A Conversation with Robert Irwin on Light and Space III

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11 жыл бұрын

A Conversation with Robert Irwin
Artist Robert Irwin sits down with Richard McCoy, an IMA conservator, to talk about his career in art, conservation issues and his three-story fluorescent light installation entitled Light and Space III, specifically designed for the Indianapolis Museum of Art's main 60-foot atrium Pulliam Great Hall.

Пікірлер: 11

@alfgwahigain5544 2 жыл бұрын

I love Robert Irwin's work, and I love to hear him talk about art and aesthetics. I feel like his philosophical outlook and perceptions and views are on a much higher level than I can always comprehend, but it's always fascinating.

@otisishere31 9 ай бұрын

RIP 🙏

@1Ma9iN8tive 6 жыл бұрын

Interviewer introduces the work as an object ... Artist reveals the piece is NOT an object ... Best set up for an artist talk ... Interviewer never recovers ...

@McCoyRichard 5 жыл бұрын

Well, I disagree a bit. The point of the interview was to get Bob to tell us how to care for this artwork in the future. I thought it would also be interesting enough to make available for others to see online.

@juicetan 3 жыл бұрын

@@McCoyRichard Agree - this isn't a curator or theorist talking to an artist, it's a conservator so the conversation should be grounded in preservation rather than art theory (which you can find elsewhere from Bob). So yes, it IS an object by a conservator POV but in art theory, no it is not an object.

@TEXGLAM 8 ай бұрын

Bridging the age gap is a good thing. In some cultures the elders are highly regarded as they pass the oral stories plus this is about the intention he brings with the work as in food for thought. We are individuals and our brains combined with experiences don’t all see in the same manner yet our culture tries to teach and indoctrinate as if we do. This seems the same metaphorically speaking.

@rr7firefly 8 ай бұрын

There are many city public art departments throughout the U.S. where work by Robert Irwin would be misunderstood or not understood at all. His work is cerebral and most people do not want to have to think conceptually (about site specific phenomena). Public art too often requires artists to present work that has an easy narrative or references to people and history.