Current Work 24.Feb.2012


Gehry Backlash

The original for 10,000 wannabes

The Weisman certainly doesn’t get the mindshare that the Guggenheim Bilbao does. I’ve read quite a bit of prose that perpetuates the idea of the Guggenheim just “springing forth” as a new direction when in reality the Weisman was “completed” four years earlier. Of course in reality the Weisman was only truly finished in the fall of 2011 with the opening of a long planned addition. Prior to the additon, the interior of the Weisman was …. well, limp. (Seems to be a theme *cough* Walker *cough* Guthrie *cough*). The new galleries provide of an ‘aha’ moment as one realizes that an unseen piece of the puzzle has fallen into place providing much better flow and feeling.

More of a Gampi man myself

Make no mistake about it, making Japanese style paper is hard. Nice article on Tim Barrett.

Nothing but a wet sheen was left on the mold. I thought that the process had, for some reason, failed to produce paper. But soon, from a corner of the frame, Barrett peeled off a pale yellow sheet, which resembled a large damp handkerchief. “People are always surprised when they see it for the first time,” he told me afterward. “It’s as though it comes out of nowhere.”

I think a ‘damp handkerchief’ is being generous. A ‘wet tissue’ would be more like it. Western style paper is a lot easier to make but both have their allure I suppose. Papermaking is so different both in process and material than what I do, but I love doing it none the less.

Speaking of local hand made paper, congrats to Cave Paper as the winner of the 2012 Minnesota Book Artist Award.

Jim Hodges’ Buoyant Monoliths

New outdoor installation at the Walker.

Interesting mention of environmental concerns-

Another key consideration of construction was how the boulders and seamed steel would weather Minnesota’s harsh winters. Walker registrar Joe King traveled to New York to view the work and discuss this matter with conservators and fabricators. Concerned about how frozen moisture might affect natural fissures in the stone, King also met with the artist. Between pinning and sealing some cracks, and allowing for natural deterioration of others—“letting rocks be rocks,” as King says—such concerns were allayed.

I wonder what amount of consideration was given to the mismatch in the coefficient of thermal expansion between the rock and the steel.

Anyway, looking forward to checking the piece out after installation in April 2012. I’m sure the date(s) are coincidental, but the colors do have a very “Eastery” feel to me…