Visual Arts

The Walker’s next collection catalogue will be free for the whole world.

Getty has sponsored nine art museums[i] to lead the pilot stage of what has been termed the Online Scholarly Catalogue Initiative (you’ll hear it referred to around here as OSCI). Through innovative web-based architectures, each awarded institution will present visitors prodigious access to artists’ works in the permanent collections.

At the Walker, we’re conceptualizing our own interpretation of what this new online space could be.

Considering that technology has enabled institutions to digitally preserve and activate a greater fraction of the 85% of its history that is otherwise considered ephemeral, buried, or disappeared, collection catalogues are up against a new set of expectations these days. There is a colossal amount of uncovered content to work with, not to mention the mega quantities of incoming material produced by still living contemporary artists that make up the greater part of our collection. So the traditional implication of “collections catalogue” has become a tenuous one. They can no longer be as delimited, static, impervious, finite. They shouldn’t be outdated before being published.  And this is where the OSCI takes up its task of archive mining and creative programming: thinking up appropriate ways to select from and to dynamically assemble unprecedented amounts of available information into a viable user interface.

Though the Getty Initiative is only in its planning stages over the next year, what is certain at the moment is that this next idea for the catalogue will be flexible, interactive, sensorial, and host a variety of media. It will invite visitors to experience works in the collection on significantly new levels of amplitude and proximity, while making visible the Walker’s relationships with artists over time, and emphasize courses of invention, adaptation, mutation, reanimation, and even erasure.

What is less certain is what it’s going to look like. Rethinking the potential of communicating the Walker’s collection of contemporary art to the public raises some good questions: how does an arts organization that is known for accessioning work from outside of the traditional artistic canon (Japanese Gutai, Viennese Actionism, Brazilian Neoconcretism), from artists who cross disciplines (Pierre Huyghe, Trisha Donnelly) and use ever-advanced, ever-bizarre, or ever-decaying technologies (Cao Fei, Kris Martin, Tomás Saraceno, Bruce Conner), and from collaborative and community-based projects (Sam Durant, Nari Ward), suitably reflect these energies through the OSCI? Rather than exist as antithetical to or stifle the content it encompasses, the new catalogue project has to appropriately sync its identity with the distinct creativities that compose the Walker’s collection. Talked about issues include indeterminateness, multiplicity, scale, totality, decentralization, temporality, motion, means of entry, hierarchies, authorship, and translation. These conversations are crucially influential to forming a proper vision for the OSCI catalogue’s design and functionality.

Elucidative to the development of this project are the larger art historical discussions on the topic of the archive. Of late, institutions have been in a tizzy over what an archive of contemporary art even is, and how can one rationalize the typologies output by cataloguing and using database structures to represent content that often exists only to repel such “normalizing” devices. Essential questions recently raised by Tate Modern’s Archiving the Artist symposium  (September 2009); Monash University’s Archive/Counter Archive conference (July 2009); CAA’s panel on What is Contemporary Art History (February 2009); Berkeley’s Archiving the Avant Garde consortium (2001), and by exhibitions such as Every Version Belongs to the Myth (Project Arts Centre, 2009); Working Title: Archive (Muzeum Sztuki, Lodz, 2008); The Order of Things (MuHKA, Ghent, 2008), and artist projects including Helke Bayrle’s Portikus Under Construction film (2001-2008); Walid Raad’s The Atlas Group Archive (1999-present); Armin Linke’s Book on Demand (2003-present); Lev Manovich’s Soft Cinema (2000-2005); Carlos Amorales’ Liquid Archive (1999-present) continue to shape OSCI project, albeit through bouts of both illumination and bewilderment. But invaluable to the sensible and sensitive making (and unending tweaking) of this collections site is the exchange of insights from partner art spaces, people at the Walker who have worked with artists in our collection for decades, and from the artists themselves.

During Phase 1 of the project, with a year or so for us to all meet, mull and experiment on how this new collection catalogue will turn out (and in trying to ultimately find a nice balance between idealism and practicality), there is much exciting work to be done…

I’m Brooke, by the way, new here as the Getty fellow for the OSCI project. I flew in last week from San Francisco and arrive to the project with a recent Master’s degree in Exhibition and Museum Studies from San Francisco Art Institute. The past few years I’ve spent working on the theorization of contemporary art archives. It’s superb to be at the Walker, working with the Visual Arts and New Media departments, and to take part in this initiative where I can shift momentum from a world of mostly thinking/talking/writing to one that welcomes the fun of creating.

More updates soon.

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[i] Other OSCI participants are Art Institute of Chicago, Freer Gallery of Art / Arthur M. Sackler Gallery,Smithsonian Institution, J. Paul Getty Museum, Los Angeles County Museum of Art, National Gallery of Art (DC), SFMoMA, Seattle Art Museum, Tate Gallery.

