Columbia University professor, this year’s US representative at the Venice Biennale, MacArthur fellowship winner and subject of a new book:
“Her work is challenging to describe. It typically involves large installations of hundreds of objects; part sculpture, part architecture and all about the artist’s often head-scratching selection process. Think of a little kid who took her junk and put it on the sidewalk for passersby to buy. Now imagine if the junk somehow started to cohere, that you detected relationships among the objects, touches of beauty, even a philosophical framework.
“Nonetheless, chaos—or at least the tension between order and chaos, with chaos gaining the upper hand—seems to be at her art’s center. In other words, if Ms. Sze’s parents got home and found her latest installation all over the sidewalk, or the kitchen floor, I doubt they’d be pleased.”
Gardner continues “And similar to a Pollock, one feels under sneak attack by Ms. Sze’s work. It’s more than anyone can reasonably be expected to wrap one’s mind around. Apparently, that’s the point. In a video on the Biennale’s website, she discusses her desire to re-create nature and the way we’re daily confronted, no matter how adept we are at going through life with blinders on, with ‘information beyond our capacity ever to understand, like the cosmos.’”
View of some exhibits from the 2012 Contemporary Art Fair NYC
Gardner plays a game when he visits galleries or museums. He asks himself “How would this look over my fireplace?” I play a similar game: Were money no object and/or if these works were for sale, which one would I take home? Describing her Biennale exhibit–an assemblage of lamps, light bulbs, rocks, bones and more–he admits that Sze’s work doesn’t fit that formula and later on in the article concludes: “It’s less about the objects, in this case armies of them, than the intellectual system behind them.”
“Regal Earrings” by Shana Kroiz
There’s plenty of more traditional work at the art fair and craft show that would fit over your fireplace, on a wall or look well on you. I could fill ten posts with a sampling.
I make a living introducing clients’ new products to the public via media. Americans thrive on what’s new. Why should the art industry be any different?
Do you feel frustrated when you can’t “get” recognized artworks? Do you think it’s a question of time and getting used to risk-taking work? How is it that today most take in stride sculpture and art of previous eras that drove most period viewers nuts?
4 Stones Dreidel by Javier Nujimovich