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9.16.16

Storm King and Dia:Beacon

Location will oftentimes play a role in the interpretation of art, as it can provide some context for a piece. Today we were able to explore two venues for location specific art: one natural and one manmade. This in conjunction to our trip to MoMA the week before helped us explore how the presentation of art can be an extension of the art itself, and how art can be specific to its environment.

Our first stop of the day was Storm King, a sculpture garden in New York. The works here are featured either in open fields or forests, and are exposed to the elements. Storm King serves as a venue for some major installation pieces, the majority of which are larger than life. They stand outside year-round and, depending on the season, the sculpture will react differently to the landscape. In winter, for example, Mirror Fence by Alyson Shotz would reflect not only the landscape, but also the reflection of light from snow. This additional element is exclusive to the winter, and thus the interpretation of the piece may vary. Storm King also allows for some site specific pieces, like the Storm King Wall. Here, sculptor Andy Goldsworthy corbeled found stone to create a contour line stretching between existing trees on the Storm King property. What started out as a dilapidated farm wall evolved into an icon of the garden, and seems to fit perfectly in its environment. Goldsworthy took inspiration from the location, and planned art to complement the site’s history, environment, and other pieces.

Dia:Beacon, on the other hand, is an indoor museum with expansive galleries. As a remodeled factory, Dia:Beacon has the luxury of space for some larger installations. It houses a collection of Richard Serra pieces, which can be explored in one of the museum’s largest spaces. The benefit of keeping these pieces indoors is how the space can narrow and define the interpretation of the sculptures. Without the added element of weather or nature, the focus remains on the piece of art itself. Inside of Dia:Beacon, for instance, the Richard Serra pieces become a playground that define the space they are in, rather than the environment defining the space. This is similar to MoMA, where the overall “themes” of the galleries are determined by the pieces within them.

This interaction of art and the environment it is displayed in will always have an impact on its interpretation. The location of art can be just as significant as the piece itself, as seen by the examples of Mirror Fence and Storm King Wall. The space can also simply be a blank space for the art to be the focus without interruption. Still, the artist must consider both types of environment when displaying their piece and the environment can quickly become another element in their art.

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