I saw them (there are 5 total) being prepared for installation two days ago, still in 9-ft. halves, waiting patiently outside the pavilion to be installed throughout the park. Yesterday, a colleague mentioned how his girlfriend could see them from her place of employment, which happened to be the restaurant at the top of the Space Needle. While this is one thing I would love to just assume is going to be amazing, I find myself questioning the location. I adore OSP for many reasons, yet one aspect of public sculpture I appreciate the most is how often it challenges its environment. Calder’s Flamingo is the perfect example of this, particularly during rush hour, when the monochromatic workforce in Chicago’s Loop scurry beneath the bold, red structure protruding into their otherwise geometric surroundings. I question the Safety Cones the same way I questioned Mudman in the museum setting; can works of art conceptually rooted in their interactions with the surprised and/or confused viewer remain effective in the museum setting? I must say, sometimes not; but perhaps this is not the case for the Oppenheim piece.
Alexander Calder. Flamingo. Image from Chicago Adventures
I have been fascinated by the concept of Open Satellite since first hearing of its existence on the first floor of a yupster apartment building in the highly commercial Bellevue. The works created by Hilary Wilder during the gallery’s most recent exhibition were phenomenal in their own right and included representations of both the Open Satellite and Bellevue environments through a particularly interesting use of the grid within Turner-esque landscapes flooded across each of the space’s walls. However, I anticipate Vega’s new show to make a particularly unique transformation of Open Satellite, as the artist’s media of choice are lounge spaces and tropical landscapes. Somehow, these strike me as perfectly fitting for Bellevue, whose downtown is primarily comprised of three shopping centers. He also works in felt, which I think will make for an amazing $25 edition, should that still be how he chooses to do his editions for this exhibition.
3. Modern Art Notes and C-Monster have linked to Peripheral Vision (thank you!). The “potential” part of this being potentially amazing is more for readers than for me (it is certainly amazing for me), since my hope is to keep doing what I have been doing, despite suddenly having an actual level of readership.