1/23/2024 0 Comments Dia beacon gallery![]() ![]() Sitesįrom the beginning, Dia demonstrated a willingness to follow and support artists’ ideas. Today it consists of nine permanent sites across the United States and Germany, as well as three changing exhibition spaces in New York State: Dia Chelsea in New York City, Dia Beacon in the Hudson Valley, and Dia Bridgehampton on Long Island. To suggest the institution’s role in enabling such ambitions, they selected the name “Dia,” taken from the Greek word meaning “through.” Historyĭia was founded in New York City in 1974 by Philippa de Menil, Heiner Friedrich, and Helen Winkler to help artists achieve visionary projects that might not otherwise be realized because of scale or scope. Dia fulfills its mission by commissioning single artist projects, organizing exhibitions, realizing site-specific installations, and collecting in-depth the work of a focused group of artists of the 1960s and 1970s. ![]() This proximity posits relationships and influences between these artists’ approaches at the same moment in art history.Dia Art Foundation is committed to advancing, realizing, and preserving the vision of artists. The new works by Morris are well positioned near Richard Serra’s steel Union of the Torus and Scatter Piece (1967) and Robert Smithson’s Map of Broken Glass (Atlantis) (1969). In contemporary terms it can be seen as an embodiment of “troubled” ground or perhaps as a comment on the state of the planet’s soil due to waste and neglect by industry. This unruly but elegant gray mass breaks down the geometric shapes of the minimal objects, bridging the space between the wall and floor occupied by Untitled (Dirt), a work considered radical in its time but still relevant. He then hung the fabric sheets from nails, letting the felt fall naturally to the floor. For his first cut-felt works, Morris sliced progressively placed lines into rectangular sheets of the industrial material. On the wall in the same room is the cut-felt piece Untitled (1967). ![]() Untitled (Dirt) was produced at the same moment that Walter De Maria realized his first Earth Room, which has been a Dia satellite space since 1977 at 141 Wooster St. The piece consists of a mass of earth, peat, oil and debris poured onto the gallery floor. In an adjacent gallery is Untitled (Dirt) (1968), a critical example of Morris’s work during his anti-formalist period and turn away from rigid geometry. Made of soft materials, these projects shifted attention away from gestalt perception toward the process of making - and to the artist who manipulated materials more directly. As Morris wrote in a 1966 essay, Notes on Sculpture, Part I, the “parts are bound together in such a way that they offer a maximum resistance to perceptual separation.”ĭuring the late 1960s Morris began to develop increasingly unstructured works of cut felt, scattered thread waste and piled earth. The other works include Untitled (Boiler), Untitled (Floor Beam), Untitled (Table) and Untitled (Wall-Floor Slab), all from 1964.Ĭharacterized by simple geometry and scaled to the body, these “minimal” works are visually indivisible shapes, or gestalts, meant to be perceived by a standing viewer. Untitled (Cloud) fills a rectangular volume between the ceiling and floor. Untitled (Corner Beam) bisects the corner of a door frame, while Untitled (Corner Piece) occupies the previously unnoticed space between two joined walls. Morris is known for sculptures and installations that engage viewers in perceptual experiences and expose the gallery itself as an environment.Ī view of the Robert Morris at Dia:Beacon (Photo by Bill Jacobson Studio) He wanted an intimate feel and a specifically proportioned gallery for these works, with an emphasis on the viewer’s proximity and position. These works were fabricated under Morris’s supervision for Dia:Beacon. He is a pioneering figure of Minimal, Conceptual, Postminimal and Land art and a theorist of these movements who has shown at the Whitney Museum of American Art, Tate Gallery, Art Institute of Chicago and Guggenheim. Robert Morris, 85, lives in upstate New York. Installed in two separate and relatively small galleries, the group consists of eight works, including an ensemble of six painted plywood sculptures that were first shown at the Green Gallery in New York in 1964 and a seventh object intended for that exhibition. In Dia:Beacon exhibit, Robert Morris transforms plywood, dirt and feltĭia:Beacon recently opened a long-term installation of early works by Robert Morris. ![]()
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