“My art has never been about ideas… my interest in art has never been about abstraction; it has always been about EXPERIENCE… my pieces were never meant to be dealt with intellectually as ideas but to be considered EXPERIENCIALLY.”
-Robert Irwin, Reshaping the Shape of Things
phenomenological EXPERIENCES of an art museum:
interplay of light and shadow
path and movement throughout becomes spectacle, melodic
interaction/reaction of people, place, and artifact
temporality
Irwin on Site
Conditioned/Determined
“Here the sculptural response draws ALL of its cues (reasons for being) from its surroundings. This requires the process to begin with an intimate, hands-on reading of the site. This means sitting, watching, walking through the site, the surrounding areas (where you will enter from and exit to), the city at large, or the larger country side. Here are the numerous things to consider; what is the site’s relation to applied and implied schemes of organization and systems of order, relation, architecture, uses, sense of scale? … What kinds of natural events affect the site — snow, wind, sun angles, sunrise, water, etc.? What is the physical and people density? The sound and visual density (quiet, next to quiet, busy)? What are the qualities of surface, sound, movement, light etc.? What are the qualities of detail, levels of finish, craft? What are the histories of prior and current uses, present desires etc. A quiet distillation of all of this determines all the facets of the “sculptural response”… whether the response should be monumental or ephemeral, aggressive or gentle, useful or useless, sculptural, architectural, or simply the planting of a tree, or maybe even doing nothing at all.”
- Robert Irwin, Being in Circumstance
What does it all mean?
The gallery as a landscape, experimentation of viewer/artifact relationship
Exploration of the artifact as an object in space
The highway [primary circulation] as a surreal interaction with the city, impersonal, fluid, suspenseful Disconnected oblique views into the city
The urban street [secondary circulation] as a personal relationship with the city, submerged, vis-à-vis
Movement sporadic yet rhythmic
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