Dan Graham and his retrospective got robbed of the “Artist of the Year” and “Solo Show of the Year” awards at last night’s First Annual Art Awards, a glitzy and somewhat tongue-in-cheek affair at the Guggenheim in New York. Here in Minneapolis, however, Graham delighted everyone at yesterday’s media preview for Dan Graham: Beyond, offering chatty, humorous insights into work from four decades and referencing everything from Dean Martin to the paper-dress moment in the ’60s to the “cliché arcadia of the suburbs, where normal people live.”

He “may be the most influential American artist you’ve never heard of ,” as Gregory J. Scott put it in the Star Tribune.

In The Daily Planet, Jay Gabler noted how, during the preview tour, curators Bennett Simpson and Chrissie Iles “kept finding themselves enthusiastically interrupted by the artist, who clarified a point here, shared a story there, and kept emphasizing that whatever place he’s earned in the international contemporary art world (and he’s surely earned a place; Beyond is the cover story of the current Artforum), most of his work was meant to be funny.”

Even Fox9 News weighed in with a video preview of the galleries, noting in a feature on last night’s Student Open House how Graham “taps into youth culture and a rock and roll sensibility to create art, architecture and public spaces.”

The show is getting a final spit-and-polish and will be on view to the public tomorrow – and don’t miss the 2pm conversation with Graham, Iles, and Simpson, featuring an “opening set” by post-punk duo Japanther.

Reports on the burning of Hélio Oiticica’s work have been somewhat exaggerated: The artist’s work is not a quite a near-total loss. Stories a couple of days ago cited that “90%” of the work made by Oiticica, a major figure of the Brazilian avante garde in the late 1960s and early 1970s, had been destroyed in a fire at the home of Oiticica’s brother César in Rio de Janeiro. Now César and others been able to look more closely at the damage, reporting that a number of works were spared and for others, restoration is possible. No word yet on how such devastation could occur — reportedly the storage spaces had humidity control, sprinklers, and fire alarms — but no doubt more is yet to come with this story. In related and bittersweet news, Oiticica’s CC5 Hendrixwar Cosmococa, acquired by the Walker in 2007, goes on view here on February 27, 2010.

The man who brought us (Chuck) Close: A recent story in the Akron Beacon Journal delves into the history of Linda, a Chuck Close portrait that’s considered a key piece in the collection of the Akron Art Museum. Turns out that Rosenkrantz’s husband, Christopher Finch, is not only a former associate curator at the Walker, but according to the Beacon Journal story, Finch is responsible for Close’s Big-Self Portait becoming a key piece in the Walker’s collection: “in 1968 [he] had persuaded the museum to buy a Close, which, as it happened, was the first Close to go into a public collection.”

Take the “Collector Challenge”: This nifty game at PBS.org tests your eye based around the collection of Dorothy and Herbert Vogel—the librarian and postal worker who became renowned for amassing a hugely important collection, mostly of conceptual and minimalist works. Now they’ve dispersed that collection to 50 museums in 50 states; the Vogels selected the Weisman Art Museum in Minnesota. To Have it About You: The Dorothy and Herbert Vogel Collection opens there this Friday.; you might also want to check out the documentary film Herb and Dorothy.

“It embraces you with a velvet chill”: So says the Guardian about How It Is, Miroslaw Balka’s new installation in the Tate Modern’s cavernous Turbine Hall, which is basically a gigantic, raised steel box that visitors can walk under—or inside (see video here). The latter choice means you get swallowed by darkness — unless giggling youths illuminate the interior with their cell-phone cameras. Is that the equivalent of ignorant theater-goers interrupting a performance when their cell phones ring?

Remembering visual arts curator Robert Murdoch: Back in 1965, he was the Walker’s first curatorial intern to serve in a program supported by the Ford Foundation, and he returned here from 1983 to 1985 as chief curator. In the ‘70s, as the first curator of contemporary art at the Dallas Museum of Fine Arts, Murdock organized the first solo museum show for Richard Tuttle. Read more in the New York Times’ obituary, and in this Star Tribune piece. Annie Murdock, Robert’s daughter, wrote to us to note that his family has made arrangements for donations in his memory to be made to the Pollock-Krasner Foundation. “This is the first time that the foundation has done anything like this,” she said, “and we hope it will result in building a fund for Emerging Artists in Robert’s memory.”

Galleries 4, 5, and 6 are getting prepped for the arrival of work from Dan Graham: Beyond, which closed on Sunday at the Whitney Museum of American Art in New York. The Los Angeles Times called this retrospective “witty, surprising, smart and engaging” (the show originated at the Museum of Contemporary Art there), and Art in America noted that it “perhaps says as much about popular culture of the last 40 years as about Graham himself.”

Peter Eleey, who is organizing the Walker’s presentation of this show, has noted a pretty consistent binary quality that runs through Graham’s otherwise incredibly diverse body of work: It’s in the low/high, inside/outside take on the ways in which Graham views culture, and in the ways viewers see Graham’s work (and often in how the work itself is configured); in the artist’s ideas about both the production and the consumption of culture; and in the various combinations of transparency and reflection that form the crux of many of his projects.

