RMW: the blog

Roslyn's photography, art, cats, exploring, writing, life

Culver City Art Group views The 2000 Sculpture at LACMA

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       The 2000 Sculpture

Members of the Culver City Art Group visited the Los Angeles County Museum of Art last Saturday for our January activity. The original purpose was to see the Bodies and Shadows: Caravaggio and His Legacy exhibit and also Stanley Kubrick. Truth be told, I wasn’t crazy about seeing either exhibit. But as an artist I feel it is important to expose myself to as much creativity as possible, whether or not I think I will enjoy it.

The best part of Caravaggio was the gorgeous frames the paintings were encased in. As I mentioned to my friends, art thieves generally cut the canvases out and leave the frames. I would take the frames and leave the canvases on the floor. Sacrilege! I do appreciate his use of light (and his copy cats working around the same time). How much fun it must have been for these artists to paint the effects of candlelight or the sun shining through the window.

As for Kubrick, I learned that Arthur C. Clarke, who collaborated on the story of 2001: A Space Odyssey with the director, actually wrote the novel after the movie. He said this was a once in a lifetime experience as he was able to improve the story by the mistakes and confusion that occurred in the original film script. This is one movie that is embedded in my brain and will remain with me for as long as I am lucid.

So what does that have to do with the photo above? In the main exhibition space of the Resnick Pavilion, before you walk into the special ticketed section for Caravaggio, this sculpture is laid out on the floor.

From the LACMA website:

“A pioneering figure in the development of minimal, conceptual, land art, and installation art, Walter De Maria has made minimalist horizontal sculptures that occupy entire rooms since 1969. Measuring 10 x 50 meters (approximately 33 x 164 feet), The 2000 Sculpture was first exhibited at the Kunsthaus Zurich in 1992. It is one of a series of works by De Maria featuring groupings of ordered elements using precise measurements. 

The current presentation is the first official public exhibition of The 2000 Sculpture at LACMA, and only the second solo museum exhibition of De Maria’s work in the United States.”

These photos were taken with my little Olympus point & shoot.

The 2000 Sculpture

As you walk around the sculpture and view it from different angles it looks completely different.

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You are also aware of the change in tonal qualities. The Reznick Pavilion, as I have noted in a previous post, was designed with indirect natural lighting which casts shadows on the pieces. I can’t imagine what this would look like at night with artificial light but it would be interesting to find out.

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As far as I could tell, the blocks are in three different shapes: five-, seven- and nine-sided. I wonder if there is some significance to those numbers? Well, I always have to over-analyze everything. But I would like to know…

There was one piece that was out of alignment on Saturday, but I won’t spoil it for you… you have to find it yourself, unless it has been corrected by now. I wondered if it had been left at a skewed angle on purpose!

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I would not want to the security guard posted at this display. It would make me crazy. But the guards probably know better than to stare at it for too long.

2000 Sculpture

This is about the third time I have viewed this piece on different visits to the museum but it doesn’t get old for me. I see something different each time. the display runs through April 1, 2013.

2000 Sculpture

(Photos copyright roslyn m wilkins)

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Author: RMW

I am an explorer and creative person. I've had many jobs, careers and interests... everything in life and the universe fascinates me. Born in Brighton, England, I've lived my entire adult life in Los Angeles, California. A few years ago I rediscovered photography which is a great excuse to get outside and look. I'm also in the process of re-writing some of my unpublished short stories and possibly a novel. .

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