The opening of the IMA 100 Acres or it’s money name: The Virginia B. Fairbanks Art & Nature Park, was delayed a couple of times, finally opening its imaginary gates in June of this year. You can now sample the temporary works commissioned for the site. It guarantees a future visit, that’s for sure.
To mention the park’s delay is my justification for such a late article. Yes, it’s close to six months old but still a significant mark in the of contemporary art world. I would feel guilty if I didn’t let you in a secrete that relates to this procrastinated post. While distractingly walking through the IMA’s collection yesterday, I crashed (well… almost) into Orly Genger’s piece. That was a sign. I met Ms. Genger at the opening of 100 Acres in June along with her friend Veronica Roberts (MOMA’s assistant curator, painting dept.) and crashing (or almost) into one of her Mr. Olympian sculptures had to be a message that such a lovely picture I capture of Ms. Genger and Ms. Roberts should be made public soon. Orly Genger is on the cover of Sculpture magazine this month, an issue featuring also one of my faves Iza Genzken.
A few weeks ago I grabbed some some Ribs at Bar B Q Heaven on MLK Rd, and headed to the IMA 100. There was a creepy/surreal moment where I found myself eating ribs seating on Funky Bones by Atelier Van Lieshout.
After ALL the publicity that 100 acres received from a lengthy NYT review to WSJ, there’s little I can add to all of it. I chose not to show any pictures (in fact I chose not to take any) of one my favorite pieces, Park of the Laments by Aflredo Jaar. It’s not beautiful art. It’s art to be experienced, art that blatantly thinners the lines between architecture and the visual arts. All with a touch of Mr. Jaar’s unsettling and serious thoughtfulness. Tea’s piece makes you want to jump in the water and go rescue humanity, only to realize the paradoxical conundrum of needing to be rescued yourself and having the power to modify the course of our future. A simple brilliance that is rare.