|A detail of the Ringlings' home|
My friend (and Florida native) John and I went there to see two shows in particular: One was a traveling collection of cutting-edge Chinese photography and video, titled Seeing the Unseen, which we found disappointing; the other is a new Ringling-curated contemporary group show titled Re:Purposed that was outstanding.
|Li Wei, Mirror|
Re:Purposed, on the other hand, provided a delightful overall experience and featured, for me, both old friends and new discoveries. The two best-known (and oldest) artists in the mix, Nick Cave and El Anatsui, do carry the show with conceptually sound, brilliantly colorful, exquisitely crafted pieces. But they also have some fine company, especially in the case of Aurora Robson, a Canadian collage assemblist with delicate sensibilities, wry wit, and 21st-century wisdom.
Robson’s pair of works on paper with magazine cuttings and deftly drawn curlicues cleverly celebrates and subverts our ubiquitous advertising media and its unsubtle consumerist messages, while offering playful and meaningful alternatives. Another artist with a message, Alyce Santoro, presents tapestries and dresses made from woven magnetic tape (pulled out of old cassettes), working not just with the shiny material but with the vestiges of sound that they contain and which can still be pulled up by a tape head. I found this aspect of the weavings equally intriguing and creepy – visually, though, the work fell a little flat.
|A Nick Cave Soundsuit|
Ringling curator Matthew McClendon gave a big space to Jill Sigman for a site-specific installation of a hut constructed out of stuff culled from local Sarasota trash (including some discarded Ringling signage). Colorful and unsurprisingly chaotic, the hut felt forced – too artificial to be truly engaging. Visitors showed their discomfort by hesitating to enter it (despite a clear entrance and no prohibitive warnings) until I broke the barrier and walked in. This lack of audience interaction is symptomatic of the sterile, churchlike environment that museums have cultivated, but it also speaks to an absence of excitement about the Sigman work presented here.
The other artists in the show (Matt Eskuche, Vanessa German, Emily Noelle Lambert, and Mac Premo) all are well represented by a good sampling of work that ranges from elegant glass reproductions of crushed cans to mechanical constructs. The show is augmented by a few items from the Ringling’s permanent collection, including a first-rate wall relief by Robert Rauschenberg and several Marcel Duchamp readymades.
Also on view at the Ringling is a permanent installation by James Turrell titled Joseph's Coat that is a super-flat 24-foot-square aperture in the ceiling of a courtyard, through which viewers can see the ever-changing sky above. Periodic nighttime LED shows designed by Turrell are the real event, but just to stand under the opening during the day and look up through it is a transcendent art experience well worth the effort.
Seeing the Unseen ended on Feb. 28; Re:Purposed will be on view daily through May 17.
|Liu Bolin, Hiding in the City - Bird's Nest|