The National Gallery of Ireland has plenty of galleries with the white walls that I expected of an art museum; stepping from monochromatic spaces into this deep red room was a figuratively visceral experience.
The welded three-dimensional shadow of a four-dimensional hypercube amongst the desolate setting of Bombay Beach does not seem to fit all that well with a baby.
Today, a completely different view of the tetrahedral sculpture at Bombay Beach that I’ve showcased previously. I really find this thing fascinating; placing it in greater landscape context takes away none of its surreal presence.
I guess there are worse tautological statements to make into a sign.
Whether water or earth, the nonlinear and irregular forms of nature are in stark contrast with the Bombay Beach tetrahedron’s straight lines and round connectors.
Dream-logic usually stays confined to dreams, but this swing in the Salton Sea appears fully isolated and separated from reality (while still existing within it); I’m reminded of an extremely low-rent version of Itsukushima Shrine.
After being on display at Burning Man, Randy Polumbo’s “Lodestar”—a modified aircraft, effectively—has come in for a landing at Bombay Beach, on the apocalyptic shores of the Salton Sea.
Part of a series of works by Dan Flavin, featured in the National Gallery Salm Palace in Prague.
Displaying Andy Warhol’s correspondence in these hanging frames within a Prague museum makes a three-dimensional timeline of his life between two continents.
Though it may be a semi-intended consequence of Manhattan’s zoning rules regarding floor space, setbacks, and public space, public art in downtown Manhattan is still refreshing. Jean Dubuffet’s Groupe de Quatres Arbres and its curving lines fits so nicely against the linear structure of the building behind it that I’m naturally drawn in.
In this image, visitors walk through “Demon of the Growth” in Salm Palace, part of the National Gallery in Prague, Czech Republic. Though this sculpture may look enormous, this portion on the staircase is only a small part of the multistory piece that extends painted spheres (mostly balls for athletics, as far as I could tell) around the museum and even out some of the windows. I’m put in mind most of some kind of gray goo scenario, with out-of-control self-replicating machines on the loose in the museum.
The bold train station geometry of the Musée d’Orsay couples with the high density of artistic masterpieces to produce some kind of dimensional portal.
Rodin’s “The Gates of Hell,” Rodin Museum, Philadelphia.
Photo of “Iroquois” by Mark di Suvero.
Photo of “For Handel” by Mark di Suvero, located on WWU’s campus.