i’m so glad marina sent out an email about sarah sze’s show and artist talk at tanya bonakdar gallery.
notes on the talk i didn’t hear
i trekked from bed-stuy to chelsea to hear sarah speak. i was early, but all the seats were already taken. more and more people filtered in and smushed together to stand in the back of the room. i asked a guy who was recording the talk if he was livestreaming, and he said no but that the gallery would eventually post video of the talk on their website. with this piece of information, i left the smush to check out sarah’s work and will watch the video of her talk when it gets posted.
i do think galleries should livestream talks like this and in a way that lets people write in questions during the q&a session. not everyone who cares about art and artists can get to galleries easily. this system doesn’t have to be fancy—there could be a hashtag for the talk that people could use to tweet their questions in, or folks could just tweet at the gallery.
notes on the work
a visual vocabulary of threads and shards and shreds, sharp and reflective and delicate. one sculpture: splotches of paint create patterns across thin blue strings, weighing them down. the splotches are fall-colored, tiny paint leaves. a sze strategy: a natural-looking thing (leaf) that, on closer inspection, is a not natural thing (paint) composed in a way that feels like it should tell us something, should mean something. a data visualization, but we’re not sure what the data source is. in another part of the room, gray muck on human-size mirrors keep us from seeing ourselves completely. did we make the muck?
a sculptural piece in another room—a dark room—is made of blue tape and glass shards and light and wires. a plastic water bottle doubles as a vase for dead grass. you hear water trickling from a plug-innable thing you could get at home depot. a clock shows you how many hours and minutes and seconds have passed and are passing. a useful piece of information from the press release (there are no titles of lists of materials anywhere):
A computer within the sculpture scrapes data from a NASA website that measures the distance between Earth and the Voyager 1 spacecraft, which has been in orbit since 1977.
downstairs, scaffolding precariously supports a world of huge ladders, careful arrangements of thread and skins of paint draped over wire, shreds of images. paper coca cola cups sit on the ladder rungs, left by the people who were just climbing, attaching something or plugging something in somewhere up there. how does it all stay standing?