![]() The dimensions of this site-responsive installation are variable and aim to disrupt the architecture of the exhibition space. Positioned alongside the wall, Flavin’s square, fluorescent-green units are placed side by side at two-foot intervals, eventually ending at a glass door, while the reflection makes it seem like it extends outdoors. Beacon Project (1999-2003) highlights the subtle ways Irwin alters perception and in turn their experience at Dia Beacon. Through his use of light and space, Robert Irwin’s work shapes a viewer’s experience by influencing their perception of his work. This work, designed by Robert Irwin, was part of Beacon Project (1999-2003) created in collaboration with Dia Art Foundation to transform the once Nabisco box making factory into a modern art museum. When you first arrive at Dia Beacon, you’re greeted by landscaping that precedes the building and surrounds its exterior. We are excited to partner with RM, and if you’re curious about the artists he featured in his live performance video, we’ve put together this short tour highlighting them. Recently he released his first solo album, and he approached Dia asking to shoot in our galleries. His personal interest in art has been well documented in recent years, as has his role as an arts supporter who is consistently introducing a global audience to art. My work is full of illusions, but they don’t refer to anything.In December of last year, the singer RM visited Dia Beacon, posting both pictures of the train ride in from the city, and various artists in our collection on his Instagram. Illusionistic art refers you away from its factual existence towards something else. Trying to weed one out in favor of the other is dealing with an incomplete situation.” Nevertheless, he stressed that “in no way is my work illusionistic. ![]() In his exploration of physical relationships through the interplay of vacancy and volume, Sandback recognized that “fact and illusion are equivalents. When the artist desired a more strongly accentuated edge, he doubled or trebled the strings. He preferred it over other materials such as wire, because its soft, slightly fuzzy contours conjure a less crisp and rigid line than that produced by metal and its matte surface absorbs rather than reflects light. Conceived to coexist with the architecture that hosts them, the sculptures reveal themselves over time, from various vantages and according to different perspectives.Īll the works on view are made from acrylic yarn, a material that carried nosignificant conceptual connotations for Sandback. Whether transparent geometries, as in the two parts of Untitled (from Ten Vertical Constructions, 1977–79), or simple linear trajectories, as in Untitled (1996), Sandback’s sculptures inhabit what the artist dubbed “pedestrian space”-the space occupied by the spectator-as opposed to an environment constructed for display. Often the spectator concentrates less on the edges demarcated by the yarn than on the planar or volumetric components contained within them. In these sculptures, space is both defined and incorporeal. Though the same substructure may be used many times, it appears each time in a new light.” Thus the artist intuitively adjusted a work’s proportions and measurements depending on other works placed in conversation with it and its site of display. Selected from his deliberately circumscribed lexicon, each sculpture was chosen for its installation at this site: “I don’t feel that once a piece is made, then it’s done with,” he explained.“ I continue to work with older schemata and formats, and often begin to get what I want out of them only after many reworkings. Both informed by a signature style and closely related to the archi-tecture in which it is realized, his body of work always differs in its manifestations.įor his first presentation at Dia Beacon (which is how the works continue to be installed), Sandback seamlessly integrated older works with newer ones to orient and ground the viewer in a particular place, a specific situation. In making sculptures that do not have an inside, he hoped to “assert a certain place or volume in its full materiality without occupying and obscuring it.” Sandback pursued these formative insights with remarkable consistency and inventiveness. It was a casual act, but it seemed to open up a lot of possibilities for me,” Fred Sandback recalled of a germinal sculpture he executed in 1967. “The first sculpture I made with a piece of string and a little wire was the outline of a rectangular solid.
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