This oppositional way of reading his work, coupled with its lack of a signature “style,” can combine to make Graham’s art seem elusive. But once you tap into the frequency on which he’s operating, the artist’s vision really does cohere. In fact, that consistent vision, coupled with a restless curiosity—thus the “beyond” of the exhibition title—is what led the Walker to follow Graham’s career and collect his work for decades, acquiring its first piece by the artist in 1978.

That means there’s a fair amount of material on our websites about this artist—a convenient source for background on Graham before the retrospective opens on October 31. You might start with this profile of Graham, plus a selection of his works from the Walker collection. The biography is taken from the catalog for Let’s Entertain—a Walker exhibition curated in 2000 by former chief curator Philippe Vergne that featured one of Graham’s pavilions, New Space for Showing Videos (shown here), which offers bean bag chairs and the prospect of watching videos of other people watching videos in the same pavilion. That piece will also be on view in Dan Graham: Beyond. (Graham’s work has also been included several other Walker-organized exhibitions: American Tableaux, Artists’ Books, The Last Picture Show: Artists Using Photography, 1960-1982, and Worlds Away: New Suburban Landscapes.)

See also:

Don’t Trust Anyone Over 30 — Six years after his work appeared in Let’s Entertain, the Walker co-commissioned and presented this splashier Graham spectacle: a rock opera performed by puppets. Since collaboration was at the heart of Don’t Trust Anyone, Graham participated in a discussion (if you’ve got more than 10 minutes, there’s a 45-minute video here) with several other artists who worked on the piece, including Phillip Huber, who created its puppets (and those for another notorious work, Spike Jonze’s film Being John Malkovich), and members of the punk duo Japanther (who return to play at the opening-day talk with Graham on October 31).

Two-way Mirror Punched Steel Hedge Labyrinth — this Walker-commissioned pavilion is on permanent display in the Minneapolis Sculpture Garden, and is probably second only to Spoonbridge and Cherry in terms of popularity.

The annual Student Open House on October 29 — includes this year a preview of Dan Graham: Beyond, and should be a spectacle of its own sort, as it’s inspired by Graham’s passion for rock and punk (see Japanther, above).

Get a closer look at other Graham works in the Walker collection on ArtsConnectEd.org, including his groundbreaking Homes for America project from the 60s. And on mnartists.org, you can get a hint of Graham’s influence locally with this description of a project at the Art of This gallery last month, and an interview with artist Aaron van Dyke, who runs a gallery out of his St. Paul house.

We recently featured the Walker’s Collectors’ Council Acquisitions Fund (CCAF) in the July/August issue of WALKER magazine. The CCAF was established in 2006 to create a way for members to participate in the Walker’s acquisition process, including the opportunity to vote on an artwork they acquire as a gift to the Walker each year. The fund is unique in that it’s dedicated to acquiring “first works” – works by artists who are new to the Walker’s collection. In this way, the fund draws on the institution’s long history of engaging artists early in their careers and following them throughout their journey.

This year, we created postcards to commemorate the art purchased by the Collectors’ Council Acquisitions Fund, which for 2009 is a series of five gouache-on-paper portraits by St. Paul artist Melba Price. (Interestingly, Price based the portraits on anonymous digital images that she selected from online photo websites like gettyimages.com.) The Walker will create a new card each year in honor of the new addition to our permanent collection. Postcards featuring Adam Helms’ Untitled (48 Portraits) (purchased in 2007) and Tomás Saraceno’s Flying Garden/Air-Port-City/32SW (in 2008), along with the Price postcards, are all available in the Walker Shop. Stop in and check them out!

A special thanks to those who participated in the Collectors’ Council Acquisitions Fund this year:

Front row from left: former Walker curator Doryun Chong, curator Siri Engberg, Tasha Marvin, John Cullen, Collectors’ Council co-chairs Sally Blanks and Randy Hartten, Leni Moore, Walker curatorial fellow Andria Hickey, former Walker curator Yasmil Raymond, and chief curator Darsie Alexander

Back row from left: Director Olga Viso, Alan Polsky, Kate Kelly, Maurice Blanks, Joe Gibbons, Sanders Marvin, David Moore, Jr., and curator Betsy Carpenter

Not pictured: Robert Bras and Julie Matonich, Toby and Mae Dayton, Nazie Eftekhari, Ron Lotz, Tim and Kim Montgomery, Joan and John Nolan, Rebecca and Robert Pohlad, and Susan and Rob White

Thanks also to Lowry Hill, generous long-standing sponsor of the Collectors’ Council.

The Collectors’ Council is open to Walker members at the Patron’s Circle level ($2,000) and is a great way to more deeply engage with contemporary art. For more information, contact the Walker’s development office at 612.375.7642 or e-mail donors@walkerart.org.

