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RSS icon Comments on Time for Irwin, Part III

And his column succeeded: It was knocked over and broken. Meaning: It disappeared enough for somebody to miss seeing it entirely and to walk right into it.
That is fucking hilarious. I'm sorry if I don't understand art but come on. Can you even parody that?
Posted by elenchos | April 4, 2008 11:41 AM

I've cleared out the spare bedroom enough for the column to fit in it. I mentally imagined it being there yesterday; today, yes, it is not there. Wanna come over and check out my art?

Oh yes the Philistines will laugh but the new absence-of-art-is-art art is provocative.

And more: all 6 billion people in the world have the same columnar vacuity in their houses, apartments, mansions, rooms, hovels and favelas.

The new absence-of-art-is-art art: giving "vacuous" a new meaning !

Posted by unPC | April 4, 2008 1:01 PM

I saw some of Irwin's works at a southern California artists retrospective during the 1960s and 70s a few months ago at the LACMA. Your analysis of his work has really put him in a new light for me, but I think my favorite Southern Californian artist is still Turrell.

Posted by Cook | April 4, 2008 1:17 PM

I don't think they're supposed to "disappear" so much as open up another space by refracting light, kind of like what Judd's milled aluminum boxes do by reflecting light...

...I'm glad that Bob Irwin's museum-oriented work is still getting shown, even though he's moved on to public art. His work during the transition from painting to landscape architecture is some of the most interesting work I've ever seen. His writings are more straightforward, relevant, and insightful than any critic's writing I've ever read. His bio has helped sustain a lot of people's studio practices outside of academia. Unlike most other artists who were successful at the same point in history, he has avoided becoming a self-parody, cranking out different versions of a trademark piece or style. He's an innovator and a risk-taker in his own studio practice. Sometimes that puts the actual physical objects in peril.

I imagine he might be pleased to hear about the destruction of one of the columns. Not because of any press it might generate, not because it might historically echo Duchamp's Large Glass, but because he seems to be quite alright with leaving his old work behind.

And have you seen how the Portland Art Museum has installed their disc? Ugh.

Posted by tdb | April 5, 2008 12:07 PM

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