We Are Out of Place
Until 1999, my sculpture was participatory in the sense that I built reading rooms, reading gardens, bridges, workers' lounges, etc. Previously, I knew architecture not as a "thing between four walls in a spatial sense, but as a place for resting, sleeping, working." But since then I have enclosed the sculptures so that people cannot enter; they have to walk around the sculpture and view it. Adorno's ironic statement—"it is part of morality not to be at home in one's home"—now guides my work. Outside of these enclosed spaces, we are out of place, as though banished, estranged, expelled, or as Lukács says, experiencing a "transcendental homelessness."
Siah Armajani
from Notes on Exile
Siah Armajani
from Notes on Exile
Adrianna Ault, from The Impeded Stream
“...a meditation on rural land and how it sustains us and maybe, also, family and how we're sustained by those who came before us. I didn't come by this understanding until I made the work. My work is my teacher. I listen what it tells me to do and, in this way, I learn from it.”
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The Frailest Stems
The underside of the leaf
Cool in shadow
Sublimely unemphatic
Smiling of innocence
The frailest stems
Quivering in light
Bend and break
In silence
Agnes Martin
from Writings
Cool in shadow
Sublimely unemphatic
Smiling of innocence
The frailest stems
Quivering in light
Bend and break
In silence
Agnes Martin
from Writings
Agnes Martin, The Tree, 1964Forces of Expression at the Frick
“I thought that I liked the Turners because they opened out onto the world rather than closing me in with the pantheon, but it was the wrong world. Turner’s glowing shores were proxies for what I longed to see: a different heat and haze, a native landscape, some record of the places that made this mansion possible. The Collection, perhaps by no fault of its own, makes apparent our ignorance of all the processes that precede it, coal into coke into steel into canvas. I would have preferred two large paintings that opened out onto that, the furnace of an older history that we have so few windows into, that barely even haunts us, that we allow the barons to replace with idylls and seascapes, a fictional European scrim over the fearsome topography of the country.”
Ben Tapeworm on the reopening of the Frick Collection.
Ben Tapeworm on the reopening of the Frick Collection.
Walking, Standing
Einer geht
einer steht
wer hat mehr vecht
auf den Weg
One is walking
one is standing
who is more entitled
to the path
Josef Albers, Poems & Drawings
einer steht
wer hat mehr vecht
auf den Weg
One is walking
one is standing
who is more entitled
to the path
Josef Albers, Poems & Drawings