For the last three weeks, a small group of individuals with a variety of expertise have been meeting twice or more weekly to participate in an experimental project with artist-in-residence, Haegue Yang. Entitled Shared Discovery of What We Have and Know Already Yang’s project involves a series of seminar workshops that investigate critical themes and ideas in her work, such as abstraction, community, and subjectivity. Yang’s project began with a proposal to “domesticize” the institution by taking up residency as an apprentice in the institution, creating a new twist in the artist-in-residency model, which, in the artists’ words, “normally implies an artist visiting to provide the institution with something-commissioned work, a particular outcome to a particular community.” Instead, the artist asked what she might gain from the Walker, a place she first encountered when her work was included in the exhibition, Brave New Worlds (2007). To this end, she asked the Walker to mobilize a group of “expert participants” to join an open-ended skill-share and knowledge exchange. Specifically, the seminar series addresses the relationship between Yang’s abstract forms and the influence of such topics as the history of transnational wartime resistance, the biographies of historical figures such as Marguerite Duras, Kim San and Nym Wales, the cinematic and literary work of Duras, the history of abstraction, as well as the plastic arts of carpentry, knitting and origami.

Bringing together historians, theater professionals, designers, film curators, artists, French language scholars, art historians, philosophers and museum workers, the group has embarked on a unique journey of “shared discovery.” In each session, participants in the group give presentations and lead discussions from their bases of knowledge, slowly building a long-form conversation. Themes and connections between them have emerged in ways we couldn’t have predicted at the outset of the project.

An attempt to chronicle these findings can be found on the Artist-in-Residence website, where more details about the sessions and participants are also listed.

Yang’s solo exhibition, Integrity of the Insider, is currently on view in the Medtronic Gallery.

Just in time for its last few days, Waker curator Peter Eleey’s exhibition The Quick and the Dead has been nominated as “Group Show of the Year” as part of the First Annual Art Awards, to be presented at the Solomon R. Guggenheim Museum on October 29.

The Art Awards, presented in association with White Columns , New York’s oldest alternative art space, were conceived by artist Rob Pruitt, known for employing glitz and sensational staged events (like a cocaine buffet back in 1998) that amount to critical yet cheeky send-ups of the art world. In fact, probably the only way this could take place would be as a Pruitt production — anything more outwardly earnest would be regarded as entirely unseemly by the very people being fêted.

Aiding host Pruitt as emcees are the Delusional Downtown Divas, “three young women hungry for art world stardom but comically unaware of how to reach their goal of stylish domination,” who make videos about their exploits. Presenters include Sofia Coppola, Mary-Kate Olsen, and probably some other art-affiliated celebrities that will bring on the paparazzi (or at least the big-time party photogs).

In the group show category, The Quick and the Dead is up against three shows from New York museums (we will assume this nomination is not mere geographic tokenism): The New Museum’s After Nature; The Pictures Generation: 1974-1984, from the Metropolitan Museum of Art; and WACK! Art and the Feminist Revolution, at P.S. 1 Contemporary Art Center. (It should be mentioned that the last was organized by and first presented at the Museum of Contemporary Art, Los Angeles.)

Other nominations of note: for artist of the year, Dan Graham, whose retrospective, Dan Graham: Beyond, opens at the Walker on October 31 — and was itself nominated for the Art Awards’ solo show of the year; another solo-show nomination is Live Forever: Elizabeth Peyton,” which the Walker presented last winter and spring.

Darsie Alexander’s office is a mess. The walls are plastered with hundreds of photocopied images, from Warhol’s Sixteen Jackies to Beuys’ Felt Suit to a giant photograph of a boxing match by Andreas Gursky. Punctuating them is an assortment of Post-Its marked with cryptic notes, ideas in formation, and arrows pointing to visual relationships—relationships that will play out in the galleries when the Walker’s new collection exhibitions open on November 21.

Conceiving of and assembling this expansive series of installations—which will fill five galleries—was a priority for Alexander after arriving as the Walker’s new chief curator last winter. Opening dates were already set, so she barely had her e-mail set up before delving into an intensive study of the 11,000-plus artworks, films, and performance documents that make up the Walker’s collection. Getting a feel for its pulse involved the help of her fellow curators, plus a lot of time spent walking around the galleries and exploring art storage. And then there are her office walls. “All of these color copies are a modest way of living with the work and its ideas. They enable me to practice a few visual relationships in miniature form,” says Alexander. “Still, nothing compares to the excitement of bringing the art into the galleries and witnessing how ideas play out in real time, in real space. With such an extraordinary collection of works in all media, I know the collection installation will deliver a plethora of themes, some of which we’ve planned but others I can only guess at. That’s part of the fun.”

Even before she arrived at the Walker, Alexander was in touch with its curators, gaining their perspectives and insights in phone meetings and via e-mail. Visual arts curator Elizabeth Carpenter has played a central role as the exhibitions’ co-curator, given her deep connection to the institution’s holdings. Her knowledge of Walker history, coupled with Alexander’s fresh perspective, make for a strong and complementary duo. “This is my third major reinstallation of the collection since I came to the Walker, and it never ceases to amaze me how remarkably rich it is, and the number of histories and narratives we can draw from it,” says Carpenter. McGuire senior curator for performing arts Philip Bither, film curator Sheryl Mousley, design curator Andrew Blauvelt, and education and community programs director Sarah Schultz have also been vitally important in talking through ways to represent the multidisciplinary nature of the collection in a single show. “They’ve all offered great advice on keeping the gallery spaces dynamic,” Alexander says. “While the exhibition in galleries 1, 2, and 3 will run for nearly three years, we want new experiences to unfold over that time span—fresh discoveries for regular visitors that will reinforce the fact that, as a multidisciplinary arts center, change is ongoing here.”

