Robert Irwin At Chinati Foundation Marfa

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On Saturday, July 23, 2016, from dawn to dusk, the Chinati Foundation/La Fundación Chinati will open a new large-scale artwork by Robert Irwin. Sixteen years in the planning, this long- awaited installation further elaborates Donald Judd’s vision of Chinati as a singular place for contemporary art and is the first major addition to the collection since the opening of the Dan Flavin project in 2000 and the opening of the John Wesley gallery in 2004. Irwin’s largest work to date, it represents the culmination of his decades-long investigation into the act of perception through poetic manipulation of space and light.

While Robert Irwin is recognized as one of the outstanding artists of his generation, much of his past work was created and installed on a temporary basis. His new project for Chinati is the only permanent, freestanding structure that has been conceived and designed by Irwin as a total work of art. In 1999, Irwin was invited to create a work for the site of a long-abandoned army hospital adjacent to the museum’s main campus. Over the ensuing years, Irwin developed and refined a design that was informed by the open conditions of the derelict building, the surrounding landscape, and the sky overhead. The completed work fuses indoors and outdoors, art and architecture, the past and the present, nature and the man-made, and creates an ideal complement to Chinati’s permanent collection.

Donald Judd collected and supported Robert Irwin’s art and hoped to include it at Chinati. This ambitious project realizes that goal and will also contribute to the growing reputation of Marfa, Texas as one of America’s unique cultural places.

What Irwin has contributed to Chinati is an artwork in the form of a building, with light and shadow as its primary subjects. The original building that occupied the site was a dilapidated C-shaped concrete structure, lined on all sides with a long sequence of windows that surrounded a central courtyard. It sat on a gentle slope and when Irwin first visited, the building’s floors had been removed, raising the window sills to eye level and offering what Irwin later described as a “Dutch landscape-like view” of the surrounding West Texas land and sky. He chose to cut the newly constructed building into the existing slope to retain the same physical relationship.

As visitors enter from the street, gravel-lined walkways offer an option of directions. Antechambers to the right and the left are open to the sky—referencing the historic structure’s previous ruined state. The building is formally divided in half, with one side dark, the other light. Inside, transparent scrim walls are stretched taut from floor to ceiling in black or white respectively, bisecting each long wing and capturing the always-changing natural light, appearing opaque one moment and transparent the next.

The connecting corridor has a progression of scrim walls that sequentially cross and fill the space, with an enfilade of doors for passage. The courtyard has been transformed into a garden defined by concrete paths running along Corten steel-lined raised beds with two rows of Palo Verde trees. Niches with benches flank the central planter, where Irwin has created a tableau of large basalt columns. The surrounding fields of grasses, wildflowers, mesquite, scrubs, and cactus are left in their natural state.

In 1973, Robert Irwin discussed his artistic principles in words that aptly describe his approach to this new work for Chinati:

The sculptural response draws all of its cues (reasons for being) from its surroundings. A quiet distillation of all this—while directly experiencing the site—determines all the facets of the sculptural response: aesthetic sensibility, levels and kinds of physicality, gesture, dimensions, materials, kinds and level of finish, details… whether the response should be monumental or ephemeral, aggressive or gentle, useful or useless, sculptural, architectural, or simply the planting of a tree or maybe doing nothing at all.

Opening Weekend

The inauguration of Robert Irwin’s new work for Chinati will be held on Saturday, July 23, 2016, from sunrise to sunset. The building is located at the corner of Bonnie and South Yale Street in Marfa, Texas. Everyone is invited to attend. There will be a free community-wide barbecue dinner with Mariachi music at the Arena from 6:30 until 9:00 PM, and a public talk about the development of Irwin’s work at the Crowley Theater in downtown Marfa at 3:30 PM. Selected works from The Chinati Foundation’s permanent collection will be open throughout the weekend, and there will be a sunrise viewing of Judd’s works in mill aluminum and works in concrete on Sunday morning.

