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September 16, 2005
Noguchi
I didn't travel "the way Noguchi did" to get to his museum in Queens (I was on a time crunch and the N can get you there in about 20 minutes) but I did take in some surroundings along the way. I know you miss so much when you travel underground, but I also enjoy the idea of becoming familiar with different subway stations- the way they look, which ones still have the old tile signs. Not to mention the view you get when the train goes above ground in Queens and the ten block walk from the subway to the museum, alive with shops and restaurants up and down Broadway. Fortunately, once I arrived at the museum, I was met with a sense of ease, suddenly forgetting about my time constraints and other worries of the day.
There is something very Zen about Noguchi's work that, to me, is conveyed most clearly in his granite sculptures. The sheer weight of them gives one a sense of strength and stability from just looking at them. They are so content to remain exactly where they are, in fact, that they exist wherever they are put, (outside in the garden, exposed to the elements, in a room lit with natural light and open windows), stoically, magestically and without complaint. I found myself especially drawn to those pieces whose position required a sense of balance, either with one piece resting atop the other or a sculpture whose contact with the floor was not a predictable broad, flat surface. Looking at these pieces reminded me of my Yoga practice. When lying on the floor, either on one's side in the fetal position or on one's back, it is important to reflect on the part's of the body that make contact with the floor as these are the points that keep you grounded. You are then taught to take that reflection with you as you practice the more precarious balancing poses, understanding that wether you have one foot on the ground or two, you are still being fully supported by the floor.
Taking a rest between rooms to visit the gift shop, I saw the video of the making of the Akari light sculptures. The method was fascinating, and the speed and skill with which the lamp was constructed told of a centuries-old tradition. What really got me thinking, though, was the term "light sculpture." It made me wonder how Noguchi came to make these pieces. I like to think that the idea of having a sculpturelit from within, rather than spotlit, excited him. That's what excited me about it anyway.
I have to say that there was one piece that I wasn't crazy about: "Elbow". I thought this sculpture lacked that sense of stability that I loved in the other works.The marble piece was supported by its metal counterpart, but in such a way that it seemed almost as though the artist was attempting to accentuate the lack of support, the separation and space between the marble and the aluminum. Here, there were two supporting pieces to contend with (two aluminum poles connecting the marble to an L-shaped base). I found myself wondering, "if one of these poles were removed would the marble still stand?" rather than enjoying the knowledge that are imparted by other pieces like "Green Essence".
Posted by Roman, Christin at September 16, 2005 05:16 PM