Over the past several weeks, a modest of trickle of museums and cultural institutions have slowly and cautiously begun to reopen their doors with coronavirus safety measures firmly in place while others announce tentative plans to reopen later this summer or in the fall. Others remain shuttered indefinitely. For those who aren’t quite ready to venture indoors in the (limited) company of fellow museum-goers, standalone sculpture parks and outdoor art spaces affiliated with museums remain a viable alfresco option in which social distancing is perhaps made a bit easier. Plus, these spaces are a great way to enjoy beautiful summer weather and get some exercise while easing back into public places that aren’t the local pharmacy or supermarket. Similar to indoor museums, however, not every sculpture park and outdoor art space across the board has reopened or announced a reopening date—like with all coronavirus-related restrictions, it all really depends on geography along with other factors. Just north of New York City in the Hudson Valley, for example, Art Omi is currently open to visitors at a smaller capacity than normal while just 90 minutes south, the perennially popular Storm King Art Center remains closed until further notice. Many of these now-open spaces have adjusted operating hours and rules and restrictions (i.e. shuttered cafes and restrooms) to keep in mind before heading out. Below is just a sampling of sculpture parks and outdoor art spaces currently open across the country. We will continue to add to this list as other major venues reopen or partially reopen their grounds. Art Omi—Ghent, New York Spread across 120 acres, Art Omi, a sculpture and architecture park in Columbia County, New York, is now open daily from dawn to dusk although all indoor facilities are closed and public programming has been cancelled until further notice. To prevent an unsafe influx of visitors, parking is extremely limited. For those who do manage to snag a spot, face coverings will be required in the parking lot and on trails (if passing other visitors.) Art Omni also requests that visitors practice social distancing and refrain from touching surfaces. Currently on display are works by Nari Ward, Steven Holl, Robert Grosvenor, Virginia Overton, Sarah Braman, and David Shrigley, among many others. Besthoff Sculpture Garden at the New Orleans Museum of Art — New Orleans The New Orleans Museum of Art’s 11-acre Besthoff Sculpture Garden reopened to visitors on June with at 25 percent capacity with special hours for seniors and the immunocompromised. Visitors are asked to don face coverings and observe social distancing measures while admiring works by such artists as Frank Stella, Katharina Fritsch, Henry Moore, and Louise Bourgeois. Meanwhile, the rest of the museum is open for virtual visits. deCordova Sculpture Park and Museum — Lincoln, Massachusetts The 30-acre grounds of the deCordova Sculpture Park—the largest of its kind in New England—is open to the public but reserved timing/day passes are required to gain access to prevent overcrowding. All buildings will remain closed until further notice. The Glenstone — Potomac, Maryland The Glenstone, the free and tricky-to-get-into private contemporary art museum in Potomac, Maryland, will reopened its sprawling, 300-acre campus as an “outdoor-only experience” for the duration of the summer on June 4. (No firm reopen date has been announced for the Charles Gwathmey- and Thomas Phifer-designed buildings that house a bulk of the museum’s collection.) As always, reservations are strictly required on the days the museum will operate (Thursdays through Sundays, 10 a.m. to 5 p.m.) while various additional safety measures have been instituted including the requirement that visitors wear face coverings and enjoy the grounds in groups of five or less. All indoor amenities, including bathrooms, will be closed to the public so go before you, well, go. Al fresco highlights of the museum include sculptures and installations by the likes of Jeff Koons, Richard Serra, Ellsworth Kelly, and more. Lynden Sculpture Garden — Milwaukee Milwaukee’s lush 40-acre Lynden Sculpture Garden reopened on June 1 for “free social distance walking” daily from 10:00 a.m. to 4:00 p.m. (The grounds are closed on Thursdays). Guests are encouraged to wear face coverings and arrive in groups of nine people are less. Bathrooms and indoor facilities remain closed while all guided visits and group tours are cancelled until further notice. Michigan Legacy Art Park — Thompsonville, Michigan Located on the grounds of Crystal Mountain Resort, the woodsy 30-acre Michigan Legacy Art Park, home to over 40 permanent sculptures and 2 miles of secluded trails, is open, as always, to visitors every day of the year (with some safety-related tweaks.) As the park writes: “One of the best things about our 30 acres of outdoor wilderness and our miles of hiking trails is that you won’t encounter crowds. It’s not uncommon to wander through our forest and never see more than a few other people, or none at all. Our park is designed to give you and your family peace and quiet, with multiple trails and routes that you can select yourself. #SocialDistancing is already built into our plans.” Olympic Sculpture Park — Seattle While the Seattle Art Museum remains closed until further notice, the museum’s Olympic Sculpture Park—at nine acres, it’s the largest green space in downtown Seattle—remains open to the public with various safety measures in place. Socrates Sculpture Park – Queens, New York Nestled along the East River in Astoria, Queens, Socrates Sculpture Park remains open along with other New York City public parks during its regular hours (9:00 a.m. to sunset). The New York City Parks Department requires that visitors observe various safety practices while in the park including donning face coverings.
