Slog - Comments on Time for Irwin, Part IV http://slog.thestranger.com/2008/04/time_for_irwin_part_iv Last week I spent some time explaining why Robert Irwin was so particular about the way his objects looked, why they had to be just so—why he was dubbed one of the "finish fetish" artists. And now, for an abrupt change, I want to talk about a big, fat flaw smack in the middle of his exhibition at the Museum of Contemporary Art San Diego through April 13. It's in the show's largest installation, in a piece called Who's Afraid of Red, Yellow and Blue. (More about other parts of the show here and here.) Photos by Philipp Scholz Rittermann... Copyright 2008 Tue, 08 Apr 2008 09:41:12 -0800 Tue, 08 Apr 2008 12:37:31 -0800 http://www.movabletype.org/?v=3.34 http://blogs.law.harvard.edu/tech/rss Comment by Bellevue Ave Fuck Graves, when are you actually going to talk about the fucking light on the painting.

]]> Bellevue Ave http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992789 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992789 Visual Art Tue, 08 Apr 2008 09:45:33 -0800 Comment by Mr. Poe Two panels of slightly darker blue?! What a rebel!

Who dusts that shit?

]]> Mr. Poe http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992797 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992797 Visual Art Tue, 08 Apr 2008 09:51:26 -0800 Comment by unPC Hey -- let's throw out the fighter jet and give Irwin $550,000 to make art out of panels in the new Capitol Hill Subway station! Love the brilliant new idea:
using colors!!!!
Hopefully ST will mar the installation in some slight way, then those of us "in the know" can smirk from behind our chunky black eyeglasses, gallicly shrug, and reflect deeply on the additional irony and depth this adds to the "ouevre" and especially how most won't notice it unless we write about it.

]]> unPC http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992833 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992833 Visual Art Tue, 08 Apr 2008 10:14:55 -0800 Comment by w7ngman I wonder if he had to reverse engineer the paint color, or if he had some left over and it simply wasn't yet lightened by age or sunlight. He might have figured that in a few years, the fading of the original panels would have slowed, and the new panels would have faded rapidly enough to catch up. Sort of how an untanned spot on your back will catch up to the tan of the surrounding skin, since skin tans more rapidly the less tan it is to begin with.

Do you think that repainting the existing panels, though it wouldn't be noticeable in a work like this, actually detracts from the piece even more? If one were to add to a famous mural, would they retouch it to match the new paint, or would it be more appropriate to leave the original paint? I'd say leaving the original is more important to the integrity of the piece, but in the case of simple solid colors I'm not sure.

]]> w7ngman http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992868 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c992868 Visual Art Tue, 08 Apr 2008 10:32:09 -0800 Comment by drew Liking this series, especially because I like the art/concepts.

]]> drew http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c993134 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c993134 Visual Art Tue, 08 Apr 2008 12:33:16 -0800 Comment by Will in Seattle I liked this. I don't care if you don't think it's art, because it is to me.

]]> Will in Seattle http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c993147 http://slog.thestranger.com/2008/04/time_for_irwin_part_iv#c993147 Visual Art Tue, 08 Apr 2008 12:37:31 -0800