The notion of change became essential in working out the key themes of the exhibitions, given the experiential, performative, and temporal nature of the art of the 1960s and ’70s, particular areas of Walker strength and interest. Alexander is also thinking about the arts’ connections to real-life events, such as philosophical, social, and political shifts, global conflict, or the seemingly inconsequential facets of the everyday. Art has always responded to life, she says, but in contemporary practice the lines between the two are especially porous.

Other kinds of change will be quickly apparent to visitors. “There will be a notable contrast to the look of the galleries as they appear now—spare, elegant, and loosely chronological,” Alexander notes. “In November, we’ll be using the collection to create a changeable thematic exhibition, one that will have a range of subplots and visual contrasts.” She anticipates that people will find new rhythms in the galleries, with some feeling very dense and active and others rather quiet, like a deep, cleansing breath.

Yes, this week everyone’s talking about 1969 and some sort of summer music jamboree, but we’re going to bump ahead a couple of years, into the next decade:

“The paint on the walls was barely dry when Robert Irwin was invited to conceive a piece that would ‘challenge’ the Walker’s new building, which was designed by architect Edward Larrabee Barnes. The year was 1971 and then-director Martin Friedman’s exhibition, Works for New Spaces, included such other preeminent artists of the moment as Siah Armajani, Larry Bell, Lynda Benglis, Mark di Suvero, Dan Flavin, Donald Judd, Robert Morris, Robert Rauschenberg, and Richard Serra.

“Irwin’s response was one of the most unforgettable yet little-seen installations in the Walker’s history. The untitled work, presented here only twice since the opening, in 1984 and 1989, now makes its fourth appearance in these galleries.”

So wrote curator Betsy Carpenter in the July/August issue of Walker magazine, the occasion being the August 6 unveiling of Slant/Light/Volume, the new installation (seen above) of this Irwin work. Below are some fantastic images of the artist 38 years ago (we love it when librarian Barb Economon pulls these kinds of things from the archives). Come to think if it – if you can access stories from your own long-term memory files about seeing this piece back then, please share via the “Comments” box below.

Looking to the (near) future, fans of early-’70s art will want to make a mental note about the upcoming Abstract Resistance, opening February 27, 2010. Curated by Yasmil Raymond (who is sorely missed, having recently left the Walker for an amazing opportunity at the Dia Art Foundation), this show features a new installation of a large-scale piece by the aforementioned Lynda Benglis for Works for New Spaces — and like this Irwin installation, it’s a knockout.

This seems to be the summer of Bruce Nauman, at least at the the Venice Biennale, where he won the Golden Lion, and to some extent here at the Walker, where his work in The Quick and the Dead is garnering particular attention from Walker staff. One of our installation technicians, the multimedia whiz Peter Murphy, wrote on the complexities of setting up Nauman’s 1971 Microphone/Tree PieceMurphy, and now several staff from our visitor services department have written on Body as a Sphere, a 1969 performance work situated near the beginning of the exhibition.

Joey Heinen gives a thorough overview of performing this deceptively demanding piece, while Eric Jones offers a concise yet searing take on what it means to become an object of stranger’s gaze. Kaitin Kelly recounts her truly visceral response to it; and Emily Rohrabaugh puts her experience in a broader context with Nauman works at the Walker and the artist’s overall career, including his early training as a physicist. Finally, the pugnacious Joseph Rizzo gives his own irreverent account of Body as a Sphere. Just as Rohrabaugh says that performing it “has set a new standard for me as I look at conceptual art,” after reading these accounts, you will never look at a person curled up in a corner in the same way again.

== JOEY HEINEN ==

“If a viewer announces that I am not real but in fact a piece of sculpture, I get the urge to clear my throat to prove my humanity, which seems like such an absurd thing to prove that I change my mind and allow them to think what they want to.”

Approximately once a week, I get paid to curl up in the corner of a gallery for up to two hours. Nice work if you can get it, right? To some extent, yes, but there is much more to it than what may meet the average gallery patron’s eye. The Visitor Services team accumulates all sorts of interesting odd jobs across the Walker that simply do not fit in many administrative employee’s job descriptions. Usually within the realm of performance art, we have recited news headlines after completing transactions at the box office, dug lemons from a sometimes rain-drenched “garden,” and now we bring Bruce Nauman’s Body as a Sphere, a “selection from untitled performance” (1969), to life (albeit very still and motionless life) in Gallery 4 of The Quick and the Dead exhibition, during select hours.

