Circa 1971 exposed the generative encounters among these artists and influences and initiates unexpected correspondences between seemingly disparate works. Passengers may hail the bus at any Beacon Free Loop sign along the route. Also, the Beacon Free Loop bus runs Monday through Saturday from the Metro-North Beacon train station to Dia Beacon, Main Street, and Mount Beacon, before returning to the train station. Taking the year of EAI's founding as its point of departure, the exhibition set in dialogue a series of diverse works created in and around 1971, which are linked by alternative artistic and activist impulses. Dia Beacon is an 8-10 minute walk (1/2 mile) from the Metro-North Beacon Station. Celebrating EAI's 40th anniversary, the exhibition was organized by guest curator Lori Zippay, Executive Director of EAI.Ĭirca 1971 included pieces by Vito Acconci, Eleanor Antin, Ant Farm, John Baldessari, Lynda Benglis, Shirley Clarke, Dan Graham, Nancy Holt and Robert Smithson, Joan Jonas, Gordon Matta-Clark, Nam June Paik, Raindance, Anthony Ramos, Carolee Schneemann, TVTV, Steina and Woody Vasulka, and others. Circa 1971 brought together 20 moving image works from EAI's collection of over 3,500 media artworks. PHOTOS: Circa 1971 Gallery Talk with Lori Zippay, February 2012ĭia Art Foundation presented Circa 1971: Early Video & Film from the EAI Archive at Dia:Beacon, Riggio Galleries. PRESS: New York Times, Frieze Magazine, Bullett The genius of the design is that it will leave visitors to wallow in that ignorance-and revel in the art.CONVERSATIONS AT DIA:BEACON: Nancy Holt, Joan Jonas, Anthony Ramos, and Paul Ryan with Lori Zippay Looking at Dia:Beacon, most will assume that the old factory just got a new coat of paint. Ticketing, feeding, and museum shop mammon have all been relegated to a wing on the margins as at Dia’s Chelsea space, gallery signage will be spare, with interpretive language out of sight in take-one brochures. But the whole experience is shot through with the Foundation’s trademark sobriety. Michael Govan, Dia’s director, calls this point “the moment of mock-ethical decision.” With no imposed routes, from here on, you’re in an architectural authorship–free zone.ĭia:Beacon is no ascetics’ retreat. Andy Warhol’s “Shadows” (all 102 of them) are to the left, a landscape of plywood Judds around to the right. For Full Room Skylight Scrim V Dia Beacon (1972/2022), Robert Irwin has stretched planes of translucent fabric in a V shape across two interconnected galleries.Suspended between floor and ceiling, the fabric, or scrim, is illuminated by natural light from above. An immense stainless steel Walter De Maria floor piece will be the only thing on anybody’s mind right there. There is no traffic control and no fuss, just a threshold beyond which all is white walls and soaring ceilings, a space lit by 30,000 square feet of north-facing skylights-and, of course, the art. The entry, tomb-dark and only ten strides deep, sets the stage for a shockingly abrupt step into the beinahe nichts of the galleries. In the building proper, Dia benefited from the moderating intelligence of OpenOffice, a young New York firm wise enough to skip gewgaws and pretension. Elsewhere, in a side garden that leads to a must-see Temple of Serra, Irwin seems to have veered back toward the awkward glam of that other design. Next, one descends into a parking lot that distills the best of what Robert Irwin learned from his Getty Center gardens: canny use of Cor-Ten steel and deliberate placement of trees. Don’t expect to be awed apart from a tiny, tacked-on entrance and a general scrub, the outside of the building has not been changed. As you walk from the train station, a slight rise provides a vantage over the pancake expanse of the brick-and-steel shed, a circa 1929 Nabisco box-printing factory. That whole cycle of high-flying form that might be said to have started at the new Louvre and certainly found full flower in Bilbao, that look-at-me impulse that set all jaws to snapping about commercial ambitions and the friction between architecture and art, that indulgent movement that now looks like nothing less than creative culture’s own bubble-era fling, is here brought down to earth with a resounding and welcome thud. For when they get to the art-world outpost on the Hudson, just past the funky main streets of a former mill town that was until recently another upstate casualty, visitors will also get a much-needed dose of architectural restraint.Īt Dia:Beacon, mass art consumption has at last found a vital alternative to the quickly fading glories of the marquee museum. With the big names and big building there will inevitably be big buzz, and with Dia:Beacon only an eighty-minute train ride and a short walk away from Grand Central, big, big crowds.
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