Olafur Eliasson, weather project (2003), Tate Modern
Frustration and contemplation, however, do not go together.
Jenny Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989
Getting off the elevator you’re presented with a vast room, empty and dim. Illuminated only by the window’s natural light, it’s like being in a black and white photograph. Facing the elevators and horizontally bisecting the room end to end, is a three-inch thick metal black metal bar, five and a half feet from the floor, above which fog-like translucent scrim is stretched to the ceiling. The only other added element is a painted black stripe, the same height and thickness as the bar and matching the window’s black frame, which continues the motif around the gallery walls. You step forward, but your usual depth perception no longer serves. You see the bar in front of you and the stripe on the opposite wall…or maybe the stripe is in front? You cautiously advance toward it, not knowing whether to duck or not, and the whole room becomes activated; it’s hard to tell what’s real and what isn’t, what has substance and what doesn’t. Meanwhile the gridded ceiling, stony cement walls, and dark, uneven stone floor—aspects of the gallery that used to fade into the background—take on new prominence, as if they belong equally to artist and architect.
PART II Robert Irwin on "Scrim Veil-Black Rectangle-Natural Light (1977)" recently at the Whitney
Roberta Smith on Turrell "New Light Fixture for Famous Rotunda" and Irwin "Ineffable Emptiness: From Dawn to Dusk"
Gabrielle Selz "Considering Perception: Robert Irwin and James Turrell": a look at their shared history.
Lee Rosenbaum: "Turrell's Skyspace Obscures the Sky"
Blake Gopnik: "Has the Sage Turrell Sold Out?"