Posts tagged with "Storm King":
Alberta-born, New York–based artist Elaine Cameron-Weir has made a name for herself with her sculptures in all variety of scale, shape, and material. Most recently, she was commissioned by Storm King Art Center as part of their now annual Outlooks series, which invites an emerging or mid-career artist to devise a temporary site-specific installation for the art park. AN sat down with Cameron-Weir to talk about her new sculpture, the problem of design, and, naturally, the apocalypse. Architect's Newspaper: Can you remind me of the title of your installation at Storm King; it's quite a title. Elaine Cameron-Weir: It’s A toothless grin. A STAR EXPANSION! GLOBE OF DEATH A graveyard orbit. “A toothless grin” is kind of like a play on a colloquial saying, something about missing teeth and death—with connotations of something unsettling, like decay. And then “A STAR EXPANSION!” comes from this fastener company that the people who started Storm King had, the Star Expansion Industries Corporation. I thought that was a beautiful name. The “GLOBE OF DEATH” is what this spherical cage is called that stunt motorcyclists ride around in during shows. And then ‘A graveyard orbit’ is a phrase for the orbit of a satellite that extends beyond its useful orbit; when the satellite is no longer to be used, they send it into a graveyard orbit. It just keeps circling the earth as space junk. AN: The shelter is a found piece; is the globe also found? ECW: No, the globe was fabricated specifically for the piece, but it's based on objects that already exist. So it’s about the same dimensions as the globes of death that are generally the ones that travel to county fairs and other venues. AN: What was it like working in that sort of scale, at a scale that's not intended to be experienced in a room but in a landscape? ECW: The absence of surrounding architecture for art is really strange. I didn't expect it to be so…it wasn't difficult, and I wouldn't say it was easy. It was just there was the removal of the constraints of a room. There's such a specific way that people behave in an art space. I've done projects where it's been in an environment that's not specific to looking at art, like abandoned buildings, but you're still dealing with something that's around you. And the scale is really different. Something huge does not necessarily look huge outside. And you have to think about the weather and transparency; if the piece itself is partially transparent and if you look at it from a certain angle, it disappears into the trees behind it, whereas in a clean white space, nothing disappears in the same way. It was interesting and I'm really glad I got the chance to do that. Because those things are so obvious after the fact, but until you do something like that, you don’t think about it the same way. AN: You don’t realize that you were designing objects for a room the whole time. ECW: Or you do realize it, but then that relationship is removed and you realize that you were operating in a system that’s actually largely invisible to you until you don't have it, even though you were addressing it. AN: Part of what you engage with is not just the space in its physicality but also the history of that physical site. Could you give a bit of background of this? ECW: Con Ed was trying to build a power plant in Storm King Mountain from the early 1960s to 1980, which would’ve totally altered it. There were all these protests and it went to court and eventually, the environmentalists won. It’s not super related to the piece in the end, but I was researching some materials about it: the court documents, reading the transcripts of the people testifying against the project. Basically, they're just giving these apocalyptic scenarios of what would happen if the power plant were built. It totally reads like science fiction, a hyperbolic vision of the future. I found that really important because I write a lot surrounding my work. It's kind of like sketching; a way to keep track of ideas. The fact that these documents alluded so much to the future that it became science fiction, that's kind of what connected this mountain to the project. AN: There’s an element of fictionalization in the piece, as well, in that you’ve totally detached these objects from their original context. You’re imagining these possible reuses. But it also is a bit apocalyptic. For example, there’s, of course, a repurposed bomb shelter. How