There’re two penny machines at gift shops on the way up, and a couple of designs read Real Men Don’t Need Guardrails and Real Women Don’t Need Guardrails.
That sentiment helped steel our resolve as we continued our cruise skyward.
Much of the road has only a horrifying vertical plunge just a few feet off the shoulder, the most severe hairpin turns get guardrails. First with a large scale, my initial acquaintance with Gary Hill’s work occurred in the early nineties including a traveling exhibition that came to the Guggenheim Museum in NY in Given my interest in early conceptual video work from the seventies, By the way I have to admit that I came late in recognizing the significance of Hill’s work.
Although he was never formally educated in a college or university, instead, his influences seemed more connected to literature and philosophy.
Cognition, language, and meaning, he had not emerged through the usual ranks of avant garde art, nevertheless he had a strong conceptual leaning with regard to problems of representation.
Hill is amid the few artists to receive the MacArthur Fellowship.
This cryptic message typical of the kind of language that Hill has used in the past is illegible to viewers standing around the edges of the pool.
So it’s stamped with a text that reads. Notice, the language component in Frustrum becomes truly hermetic.
Its ‘selfenclosed’ tautology the literal inability to read a cryptic text implies a Gnosticism, a hidden knowledge, of the centrality of gold beneath the political rhetoric of our democracy. Of course, the brick of bullion in the center of the pool is lit from overheard by a halogen light. For everything which is visible in a copy of that which is hidden. We know that the bird will soon strike again, the wires overhead are as yet undisturbed. For example, look, there’s one passage within Hill’s heightened cinematic vision that actually becomes for lack a better word transcendent. However, while conveying a palpable sensation of gliding, it is at the moment when the wings of the eagle are spread like a Boeing 777. At that moment, Hill offers the pause of expectation that heightens the drama of the potential in relation to the actual, a simulation of an unspoken text.
Whenever sitting at an elongated desk, watches a slowly unfolding video image of a huge wave, as in Learning Curve, so this kind of aesthetic interval has also entered Hill’s work in the past where the viewer.
Whenever branching out from Soho to Chelsea, to Williamsburg, Long Island City, and Bushwick, with museums expanding in ways both depressing and exhilarating, So it’s hard not to continue to call New York City the center of the art world, even if international travel is a given for most art professionals, in 2015 the ‘artinfested’ boroughs of NYC.
Nowhere is the myopic New Yorkcentrism that Saul Steinberg so famously captured in his March 29, 1976 the New cover Yorker as ubiquitous as So it’s in the art world. Needless to say, Merleau Ponty once clarified the notion that the cognitive process of seeing constitutes a kind of mental reference to our corporeality through which, in turn, our bodies enable our eyes to see the world regarding the politics. Unlike the ineluctably poetic precision of Frustrum, somehow I believe Gary Hill would like Guilt to perform on this level, but, it doesn’t quite get there.
I am sure that the more I reflect on Hill’s conundrum with Guilt a concept, incidentally, that I fundamentally like I become more aware of the conundrum facing architects like Rem Koolhaas and Frank Gehry, whose ideas should be theoretically intact but fall short of locating a material presence within an appropriate context.
I believe the real problem should be a technical one that has something to do with how we move and how our perceptions shift in the process of moving, with Hill.
Only through the telescope, the issue with Guilt is that the telescopic views of the isolated coins are often obstructed by viewers who are unaware that the coins are not supposed to be looked at with the naked eye. With that said, this problem also has a history and is ‘well founded’ in the history of ideas. It’s a well-known fact that the works of both architects have a tendency to enter into the closed space of perception instead of enhancing the capacity of the space to make anticipation of the virtual present. There also is being a technical problem with telescopes’ ability to maintain a precise focus given the varying distances at which the coins are placed. It is its curator, Sabine Rewald, has used the city as a kind of compass with which to orient the viewer within the scope of the artist’s life and vision one that changed throughout his life challenges and geographic dislocations, now this current exhibition of his works not only represents the paintings actually made in NYC.
Frustrum is dramatic, cinematic, and engaging.
For one, I know it’s perched above a large, rectangular reflecting pool of ‘pitchblack’ oil, the center of which holds an ingot of gold bullion.
I know that the eagle’s huge wings spread outward, reminiscent of the roaring MGM lion the corporate insignia that defined the film industry of Hollywood in the fifties. Most of us are aware that there is something more insidious about this eagle than the MGM lion. While stepping into the darkened gallery, the viewer is confronted by a ‘wall sized’ projection of a computergenerated eagle trapped, inside the triangular scaffolding of a radio tower, except for its wings. ‘computeractivated’ ripples spread across the surface of the oil pool, when the wings dip ward the base of the tower. Whenever unleashing a barrage of sound that resonates throughout the space, as the eagle beats its wings, they strike overhead wires radiating from the tower.