A great series of installation shots of the Whitney Biennial. Take a look at these, and tell me which is Jutta Koether. How does this painting installation compare to the one we read about at the Reena Spaulings gallery?
http://moussemagazine.it/whitney/
Koether's works are obviously the 7th and 9th in the order they appear on the page.
ReplyDeleteThe surface and scale of the paintings are similar to the work at Reena Spaulings gallery. Most notably though, they are situated at obtuse angles to each other as well as the viewer. They are also mounted in a similar manner to the painting we discussed earlier. They are not mounted traditionally on a wall, they are mounted on glass platformed walls, which along with the angled positioning suggests the painting is involved in an action or is only situated in this space for a fleeting moment in time.
Jutta Koether’s are the ones attached to clear partitions that are neither dividing a space nor necessarily situated in the middle of the rooms. I figured this out before reading it in the text!
ReplyDeleteI prefer this installation over the one at Reena Spaulings. Maybe that is because I feel that the performance will most likely not take place or that these seem a little more orderly (I like everything tidily in it’s place.) The one at Reena Spaulings seems to have a more “in your face” aspect. Also, that one had this stepping onto the stage concept that seems to be missing here. I think this installation may have been a compromise from the way Jutta Koether wants them displayed and the parameters of the Whintey Biennials’s ability to display them in that fashion. I think Jutta’s point still gets across, though. They are not hung on the wall (the partition is nearly invisible, but necessary in order to safely display objects of that shape and size.)