do you get things from the military? ECW: I bought it from some guy in the Midwest on the internet. I didn't really ask how he got it. But a lot of times people, like resellers, will buy stuff like this at auction in lots. And they'll resell it to people like me or to people that are making doomsday preparations. Generally, in fictionalized versions of the future, people just get their hands on this kind of equipment somehow because the government’s been destroyed or something and it’s anarchy. There’s a feeling of that kind of future projection in the work for sure. AN: It's a bit of a harsh object in some ways. It's not, like, a pretty thing. I don't want to harp on the apocalyptic, but are you interested in violence? It is, after all, literally a military object. ECW: I am a nonviolent person when it comes to confrontation. But I think that most people are interested in violence. And by interested, it doesn't mean you’re… AN: Going to go on a killing spree or anything. ECW: Yeah. It just means you are perhaps terrified by it or you are curious about it, you've been a victim of it, you've inflicted it. And I don’t think it’s all a bad thing; there are people who are very much devoted to the application of the potential of violence in measured instances. I’m thinking of things like BDSM, or even skydiving. It's a force of human life, for better or for worse. And I think that what I'm interested in more is the latency of that and the potential. The piece for me is more about potential energy, and I think that there could be a certain amount of violence inherent in potential energy because it's something that is yet to happen. But I don't think that my stance with the piece would be that it’s a warning about aggression or that it's aggressive. I think the violent feeling comes in part from it being human-sized. AN: Which is actually what I was about to ask you about, the relation to the body and personal scale. ECW: One way to make something, at least how I’m working right now, is to make it body-sized or relatable in scale, and things that are designed to protect the body also carry a suggestion of violence because they're preventing harm. If you suggest protection, you suggest violence. And that has to do with the fact that we're physical animals and we have a body that's susceptible to all sorts of things. AN: You just used the word “designed.” You recently spoke on the issue of design and its separation from art proper in Art Forum, saying about the work that “It’s almost like designing. That’s a dirty word, maybe. But my work is related to design.” Of course, you went on to say “Personally, I don’t think design is a dirty word. It really just means making something work.” How do design and architecture intersect with your practice, or diverge from it? ECW: Some people still don't love when art and design sit next to each other. It could be seen as disparaging just to say, "Oh, that piece of art looks like design.” I meant it was a dirty word if you look at it from this narrow-minded perspective of thinking that design means shiny plastic objects in a store and maybe an Eames chair. Basically, believing that the need for function kind of upsets the “purity” of our art, which I disagree with. I think that when something has a function or requires a function a lot of interesting things can happen. But it's not that you need parameters to do something interesting. Earlier we were talking about not having architecture around me to respond to at Storm King. That absence of architecture didn’t make way for some kind of purity, it was just replaced with another set of parameters involved with working outside. With design, things also change. I'm not an architect and I'm not a designer, but I could imagine that making something with a function you would be solving so many different problems all the time. I find that there still could be so much potential for freedom in that. Outlooks: Elaine Cameron-Weir Storm King Art Center 1 Museum Road, New Windsor, New York Through November 25