Robert Irwin

Robert Irwin was born in 1928 in Long Beach, California. He attended Otis Institute and Chouinard Art Institute in Los Angeles. Although Irwin began as an abstract painter and exhibited his work at the Ferus Gallery, Los Angeles, in 1970 he began to pursue a more philosophical and critical inquiry and his work shifted away from traditional paintings and objects to focus on a new type of environmental or experience-based art Irwin called “conditional”—room-filling installations that reconfigured light and space, created in direct response to existing architectural situations.

Lauren Marsolier At Robert Koch Gallery San Francisco

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French artist Lauren Marsolier’s photo-montages are assembled from imagery compiled by the artist at assorted geographical locations over spans of time and manifest surreal non-places where evidence of human activity is simultaneously present yet are devoid of inhabitants. Her crisply composed images of buildings and man-made landscapes bathed in otherworldly light suggest time has seemingly been paused. “Months or years often separate the capture of elements juxtaposed in my landscapes,” Marsolier explains. “This approach is not unlike that of the many painters who would make sketches at different locations to use as reference for their future paintings.” Marsolier uses her data bank of collected imagery to construct mysterious and psychologically imbued images that blur the distinction between the natural and fabricated.

Of her work Marsolier additionally remarks, “In a composite photograph, liberated from the single point of view of indexical representation, a new visual vocabulary can emerge. A subtle combination of multiple perspectives, lighting sources, and distances are used to produce disorientation in the viewer… The landscapes are ambivalent, familiar and yet not identifiable. The work constructs an experiential bridge between self and environment, blending the physical landscape with the landscape of the mind. It is a reflection of our world without being a direct representation of it.” Fittingly, critic George Melrod describes Marsolier’s work as “existing in a limbo-like, in-between state, between fiction and document, between virtual and physical.”

LAUREN MARSOLIER: DISLOCATION
Exhibition Dates: July 7 – September 3, 2016

ROBERT KOCH GALLERY
49 Geary Street
San Francisco, CA 94108

Rachelle Bussières At Robert Koch Gallery San Francisco

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Blurring the lines of photography, painting, and sculpture, French-Canadian artist Rachelle Bussières employs experimental photographic processes and materials to fabricate abstract geomorphic images that explore time and the changing natural world. By investigating the transformation of photographic paper through layering materials in the darkroom, her creative process mimics the earth’s geological stratification. The result is is an imaginative dialog between topographical images of the natural world and photographic materials. Much like an action painting, the process ultimately defines the artwork.

RACHELLE BUSSIÈRES: STRATA
Exhibition Dates: July 7 – September 3, 2016

ROBERT KOCH GALLERY
49 Geary Street
San Francisco, CA 94108

Hurvin Anderson At New Art Exchange Nottingham

Hurvin Anderson: Dub Versions
Hurvin Anderson: Dub Versions

Dub Versions at New Art Exchange is an in depth exploration of Hurvin Anderson’s practice through new and existing works, including a new commission for Arts Council Collection’s 70th Anniversary celebrations. The exhibition also features sketches, preparatory paintings, collages, drawings and photographs that have never been displayed before in the UK.

Hurvin Anderson: Dub Versions
Exhibition Dates: July 2 – September 18, 2016

New Art Exchange
39 – 41 Gregory Boulevard
Nottingham

SCHOOLS’ EXHIBITION: JACK PETCHEY START PROGRAMME At South London Gallery London

SCHOOLS’ EXHIBITION: JACK PETCHEY START PROGRAMME
SCHOOLS’ EXHIBITION: JACK PETCHEY START PROGRAMME

An exhibition of work by pupils from ARK All Saints Academy, Evelyn Grace Academy, Harris Academy at Peckham, Harris Girls Academy East Dulwich and Tuke School will be presented at South London Gallery. Pupils worked with artists Rosemary Cronin, Marysa Dowling, Holly Graham, Lucy Joyce and Helen Rousseau, to question the boundaries of art: what is it, where is it and what can it mean? This exhibition concludes the year-long Jack Petchey START programme which saw five secondary schools in Southwark work in partnership with the South London Gallery.

SCHOOLS’ EXHIBITION: JACK PETCHEY START PROGRAMME
When: Wednesday July 13 through Friday, July 15, 2016; CLORE STUDIO, FREE

South London Gallery
65-67 Peckham Road
London SE5 8UH