By Jason Foumberg
As the art world shifts interest away from loner studio practices, it is relationships—long-distance relationships, no-strings-attached relationships, contractual relationships—that make an excellent metaphor for the relevancy of art in our lives. Three exhibitions this week make transparent some interpersonal, artistic relations for all to see.
Messing with Mies
The iconic modernist glass house in Plano, Illinois, could be the banner image for the state of modern privacy. Designed by architect Ludwig Mies van der Rohe, and sited sixty miles southwest of Chicago, the Farnsworth House, a home with glass exterior walls, reveals all of its insides, a fact that the home’s original owner, Dr. Edith Farnsworth, found to be “unbearably oppressive,” wrote architecture historian Joan Ockman. Farnsworth felt like a hamster in a cage or an actor on a stage while she inhabited her second home from 1951-71.
Farnsworth expressed her anxiety of living in a glass box to House Beautiful magazine, in 1953. The white-steel-and-glass box has a patina of anxiety. It animates its character. Anyone who visits imagines herself living in the raw glass box, with its attendant discomforts.
For the next several weeks, the Farnsworth House has a guest living on its porch: the skeleton of the Melnikov House, an avant-garde Russian house from the 1920s. The floor plan of that Moscow home has been replicated to scale in wood, painted yellow, propped on sawhorses, and now abuts the Farnsworth House’s front yard at a perpendicular angle.
Typically a beacon of serene, solemn contemplation, nestled among cornfields and the Fox River, the Farnsworth House is now interrupted by the Melnikov House. Artist Osvaldo Romberg calls this a “translocation.” He has performed this sort of intervention at iconic architectural sites around the world.
“Forms happen, like love,” said Romberg on the steps of the Farnsworth Read the rest of this entry »