The basic instructions for this performance read “curl your body into the corner of a room. Imagine a point at the center of your curled body and concentrate on pulling your body in around that point. Then attempt to press that down into the corner of the room.” It goes on to describe the ideal time length of the exercise and explains that it is both a mental and physical activity. These instructions were pretty vague, but that actually helps since there are so many of us employed in Visitor Services, and obviously so many different bodies that require different positions and postures for comfort and performability. Some performers, for instance, keep their eyes wide open, directed out at the viewer, whereas I channel my vulnerable side and keep my face mostly hidden. The fetal position is popular, as is fitting oneself directly in the corner or kneeling and tucking oneself inward, though that last one can prove to be most uncomfortable.

After clocking in about 9 hours with this piece (during multiple performances), I have abandoned a sense of experimentation and now hold the same position every time. I press my face and shoulders against the ground so as to equally distribute weight, with one bent arm somewhat covering my face and completing a circular motion with my legs, which are resting on top of each other. According to Nauman’s instructions, the performer should be able to hold the same position for a longer amount of time with each successive performance, probably as a result of the performer discovering a position best suited for his or her body. After many attempts at positions that would inevitably cut off blood flow or pinch nerves (thus creating temporary muscle paralysis), I think I’ve settled on the position that’s best for me.

A Nauman “shift” begins as innocuously as any other work shift, by punching the ol’ time clock—and maybe doing some brief calisthenics before assuming the position. It’s always humorous to see a coworker come in all bright-eyed and bushy-tailed, marching briskly up the gallery stairs and making a bee-line for the appointed corner, whose walls are now covered with shoe scuff marks from restless repositioning, only to return two hours later with a glazed-over facial expression and a few hair cowlicks. All in a day’s work, I guess.

But at least there is always a guaranteed take-away at the end of a shift—the eavesdropping. Maybe it’s because an astounding number of patrons believe that you are a wax sculpture (maybe they’re thinking of Duane Hanson?), but many of them make statements so unguarded and ridiculous you can’t help but feel like more of an earless art “object” than a performer. My favorite story involves a woman who, seeing one of my co-workers performing Body as a Sphere, responded “Oh, yes, they have one of these in Denver.”

Of course, many patrons confuse this piece with the work of Tino Sehgal, whose work was both prominently and covertly on view at the Walker in the winter of 07/08. Close, but no cigar—though you do get a gold star for seeing this connection, since one of Sehgal’s pieces referenced Nauman by name: Instead of allowing some things to rise up to your face, dancing bruce and dan and other things (2000). I can certainly see the connection between these two works, not just because a person is rolled up in an empty corner, but also because the ambiguity forces the viewer to piece together what is happening.

Much in the same way that some little children have asked me while I’m performing if I’m hurt, the childlike curiosity of the viewer is also coupled with a very human sense of isolation and a projection of his or her reality. My reality while performing this piece is about altering my perception in order to possibly alter my form. Sometimes I imagine myself filling an impossibly small space or withdrawing into myself like a trapdoor spider. If a viewer announces that I am not real but in fact a piece of sculpture, I get the urge to clear my throat to prove my humanity, which seems like such an absurd thing to prove that I change my mind and allow them to think what they want to.

In many ways, I see the duality between myself and the viewer in this piece to be similar to the social mores in an elevator as people avert their eyes from each other. They see what is familiar, whether that be a famous realist work of sculpture or something absurd and inhuman, and ignore what might be too confrontational. One thing I love about Body as a Sphere, and especially performing it, is its uncanny presence in a gallery. This piece creates a sort of electric charge as stranger after stranger passes over me like the time that measures my two-hour shift, each visitor with his or her own observation or comment. What’s even more interesting is what I cannot see or hear but simply what I sense, to put it nebulously. The feeling I get when an entire family is huddled around me or when I can tell that someone has stopped dead in his tracks from across the gallery to stare at me is almost enough to give me a visible shudder, which of course would give me away instantly.

Granted, Nauman’s piece is simple enough that one could gather a number of conclusions that could speak about human beings and how we perceive our surroundings. For me, it is about the palpable discomfort between viewer and object. Then again, that might just be my legs cramping up.

== ERIC JONES ==

Is that art, a gay guy laying on the floor? —Walker patron on Target Free Thursday Night

In my experience observing audiences observing other performers of Bruce Nauman’s Body as a Sphere, I am convinced their gaze is largely dependent on desire. The body of a young blonde woman performing this piece changes the length of the heterosexual male gaze, changes the distance of his proximity, and certainly inhibits his reading of the didactic label on the wall nearby. Regardless of a viewer’s openness to observing meditation as an art display, the subjective encounter with Body as a Sphere is always distracted by the marked body. Young artist envy, reverence, absurdity, or obscenity—these belong to the viewer. However, if the viewer wishes to communicate something about the piece—or worse, the performer—they do: standing closer, leaning over me, loudly questioning “Is that a boy or a girl?” Yet in the piece, this marked encounter, a shared shock dissolves as my energies float inward, closer toward the corner of the room.

