The Walker! Holy wow, oh my geez.

Robert Irwin: Slant/Light/Volume

The Walker Art Center website had this information about Irwin and his piece. "Throughout his long career, Robert Irwin has pondered whether we ever have an absolutely pure or direct moment in front of a work of art. This installation, last on view 20 years ago, represents his effort to foster such an experience. Part of a series of powerful—and temporary—works the artist created using oblique planes of translucent scrim fabric, it was commissioned by the Walker in 1971 as part of Works for New Spaces, the inaugural exhibition of its Edward Larrabee Barnes-designed building. The untitled piece, which Irwin’s preparatory drawings and notes refer to as Slant/Light/Volume, was last on view 20 years ago; now, its installation in the Friedman Gallery provides an opportunity for a new generation to see this pivotal work. Irwin’s transformative pieces in the 60s and 70s helped to define the aesthetics and conceptual issues of the West Coast Light and Space movement. Along with fellow artist James Turrell, he explored how phenomena are perceived and altered by consciousness, in effect orchestrating the act of perception."

The room-spanning panel is made of scrim, a cloth used in theaters that looks opaque in regular light and entirely different when lit from behind and tilted at a 40-degree angle. The piece is part of the West Coast Light and Space movement which was a movement that investigates human perception and sensation. I really liked the piece even though it caused such a strong sensation in me when I saw it. When I walked into the room it was completely white from ceiling to floor, and I could see nothing but this scrim covering one wall and complete sensation of awe and overwhelming and I couldn't help but stop and take it in and realize how small it made me feel. The wall creates the illusion of expansive space and because it's white it almost feels like it could go on forever. The shock factor when I walked into the room was incredible, I felt drawn in and nervous at the same time like the room might crush me because it seemed so vast. I've never really seen a piece of artwork quite this large before and it was something I was really not expecting so I guess it might of had a greater impact on me then others. I think the piece grabs peoples sensations and turns them inside out. The piece is directed at the human sensation and no matter who you are it creates some type of sensation in you. It can be viewed by anyone in the world and cause them to get this feeling inside them, probably something like I felt and I guess that connects us to each other. I think that people really don't get this kind of perception and sensation that often so that's why I think when people experience it it demands our senses.

Sources:

www.calendar.walkerart.org/canopy.wac?id=4671

www.ocma.net/index.html?page=past&show=exhibit&e_id=401

Midway Contemporary Art Descriptive Piece

Nate Lowman - Not Sorry, 2006

Bullet resistant glass, brushed stainless steel and stickers

36 x 12 x 108.5 inches

Three panes of bullet resistant glass sit side by side on the floor. The glass is divided into three segments each with a hole cut in the center of each where a intercom system is, so that people on either side can talk to each other. They are housed in a stainless steel case that holds them together and separates them into three panes. The glass in the first pane (left) is spiderwebbed and cracked in various places. There are what appears to markings where bullets were shot at the glass, causing the glass to crack and dent, but not break. You can see the multiple layers of glass that go into making the thickness of the glass and you can see how a bullet could never make it through that much glass. Still there are multiple webs and holes in the pane. Each has its own distinct personality and characteristics size and shape. And the hole cut in the center for the intercom system remains undamaged. The second (middle) pane is similar to the first. Looking at it closer you can see that the "bullet impressions" do not seem like a bullet caused them. But maybe they were caused by a blunt object being slammed against the glass. Again there are multiple gouges and breaks each in its own right interesting to look at. Also the center com is in place still as well. But there is a sticker in the upper right hand corner of the glass. This sticker has a checker pattern on it. The frame around the glass is thick steel and on the base in the middle of each pane there is a slot to pass items from one side to the other. There are scratches on the framework. The third pane (right) is shattered and abused like the other panes, but this pane is missing the center com. allowing you to see all of the panes of glass that make up the thickness and safety of the glass. To add to this there is another sticker in the upper right hand of the corner of the pane and this one says "Not Sorry." This is also the title of the peace and brings you to further question and think about the piece. Was it the person(s) who destroyed the glass that are not sorry? Did they get away with it. Who were the people on the other side? What happened to them? Questions without answers, only what the viewer can come up with.

Nate Lowman is thirty years old and lives in downtown New York. He was born in Brooklyn, New York. He graduated from New York University in 2001 His previous work involved screen-printed bullet holes and ironic bumper stickers turned into devious linguistic assaults.

Lowman collaborated with Dan Colen on a masterpiece that was exhibited at Maccarone titledWet Pain. The artwork consists of a 1971 whiteJaguar car that has been trashed. Electronic wires fill the interior of the car, and the hood, trunk and doors are open wide.

Apparently he is dating Mary-Kate Olsen

Link to an Interview with Nate Lowman:

http://www.interviewmagazine.com/media/video/5117