My Live-Tweets from Sarah Sze in conversation with Adam Weinberg @WhitneyMuseum #SarahSze
Artist Sarah Sze with Whitney director Adam Weinberg at Whitney Museum of American Art, New York
Artist Lecture: Sarah Sze @whitneymuseum (@ Whitney Museum of American Art w/ 6 others) http://4sq.com/SPqaDi
Adam Weinberg introducing Sarah Sze, whose singular approach he says is “groundbreaking in its transformation of space.” (@whitneymuseum)
Weinberg: Sze transports the viewer…recalibrating one’s sense of near and far. (@whitneymuseum)
Weinberg: We are honored that Sze is representing the United States [at this year’s biennale] (@whitneymuseum)
Sze asked herself “What can an object do that a painting can’t do?” then started w/ least valuable material she could think of: Toilet paper.
Sze working with toilet paper.
Sze: I was influenced by seeing art in museums…I saw Rauschenberg very early & was excited about art moving between the floor & the wall.
RT @whitneymuseum: Sze was about 10 when she first saw a Rauschenberg and was excited by objects emerging from the painting plane. #SarahSze
Sze talking about early influence of Serra and Bourgeois. Also Bernini & his adeptness at creating sculpture in the round. (@whitneymuseum)
Sze likes using familiar objects & then altering them (e.g. a bent ruler), objects that “locate you when you’re dislocated” (@whitneymuseum)
Sze: I will make very specific decisions about a site..[then] when work was moved I made a list of rules…what is required [e.g light].
Sze says its the same work even if shown in multiple locations, but just has rules for how it’s shown wherever its shown.
Sze: Amazing how when you move [a work] to a new location it still feels like your own. Your things moved still retain their personality.
RT @whitneymuseum: Sze thinks of the ordinary objects she uses in her installations as colors in a palette. “Things work for color or texture.” #SarahSze
Sze: I wrote my thesis on the life of work over time…Félix González-Torres new he was going to die before…so he documented each piece.
Sze: You give as specific instructions you can as an artist, then accept that it will change. (@whitneymuseum)
Sze: For me, that anxiety is supposed to be on the surface of my work…ephemerality…you fear it’s existence & whether it will survive.
Sze: I was trying to figure out how you make a permanent piece [sculpture]…that is in flux…a kit-like work that is always site-specific.
Sze: I’m interested in this radical shift in scale that almost takes out the middle ground [so you go from distance to minutiae quickly]
Sze: I was playing with the idea that as you move through the space, the piece changes radically.
Sze, Tilting Planet (2007) at Victoria Miro Gallery, London.
Sze: I think a lot about cinema…You allow people to feel as if they’re wandering, but there actually very directed.
Sze on “the theatrical” in her work: You’re [meaning the viewer] making the spectacle as much as I am.
Weinberg to Sze: I am struck by how dematerialized a lot of these pieces are.
RT @whitneymuseum: Sze met Richard Serra after he’d seen one of her exhibitions. They spoke about process, and process as an end in and of itself. #SarahSze
Sze on Serra: Richard is a magician w/ materials…he has an intense intimacy w/ metal…[his work is] monumental but has a fragility to it.
Sze: I liked the idea of something being incendiary, all matches that could fall apart.
Sze: Early on I was interested in this idea of seeing as being a place of discovery…you found it. Then In Berlin I scaled up.
Sze: I like the idea of a work of art having its own life support system…Everything was part of the piece…a self-sustaining system.
Weinberg to Sze: There’s an incredible sense of humor in your light touch. Do you see that?
Sze: The best things that happen in a work are the things you didn’t know were gonna happen. Humor is crucial…always has subversion in it.
Sze: Arthur Danto said my work is more like scientific models than architectural models b/c it’s modeling a behavior…showing how things work.
Sze, Still Life with Landscape (Model for a Habitat) on the High Line between W. 20th & W. 21st, June 2011-June 2012.
Sze: I think the Highline is such an incredible urban experiment…it’s like a Midwestern highway…you just walk through it.
Sze on work @whitneymuseum: I wanted to make ppl look over the edge of bridge…play on this idea of the skin of the pavement & what’s below
Sze, Triple point of Water, 2003, Whitney Museum of American Art, New York
Sze: It’s interesting to me how objects can work as evidence of time & behavior…the remnants or leftovers is what’s interesting.
RT @whitneymuseum: Sze: “It’s much more interesting to me to see the leftovers of something and use your imagination than to see it being made.” #SarahSze
Sze: Turrell sky pieces are my favorite…the best is when a bird flies through…breaking the minimalism & that moment you can’t reproduce.
Sze: Most of my work has movement in it…not mechanized, a fluttering or wave, a reaction to wind. (@whitneymuseum)
Sze: How do you preserve something that seems chance? Those are things imbedded in the work.
Pavilion for the United States in the Giardini; Venice, Italy.
Sze on Venice: I’m changing the hierarchical Neoclassical format & making it about disorientation… becomes this chain of immersive events.
Fin. Thanks for tuning in.