== KAITIN KELLY ==

“I felt a sharp pain in my shoulder blade and my hip from the floor. My face was flushed and I was having a little bit of difficulty taking full breaths … although I was not enclosed in a confining space here at the Walker, the idea of Nauman’s piece and my physical body was now enclosing me and causing my breath to constrict even more …”

I consider myself familiar with the practices of meditation and movement studies. Although I suffer from the typical struggles of meditation like many others, I still have some days when I feel quite accomplished and refreshed after completing a session. So, when I decided to cover a shift for one of my co-workers at the Walker and ended up in the corner of a gallery unmoving for an hour in the name of art, it seemed like an interesting concept that I was ready to experience.

As I was shown the location of the Nauman piece, I was quite calm and plopped right down into my desired pose to settle in to Body as a Sphere. I admittedly tried a few poses in the first couple minutes to decide which one seemed to be comfortable enough to hold for the long haul. I chose one that I often find myself sleeping in. Curled in the corner, my body had a slight twist and I focused my eyes on the ceiling so that I could gather what was going on around me without having to look directly at the people ogling me. The ground was cold and hard and the sounds in the gallery were not conducive to a meditative environment. A pulsating noise similar to a clock and the occasional thunder-type sound seemed to suspend time and space.

Listening to people decide whether or not I was in fact a real person and not a mannequin was amusing. One French couple speaking very close to my head in their native tongue joked that I came to the museum by myself and ended up “ici” in the corner. A girl commented that I couldn’t be real since my hair looked fake (humorous because I had died my hair with an $8 box of color the night before).

Throughout this observance of sound, the cold floor, and my concentration of breath, I started to have the strange sensations that one has from not moving from one position for an hour. Granted, I could have gotten up and slowly moved to a new position, but that seemed like cheating. I got myself into that position and I was going to keep it! My arm went numb; I felt a sharp pain in my shoulder blade and my hip from the floor. My face was flushed and I was having a little bit of difficulty taking full breaths in the twist that I had placed myself in. The idea of not moving morphed itself into not being able to move. I wondered if I could get myself out of the position I had purposefully chosen to be in. A few months back, I had discovered on a boat in an enclosed cabin space that I am in fact claustrophobic. And although I was not enclosed in a confining space here at the Walker, the idea of Nauman’s piece and my physical body was now enclosing me and causing my breath to constrict even more than it had before.

Through meditative breaths and some yoga and dance-training techniques, I managed to combat a full-blown panic attack, which would have been admittedly very embarrassing (but, I’m sure, an interesting development in the work of art as a whole, especially for viewers who kept streaming by on what seemed like a busy Saturday at the Walker). I became calm again and soon I saw a face and heard a voice saying “hi……..I’m here to relieve you.” I felt like I was underwater and this person was fuzzy. But I busted out with a “Thank God!” and clumsily climbed to my feet, asa Visitor’s Services staff person asked if I needed help.

I stumbled from the gallery and had to stop outside and hold onto the railing, for my vision was narrowing in with blackness and my eyes were starting to water. I managed to gather myself long enough to have a conversation with someone about my “interesting pose” and then stumbled to the employee kitchen. Feeling worse by the minute, I ended up in the bathroom getting sick and seeing blackness for what seemed like a good two minutes. I felt as if I had consumed much too much vodka or as if I had had the flu for the third day in a row. Luckily, my supervisor recognized the fact that I looked a little under the weather and bravely volunteered to do the second hour of my Body as a Sphere shift. He is my hero. I learned a lot about myself and experienced art more than I have in awhile. I don’t think that an exhibit or a shift at the Walker has ever made me vomit before. I guess that is a new and courageous place for art to go … ?

== EMILY ROHRABAUGH ==

“I am not just sculptural material; I actively work to manipulate the viewer’s experience. … For the hour that I am in the gallery corner, I fill the room with my energy and slow down my actions to 1 task/hour.”

My method of performing the Bruce Nauman piece Body As Sphere from untitled performance (1969) is informed by my study of the three Bruce Nauman pieces in the Walker’s collection that are currently installed in Gallery 2 of The Shape of Time. In these pieces the artist filmed himself performing what appear to be simple physical tasks described by their titles, which are shown on small televisions on the far side of the gallery. One piece in particular, Bouncing in a Corner No. 1 (1968), was useful in assessing how to interpret Nauman’s instructions. Here Nauman is performing a simple motion; the artist begins at a standing position and lets his body fall into the corner of the room, the television emits the sound of his body hitting the wall, “BOOM,” and then Nauman bounces back to standing. The film is looped so that as soon as he gets to standing he begins falling back again, making him appear locked in a repetitive, meditative cycle, his actions stretching time in that corner of gallery 2.

This work is not only helpful in that I can see Nauman’s performance style and the discipline of his actions while performing the piece, but also because Nauman manipulated the film, showing that the viewer’s experience is an important part of performing. He also rotated the film and manipulated the speed of the tape, making his body appear sideways and fall slower than a person would fall in real time. As Nauman was trained as a physicist, there can be no doubt that he understood the way an object would fall due to the effects of gravity. Instead of making his body into a sculpture in action, bouncing against the wall, Nauman’s body appears to defy gravity.

