only an artist viewing art
knows the ecstasy or dread,
this viewing takes place in time.
A great artist can make art
by simply casting a glance…”
SECOND WAVE OF MODERNISM II
Complexity and Transformation
November 18, 2011
Bargmann started off as a sculptor and her addiction to looking at the work of artists (Robert Irwin, Eve Hesse and Donald Judd) are keys to her working relationship to the landscape. “I want to find the untitled in the landscape.” Her work is about not imposing form on the site, but finding the focus within a site. Bargmann likes working with regenerative landscapes. The industrial waste sites that populate America, are the places that speak to her. For Bargmann many of these sites are archaeology…. making visible the crafts and industries that once employed people and provided their livelihoods. This kind of work isn’t for everyone. “It’s a messy experience.”
Bargmann lost the competition for the High Line, which she mentioned without much difficulty. Without saying much, you could understand how differently she would have approached the project. It might have remained a place layered with history.
“These orphaned landscapes are our national parks. They are the new urban frontier. It’s a wild landscape of a different kind.”
I have been considering this question of wild landscapes, and how to make them visible; as I work in a place where the “soil” is construction fill, the landscape harmed by intervention of the building of the Triboro Bridge and general neglect over time. Maybe, “a great artist can make art by simply casting a glance,” but I am finding it a lot harder.