FLUX. » deCordova

The Quest for Experience

fluxboston — Wed, 14 Aug 2013 15:56:31 +0000

(The Event of a Thread, Ann Hamilton)

Last weekend, the New York Times published an article entitled, High Culture Goes Hands-On. The piece describes how interactive/participatory experiences in museums are putting a “key part of their identity at risk” by sullying the traditional passive experience/quiet contemplation model.

Yesterday, Dennis Kois, director of the deCordova Museum in Lincoln, MA ~~handed their asses to them~~ wrote a rebuttal.

Essentially, he explains how these two schools of thought are not mutually exclusive and there is a way to achieve a passive and active experience all under one roof. And moreover, how this hybrid model can be implemented in a way that actually enhances, not cheapens, the museum experience for attendees.

Eloquence after the jump.

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(Originally published on Slate)

Readers of the New York Times Sunday Review section this weekend were greeted by Judith Dobrzynski’s piece ”High Culture Goes Hands-On”—an argument against “the quest for experience” at art museums. In case readers didn’t get it, the piece was illustrated with an enormous yellow drawing of patrons picnicking on pizza while sitting on the famous ancient Greek discus thrower sculpture—and tossing a basketball into Munch’s Screamer’s mouth. The message was clear: Letting these yahoos have fun is ruining our art museums, which no longer offer an escape from the world’s constant “assault” of “endless opportunities and activities.” But Dobrzynski’s piece is just the latest in a long line of anachronistic screeds that have appeared for as long as there have been art museums, and maybe for as long as there has been art, bemoaning the current state of affairs. New “experiences” in art museums, the Dobrzynskis have always groused, aren’t as worthy of contemplation as good, old-fashioned objects.

Those not in the art world may be unfamiliar with this tiresome cycle, but trust me: There has always been a plaintive cry of “What’s happened to the good old days?” at key moments of progress and change in museums. You may remember, going back in time, these old favorites:

“Who the hell let video into my museum?”

“Since when is photography considered art?”

“Abstraction? My kid could have painted that.”

Or “This is the 1860s. How dare you show Impressionism in our salon, monsieur!”

(Le Déjeuner sur l’herbe, Édouard Manet)

Arguments like Dobrzynski’s are staked on the assumption that museums are monotheistic temples of one kind of art. Hence her assertion that the kind of participatory, social art practice that has been appearing in leading-edge contemporary art museums for a decade or more—and much more recently, at MoMA, the New Museum, and the Met, which she cites—is crowding out, or even replacing wholesale, the traditional experience of quiet contemplation that she associates with meaningful museum experience.

Of course this isn’t actually true. Both kinds of art—objects and experiences—can co-exist. But as Dobrzynski should know, this is hardly a groundbreaking proposition. No less than John Dewey pointed out, way back in his 1932 lecture “Art as Experience,” that it was a mistake to think of art only as an object—a painting, a sculpture, a “thing.” Rather, art was also an experience, and that both the experience and the “thing” were mutually reinforcing and equally important. I repeat, in case you missed it: This was 1932. This should not be news.

As the director of a contemporary art museum and sculpture park outside Boston, I can tell you that no museum’s program is as monolithic as Dobrzynski seems to imply. The kind of quiet contemplation of objects she favors has its place in contemporary museums, and so does experience—sometimes even experiences that might seem on first glance frivolous. My museum shows both beautiful objects firmly rooted in artistic tradition—like Jaume Plensa’s marble sculpture Humming—and has an audience that cherishes those objects deeply. At the very same time we have a summer exhibition of exactly the kind of participatory installations Dobrzynski deplores, called “Work Out”—including a project by the social practice artist Fritz Haeg that involves farming a garden cut out of our parking lot, and a “Tree University” conducted by the west coast collaborative Futurefarmers in which our visitors are making pencils, products, and a canoe from a fallen tree to link art, production, and environment.

(Humming, Jaume Plensa)

We have found that one type of art does not cheapen the other. (No one is eating pizza on our sculptures, for example.) Some of our audience appreciates both; some favor one over the other. But unquestionably both are contemporary art and both are equally important for us, as a contemporary art museum, to present. Contemporary art is one of the few means we have of seeing ourselves as we truly are—and I’ve often found the best contemporary art is that which both mirrors and smartly subverts our particular moment and wider culture. Right now our developing culture is technologically obsessed, a bit self-absorbed (as our thousands of tweets have been saying; don’t you follow us?), fascinated with spectacle, and particularly—for better and worse—experience-oriented.

Will every audience member who participates in an experiential project at an art museum—be it Martin Creed’s balloons, Carsten Holler’s art slide, or Marina Abramović’s “be-in” at MoMA (in examples cited by Dobrzynski)—“get it?” Will they all have a deep and meaningful art experience? Will they come away changed? Of course not. (Some just want to play with balloons or climb in a bamboo tree house.) But then, neither will everyone who stands and contemplates a more traditional painting or sculpture.

But, and this is the key: Some will. Just as the boundaries of our culture and world have expanded exponentially in the past decades, our art and our museums have expanded to keep pace. It’s foolish to say that one type of art—object or experience—is better than the other. Why would, or should, museums, or our visitors, be forced to choose? The Abramović project was but one of 40 (40!) exhibitions MoMA presented in 2010; it took up an infinitesimally small amount of MoMA’s massive physical and intellectual footprint that year. And, I’d argue, it made all of us richer for it.

Besides seeming to believe that museums shouldn’t be ecumenical in showing contemporary art, this is Dobrzynski’s other mistake: She seems oblivious to the shifting sands of time, technology, and human experience. Art history is chock full of objects that were once revered as masterpieces, as the apogee of artistic achievement and utterly reflective of their particular moment. And then that moment passed. Time marches on, culture and humankind change for better or worse, and which artist or what object will become the “masterpiece” of this age, of this generation, is yet to be known. The very kinds of social experiences, connections, and participation Dobrzynski laments may yet turn out this generation’s “Waterlilies” or “David.” The rest will be sorted out by curators, critics, public reaction, art historians, collectors, the public and the passage of time.

That’s what experience tells me.

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Wow. I think there was an implied mic drop at the end.

(Armoured Boys by Laura Ford, on view at deCordova)

Extremely well said, and Dennis right- it does come from experience as the deCordova is a perfect local example of a venue that excels at seamlessly showcasing traditional works alongside participatory installations.

And after re-reading the NYT article, it sounds like a bad case of static cling really ruined things for Judith.

I might recommend bringing a few dryer sheets and a positive attitude the next time she wanders into a room full of balloons.

(Work No. 247, Martin Creed)

Implied mic drop. ♥

Impossible Objects Doomed from the Start

fluxboston — Tue, 24 Jan 2012 15:10:56 +0000

(Kim Faler, Empire, 2012, wax, steel, and latex paint, dimensions variable, Courtesy of LaMontagne Gallery, Boston, MA)

“Kim Faler explores the extraordinary qualities lurking in everyday objects and materials. Her fascination lies in investigating how an artist can magnify and manipulate the physical properties of an object in ways that make the familiar seem uncanny.

Faler’s installation , ~~Empire~~, consists of three purple, partially melted wax chandeliers -impossible objects doomed from the start- that have been reattached after crashing from the ceiling above. These drooping fixtures engage the idea that the practice of art is very much an exercise in failure, for nothing great comes from those who are afraid to make mistakes..” -excerpt from Kim Faler’s ~~Empire~~ installation placard

“…By treating the immediate wall around each object with hints of a disappearing wallpaper pattern, Faler reminds us of the days when the museum was Julian deCordova’s private home. With these witty gestures, Faler invites viewers to engage in their own practice of close looking and to channel a healthy dose of skepticism into the process.”

Original deCordova house belonging to Julian deCordova:

(Images Courtesy of deCordova Sculpture Park and Museum)

Faler is one of 23 artists(and collaboratives) selected to participate in the 2012 deCordova Biennial which is up at the deCordova Sculpture Park and Museum in Lincoln, MA through April 22nd, 2012.

I was fortunate enough to attend the Opening Reception this past weekend which proved to be a truly unique visceral experience. Making my way through the galleries adorned with work, crafted in large by New England artists, I was reminded how far the Arts in Massachusetts have come since its bucolic beginnings. In recent years, the deCordova, along with several other local art institutions have shown they are not afraid to take risks with their programming. In doing so, they have opened up new dialogues, shared thought provoking works, and proved time and time again that Boston(and the surrounding areas) is an important player in the larger Contemporary Art Scene.

Maybe we will see some Boston exhibitors on the 2013 Art Basel roster? ~~Maybe the event organizers will send me a ticket to Switzerland/Miami?~~ Hope so! ♥

Weekly Wrap-Up for June 10th, 2011

fluxboston — Fri, 10 Jun 2011 15:03:12 +0000

(The work of Sasha Borodinova via v e l l u m)

Blackened skies and flipped out umbrellas last night? Temps pushing triple digits today?

This weather needs to get a life.

Better go out and see some things before the world ends.

It’s a wrap, baby.

Summer Secrets x The Rapture x Practical Nursing x Archetypology

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Chelsea Art Walk 2011

(via Gallery at Apollinaire Theater)

When: June 11-12th, 2011 Most events: 12:00-6:00PM both days

Where: Participating venues in Chelsea, MA

How: Official Website

What/Why: “The Art Walk is our version of open studios, where the public is invited to visit our galleries and alternative venues showing art, music, theatre and historical exhibits for free.”

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Kirstin Ilse: The Rapture

When: June 11th-July 3rd, 2011

Where: The Piano Factory Gallery, 791 Tremont Street, Boston, MA

How: Official Website

What/Why: An exhibition of painting on silk by Kirstin Ilse.

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Multiple/Unique: The Printmakers of Mastwood Press

(Girl on a Street Corner, Rachel Mello)

When: On view now through June 25th, 2011

Opening Reception: Friday June 10, 2011: 6:00 pm – 9:00 pm

Where: Washington Street Art Center, 321 Washington Street, Somerville, MA 02143

How: Official Website

What/Why: “At Mastwood Press, Ira Cummings, Rachel Mello, and Rachel Silber work independently in a collective environment that allows for interchange of resources and ideas. From each of their unique viewpoints they are creating uneditioned yet related prints.”

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Practical Nursing

(Use of Mask)

When: On view now through June 26th, 2011

Where: The Hallway Gallery, 66a South Street, Jamaica Plain, Massachusetts 02130

How: Official Website

What/Why: “My prints explore the aesthetics of vulnerability and fear though the transformation of diagrams from medical textbooks and first aid manuals. Framing the figure in a medical context allows me to distinguish the physical body from the individual, enabling me to explore emotions in a two-dimensional framework. Through the use of medical diagrams I present the body as an object, illustrating the loss of physical control that a patient experiences in a medical setting. The sexual tone of the images that the material and intimate environment evoke contrasts the sterility of the clinical imagery. This contrast emphasizes the perceived disparity between surgery and sexual intimacy, addressing the true nature of emotional vulnerability and physical intimacy.” -K. Stothart

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Super Secret Summer Surprise

When: Sunday June 12th, 2011, 8:00PM-12:00AM

Where: ICA Boston, 100 Northern Avenue, Boston, MA

How: Official Website

Cost: $25 general admission; $20 members and students with valid ID.
21+ Tickets are still available by phone or at the door.

What/Why: “The super secret is revealed…our surprise guest is Dan Deacon! PLEASE NOTE: Experiment will happen RAIN or SHINE. Remember those mornings, as a kid, when you woke up, ran downstairs, and flipped on cartoons? Or played Twister in the basement with your friends after school? You know how you practiced hot dance moves in the mirror?

Well, summer’s here, and it’s time to recapture your youth at Boston’s only art museum dance party. It’s the first-ever outdoor Experiment, and we’ve got it all: cartoons curated by Hooliganship, a giant game of Twister, multimedia artists the Video Hippos, Master of Ceremonies Jimmy Joe Roche, Wham City’s “Ultimate Reality,” and a surprise guest who’ll get you to dust off those old moves.”

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INN3R

When: June 10th-July 9th, 2011

Opening Reception: June 11, 7-10 pm

Third Thursday Celebration: June 16, 7-10 pm

BYOB Closing Party: July 9, 6-10 pm

Where: Atlantic Works, 80 Border Street, Top Floor, East Boston, MA

How: Official Website

What/Why: “Installation and Paintings by Leah Grimaldi and Chris Spuglio. What separates inside from outside? How thin is the boundary? Once the boundary is penetrated, what happens? Chris Spuglio and Leah Grimaldi pick at, explore and transgress the border that separates the insides from the outsides in their show INN3R.”

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Jennifer Koch: Scissor Drawings

(Scissor Drawing Page #937)

When: June 10th-August 21st, 2011

Opening Reception: Friday June 10, 6-9 pm

Where: ningyo editions, 83 Spring Street, Watertown

How: Official Website

What/Why: “ningyo editions is proud to present Scissor Drawings by Vermont-based Jennifer Koch in her first Boston-area solo exhibit.

These drawings involve no preliminary sketching, but are cut directly from black paper which is then applied to pages that have been removed from a 1925 Funk & Wagnalls Practical Standard Dictionary. The text adds an incidental commentary to the work, and images from the books 2,500 pictorial illustrations provide additional visual resources. The use of scissors as a drawing tool has its origins in Victorian silhouettes and kirie (“cut pictures”) of Japan. The drawings are presented in multiples to accentuate their compulsive nature, as well as to develop a narrative for each series.”

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Archetypology

(Power of the Ocean 1, Lili Jurinec)

When: Friday June 10th-June 15th, 2011

Opening Reception: Friday June 10th 7:00-9:00pm

Where: Mobius, 725 Harrison Avenue, Suite One, Boston MA 02118

How: Official Website

What/Why: “A group show of artwork inspired by archetypal themes – fundamental types of characters or situations embedded in the collective unconscious of all human beings”

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Picture Books

When: Exhibit for June 2011

Saturday, June 11th Events:Daylong Sidewalk Book Sale

Reception: 4:00 – 6:00 PM

Where: Clark Gallery, 145 Lincoln Road, Lincoln, MA 01773

How: Official Website

What/Why: A group exhibition featuring work in all media that pictures, or, references a book within the composition, or, is a book of some kind.

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Wall Works

(Robot Dance Party, Natalie Lanese)

When: June 11th, 2011-April 29th, 2012

Where: deCordova Sculpture Park and Museum, 51 Sandy Pond Road , Lincoln, MA 01773

How:Official Website

What/Why: “In Wall Works, six artists were invited to create site-specific wall installations in response to the Museum’s collection of modern and contemporary American art. In preparation for the exhibition, artists Kysa Johnson, Natalie Lanese,Caleb Neelon, Alison Owen, Justin Richel, andMary Temple trolled the Museum’s database of 3,500 objects and selected an artwork to serve as a source of inspiration for their proposed “wall work.” The artists identified artworks that resonated with their varied interests and aesthetics and have consequently assembled an eclectic assortment of objects from deCordova’s collection. Sited both in the gallery and the Museum’s Café, these new installations reflect each artist’s own practice while creatively engaging the Permanent Collection as an educational, historical, and inspirational entity.”

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your eyes are vessels

(Sasha Kurmaz )

Where: Online Exhibit

How: Official Website

What/Why: “your eyes are vessels is an exhibition of fantasy; the feeling of being transported (at first glance into someone’s eyes) to places they have seen, touched and imagined. it’s about primal curiosity, the need to know where they’ve walked, and who (besides you, if only for a moment), they have embraced. the eminent barrier between your fantasized idea of that person’s experiences and how it differentiates from their reality is brought into question. do we idealize? do we ask? do we trust? can this barrier be broken (do we want it to break?). when we hear their stories, what images do we conjure? when people leave our lives, does that curiosity ever disappear?

did they change you?

using photographs shot from an immediate perspective, these images are a collection of places your eyes have taken me; and while this show is about very real, very specific people, i hope that it’s message will allow you to look a little deeper (and i hope you grow to wonder as much as i do).”

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(Pallucchini’s ‘Matisse’, Roger Kizik currently on view at the Clark Gallery)

♂/☺/♫

I dedicate this wrap-up to all of my lovely gays in Boston and beyond. Happy Pride.

May it be full of glitter, sparkles, and Grindr hook-ups.

Cheers. ♥