The group exhibition Indicators: Artists on Climate Change and the solo presentation Outlooks: Elaine Cameron-Weir opened last month at Storm King Art Center, in New Windsor, NY. The two exhibitions present an array of large-scale sculptural projects, along with photos, videos, drawings, and other works that grapple with the human impact on the environment and the history of the 500-acre site. In Indicators, the 18 participating artists and collectives engage with the art center’s site, and with the environment, geography, and infrastructure more broadly, some through explicitly architectural means. Field Station for the Melancholy Marine Biologist by Mark Dion is a wooden cabin housing a “scientific lab” with contents that respond to the surrounding ecology. Field Station is part of Dion’s broader project of appropriating scientific and archaeological methods to trouble the ways we come to know our environment. Gabriela Salazar’s sculpture Matters in Shelter (and Place, Puerto Rico) uses the visual language of temporary shelters built after hurricanes or the semilleros used to protect young coffee plants as commentary on personal narrative and climate change. The typical concrete cinder blocks that support the structure will be gradually changed out for bricks made of compressed coffee grounds, which will in turn slowly disintegrate. Salazar’s piece meditates on the very fragility of the built world and highlights the paradoxical place of concrete in it; it's a material both fundamental to making structures that can withstand climate change-caused severe weather, yet it releases huge amounts of carbon dioxide while being produced. Other exhibiting artists in Indicators include David Brooks, Dear Climate, Ellie Ga, Justin Brice Guariglia, Allison Janae Hamilton, Jenny Kendler, Maya Lin, Mary Mattingly, Alan Michelson, Mike Nelson, Steve Rowell, Rebecca Smith, Tavares Strachan, Meg Webster, and Hara Woltz. Storm King also is presenting the sixth iteration of its Outlooks series with Outlooks: Elaine Cameron-Weir. Cameron-Weir created A toothless grin. A STAR EXPANSION! GLOBE OF DEATH A graveyard orbit, a site-specific sculpture combining a metal sphere, inspired by motorcyclist’s “globes of death,” the metallic globes bikers enter and speed around inside, and a military-style shelter. The closed globe set in an open field is intended to be suggestive of communication devices and scientific apparatuses—real and imagined, current and future—while the shelter suggests someone watching over. Weir researched the history of Storm King mountain, and let it inform her choices in materials. One such material inspiration were the steel fasteners and bolts of the Star Expansion Industries Corporation which was owned by Ralph E. Ogden and his son-in-law Peter Stern, who founded Storm King Art Center. The project also engages with the history of a successful 18-year fight to block a ConEdison power plant in Storm King Mountain. Indicators: Artists on Climate Change Storm King Art Center 1 Museum Road, New Windsor, NY Through November 11 Outlooks: Elaine Cameron-Weir Storm King Art Center 1 Museum Road, New Windsor, NY Through November 25
Kids get it. While the adults stand around discussing the merits and aspirations of a large sculpture or installation, kids climb all over it. A few years back, when Richard Serra's Intersections II was installed in MoMA's sculpture garden, toddlers raced between the tilted arcs in a game of hide and seek. More recently, kids playing around Situ Studio's reOrder installation have turned the Great Hall of the Brooklyn Museum into Romper Room. Now, with Storm King bringing in Mark di Suvero sculptures and Figment in town to install their annual golf course and sculpture garden, Governors Island is getting its workout. On Memorial Day weekend some of the artists creating the "Bugs and Features" golf course were still working out some of the kinks with their designs. While many of them addressed the issues of hot sun and island winds, they didn't quite account for the destructive nature of children. Dee Dee Maucher stood quietly pondering her installation, trying to figure out what would make it more kid proof. Two days in and her segment in the the golf course, titled The Composting Micro Bug Food Spiral, was in need repair. Michael Loverich of Bittertang mulled over how to keep the kids from climbing atop Burble Bup, this year's winner of the City of Dreams Pavilion, sponsored in part by the Emerging New York Architect committee of the AIANY and the Structural Engineers Association of New York. "We don’t want the kids, or even adults, to come in and kick it," said Loverich. "We kind of knew that people would be interacting with it, but not so aggressively." Loverich said that he and his partner Antonio Torres were considering installing some preventative climbing measures.