Prior to my arrival in DC, I decided to make the most of my final days in New York City. I hopped on a ferry to see “Mark di Suvero at Governors Island: Presented by Storm King Art Center.” I was excited about viewing the skyline from across the water (which proved to be a truly breathtaking view), while seeing di Suvero’s works first-hand. This Governors Island show is the first off-campus exhibition for Storm King Art Center, a vast sculpture park in the Hudson Valley. The center’s curator scattered eleven of di Suvero’s sculptures around the island, leading to the artist’s largest exhibition ever displayed outdoors and the island’s most high-profile show yet.
One noteworthy aspect of di Suvero’s works is their relationship to industry. He characteristically employes industrial materials such as steel, the basis of modern industrial production. He has even spoken of his use of an industrial crane as a means of “extending his arm.” Yet, despite this clear relation to components of industry, di Suvero doesn’t use steel in the impersonal manner often associated with industrial production. He instead uses this material to create organic, lively sculptures that maintain a distinct sense of movement and balance. He goes beyond the material’s utilitarian value, and transforms it to create his large-scale dynamic compositions.
Old Buddy for Rosko
Taminami
Di Suvero’s works are scattered throughout the Island, all the way down to Picnic Point. From here, the Statue of Liberty can be seen, as well as the show’s earliest work, “She.” This sculpture takes the notion of movement to a new level, as it contains a large wooden swing that can hold roughly six people. This swing was an interesting component, as di Suvero really emphasized the “playful” aspect of his work by allowing people to literally play with it.
She
I felt di Suvero’s sculptures could not have been more perfectly complemented by the choice of location for this exhibition. By positioning his works on a grass-filled island, which reverberates with a feeling of peace and true sense of distance from the bustling city, visitors can view these “industrial” works in a serene natural environment. At the same time, the imposing industrial buildings of New York City can be seen as a removed backdrop: they are physically present, yet positioned at a distance by the vast expanse of water in between. This therefore successfully conveys the connection to, yet distinction from, industry that di Suvero intends to deliver through his process and finished sculptures. As opposed to a venue like the rooftop of the Met, where Anthony Caro’s large architectural/industrial sculptures can be seen in direct conversation with the New York City skyline, di Suvero’s works maintain a closer connection to the expanses of grass and small houses that dot this lovely island.
I encourage all to go see this show before it closes on September 25. And the best part is: the entire experience from the ferry ride to the show is FREE…where else can you find that in New York?
When public sculpture is good, it's really really good and, when it's bad, it's horrid. Storm King made me a sculpture lover and I see they managed to extend their spirit all the way to Governor's Island (by the way, di Suvero's wife works for the New York City arts commission, so she had a good "in" with a great artist). These works, while comprised of industrial materials, play well with the natural environment, as you describe. They don't fight nor do they dominate, but allow the visitor/viewer to see the landscape context in a different light. Maybe I am delighted by the unexpected--that rebar works so nicely in a green environment--the images look photoshopped! I think it is not coincidental that the best public sculptors are skilled draftsman. They know lines animate empty space. I expect you will cover some of that in your Caro show? Or perhaps that will be your contribution? What would you title this section of the exhibition? "The Steel Line?"
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