I see the way that Nauman manipulated the viewer’s experience of his motion as a cue for my own performance of Body As a Sphere. I am not just sculptural material; I actively work to manipulate the viewer’s experience. My goal is to remain focused on the meditation of finding the center of my body and pressing that point into the corner of the room, for one hour, as specified in Nauman’s instructions. For the hour that I am in the gallery corner, I fill the room with my energy and slow down my actions to 1 task/hour. By slowing down my actions, I blend in with the other objects in the gallery—yet I am separate enough to be out of place, and thus engage the viewer.

I was drawn to focus on the time element on this piece because of another performance in The Quick and the Dead that requires performer input. In John Cage’s Organ²/ASLSP (”ASLSP” being Cage’s own acronym for “as slow as possible”), Cage specified that the performer determines the length of the performance. In both Body as a Sphere and Organ²/ASLSP (performed nearby in Saint Mary’s Basilica on Thursday nights), the performer has instructions: a musical score in the Cage piece and (like the George Brecht pieces that are also part of The Quick and the Dead) a written set of instructions for the Nauman piece. By giving the performer control, the success of the piece becomes contingent on the openness of both the performer and the audience.

Body as a Sphere actively changes the space around it and invites the viewers to imagine a space being created by the performance. It is not a traditional sculpture, in that it is not an object in empty space to be examined; nor is it about the way a body looks when performing a set of instructions. When performing, I focus on a conceptual point within space, a point that a person viewing me could never see, and would never experience without the invitation. This kind of thought experiment was a necessity in Nauman’s math and science studies—visualizing concepts about physical matter that cannot be simply identified using our senses; he is using Body as a Sphere to share something very fundamental about how he saw reality.

In 1967, Nauman made a neon sign explicitly spelling out the function of art as a vehicle to reveal new experiences: “The True Artist Helps the World by Revealing Mystic Truths.” This piece, selected as one of the Nauman works representing the U.S. at this year’s Venice Biennale (click here for a video walkthrough of his installation there), explicitly informs us how to view the rest of his work.

I’ve always liked Bouncing in a Corner No. 1, but only after performing Body as a Sphere was I able to see that both pieces were working on the same goals of revealing basic mystic truths. The works are simple, concise, full of meaning and aimed at transparency, which has set a new standard for me as I look at conceptual art.

== JOE RIZZO ==

“I positioned myself in such a way where I could see the visitors reading the didactic panel on the wall. They would read the panel, look at me, see that I was staring at them blankly, and hurry away. It was great fun, until this heartbreaking scene …”

First off, I should say that whenever Bruce Nauman comes to mind I have a recurring fantasy of knocking his stupid cowboy hat off his head with a satisfying smack. I’m not quite sure what fuels my hatred of all things Nauman. Perhaps my bullshit detector is a little too sensitive. To me, Nauman personifies all the bad stereotypes of contemporary art—pretentious, aloof, inaccessible, irrelevant. Anyway, as much as I genuinely enjoy The Quick and the Dead, which includes several works by this artist, I respectfully asked to be excused from “performing” Body as a Sphere. Twice, though, I volunteered when my brothers and sisters from the Visitor Services department were in a jam: once when performing the piece made my colleague physically sick, and once when another colleague called in sick, presumably ill in anticipation of performing this piece.

At first, the experience of performing Body as a Sphere was exactly as I expected. Cold, painful, boring, humiliating. As I settled into a state of semi-consciousness, I found the reactions of Walker visitors to be pretty interesting. Some people seemed unsettled by the sight of a curled-up person in the gallery. Conversations ceased when they came near. Some, in hushed tones, discussed whether or not I was real. I heard one man say to his companion, “Look, there’s a taxidermy dog over there, so there’s a taxidermy man here. Taxidermy dog, taxidermy man.” Taxidermy man?

The second time I performed this piece, I positioned myself in such a way where I could see the visitors reading the didactic panel on the wall. They would read the panel, look at me, see that I was staring at them blankly, and hurry away. It was great fun, until this heartbreaking scene: a small girl, about 5 or 6, tugged on her father’s sleeve while he was reading the didactic panel. She said, “Daddy, that’s a real man on the floor.” He said, “You know what’s interesting, Honey? He looks like a real man, but he’s actually a statue.” “No,” she said sternly, “He’s breathing and he’s staring at me. He’s a real man.” Daddy replied, “Yes, Honey, he does look very real.” He took her hand and led her away.

Also interesting is the feeling I had after I was done with the piece. My mind was in a thick cloud. My body, bruised and stiff from the cold gallery floor, was lethargic and uncoordinated. I had to sit and stare for quite some time before I was ready to talk to anyone. I honestly did not think this piece would affect me at all. My experience and the reactions I witnessed to Body as a Sphere were pretty unexpected. I must admit that. It’s just as well, because in a fight with Bruce Nauman, I would probably go down. I could take a big piece of him down with me, though.