Michael Williams Is The Artist-In-Residence At The Chinati Foundation For September -October 2018

 Michael Williams, Untitled Puzzle Drawing, 2016
Michael Williams, Untitled Puzzle Drawing, 2016

A painter based in Los Angeles, Michael Williams will be in residence at Chinati during the months of September and October. As part of this year’s Chinati Weekend, Williams will host an open studio at the Locker Plant on Friday, October 5 from 5:00 to 8:00 PM.

The Chinati Foundation’s Artist in Residence program was instituted in 1989 with the aim of supporting the development of artists of diverse ages, backgrounds, and disciplines. The program provides an opportunity for artists from around the world to work in a striking, natural environment. Exhibitions are often held at the conclusion of the residency. These become an important part of the museum’s temporary exhibition program, and provide a vital counterpoint to the permanent collection.

1 Cavalry Row
Marfa, TX 79843

Haroon Mirza Installation With Ballroom Marfa

Haroon Mirza: stone circle
Haroon Mirza: stone circle

Join Ballroom Marfa on the full moon of April 29 for the unveiling of Haroon Mirza’s stone circle. Inspired by ancient megaliths, this large-scale outdoor sculpture will be open to the public in the high desert grasslands east of Marfa for the next five years.

Mirza’s stone circle refers to prehistoric monuments such as Stonehenge and Nine Ladies, megaliths erected by humans and used for practices related to communion with the Earth. The work is composed of black marble boulders that produce patterns of electronic sound and light from energy generated by solar panels. Each of the eight stones in the circle is carved to integrate LEDs and speakers. The ninth stone, the ‘mother’ stone, sits outside of the circle and is fitted with solar panels that charge a bank of batteries. This energy is released on the full moon of every month producing a ‘solar symphony’ of electronic light and sound.

Ballroom Marfa is working with the artist to develop a calendar of dance, music, and performance events where artists will engage with and interpret the sculpture.

This project continues the Ballroom’s signature practice of commissioning site-specific artworks and installations, and is their most ambitious public commission since Elmgreen & Dragset’s Prada Marfa was completed in 2005.

Haroon Mirza was born in London in 1977 where he lives and works.

Date: Full Moon, April 29, 2018
Sunset: 20.33; Activation: 21.03
Location: 30°20’11.9″ N – 103°59’37.4″ W

Ballroom Marfa
108 E. San Antonio St. P.O. Box 1661
Marfa Texas 79843

Community Day 2018 At The Chinati Foundation

Chinati Foundation
Local friends visiting Dan Flavin’s installation, untitled (Marfa project), during Community Day 2017. Photo by Jessica Lutz

Chinati invites everyone to its annual Community Day celebration on Sunday, April 21, 2018. The day will begin with a screening at the Crowley Theater of short films related to Chinati and the artists in the collection. In the afternoon there will be open viewing of the permanent collection, followed at 5:00 PM by a barbecue dinner at the Arena featuring an art exhibition by Marfa ISD students and performances by the Marfa high school marching band and the dance troupe Ballet Folklorico Aztlàn. All events are free and open to the public and everyone is welcome.

The Chinati Foundation
P.O. Box 1135
1 Cavalry Row
Marfa, Texas 79843

Robert Irwin At Chinati Foundation Marfa


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.

Dengue Fever At Ballroom Marfa

Arturo Bandini (Los Angeles) 2015  I-Joists, Wood, Stucco, Drywall, Fluorescent Lights, Linoleum  Courtesy the artists and Ballroom Marfa
Arturo Bandini (Los Angeles) 2015
I-Joists, Wood, Stucco, Drywall, Fluorescent Lights, Linoleum
Courtesy the artists and Ballroom Marfa

Dengue Fever is the second of four exhibitions programmed for Arturo Bandini’s year long installation in the courtyard, a perfect copy of their space in Los Angeles.

Dengue Fever is imagined as a sort of Henri Rousseau delirium, a jungle of feeling, and a landscape turned inwards. The project features works by Kelly Akashi, Marten Elder, John Finneran, S Gernsbacher, Drew Heitzler, Sarah Manuwal, Calvin Marcus, and Roni Shneior.

Mirroring the spectacle of Bandini’s Los Angeles events, artist Nick Fisher will travel to Marfa to serve his custom brewed Marfa Pale Ale for the opening of Dengue Fever alongside tacos by Marfa Burrito.

Dengue Fever
Exhibition Dates: June 3 – August 21, 2016
Opening Reception: Friday, June 3, 2016 from 6-9pm in the Ballroom Marfa Courtyard

Ballroom Marfa
108 E San Antonio St
PO Box 1661 Marfa
Texas 79843