Linn Meyer’s work, Our View From Here, covers the inner wall of the second floor of the Hirshhorn, 400 feet long. She drew it with markers during the month of April 2016. The work was designed to be temporary, and is going to be painted over after August 13, 2017.
Here’s Linn Meyers in the process of creating the work:
And here’s how the work looked yesterday, four days before it is going to be painted over:
And it looked truly odd during the Sculpting Sound festival while viewers were wearing strange headpieces with audio devices:
Ai Weiwei:Trace at the Hirshhorn is an exhibit about freedom and repression. It features 176 portraits of political prisoners and human rights advocates from thirty countries. More than a million Lego bricks were used to construct the portraits. The portraits are pixelated, similar to the pixelation of low-quality surveillance images.
The exhibit was originally designed for a show at Alcatraz in 2014. For the Hirshhorn exhibit, Ai Weiwei designed new wallpaper, called The Plain Version of the Animal That Looks Like a Llama but Is Really an Alpaca. The wallpaper has drawings of security cameras, handcuffs, and the Twitter logo for the tweets that Ai Weiwei has used to communicate with the world, plus llamas.
The wallpaper contains a complex pattern that looks beautiful and delicate from a distance, but up close shows security cameras, chains, and handcuffs, along with birds and faces encased in odd bodysuits.
The Kusama exhibit at the Hirshhorn was as amazing as anticipated, including the long lines to get in even with timed tickets.
The lines for each infinity room were 50-100 people long, with groups of 2-3 being let in for 25 seconds each.
At the end is the dot room, with no time limit. It originally was pure white. Each visitor is given a sheet of six colored stickers to apply, so the room will fill up over time. I went to the exhibit at the end of the second day, so there was still plenty of white space left.
Went to this museum in Baltimore for the first time today, and loved it. Not sure how novel it would have felt when it first opened more than 20 years ago, but now the divide between outsider art and art in the canon is increasingly narrowing.
It was amazing to have the opportunity to be part of a group that Ragnar Kjartansson walked around his new exhibit at the Hirshhorn, explaining about his work.
Here, he is in silhouette in front of his video God, 2007. Woman in E is the live performance piece in the show: