Update: I incorrectly assumed "Conversions" was a show specifically for installation art. See this post for clarification.
Lisa Kellner contributes a fantastic sculptural painting called Oil Spill. Following in the path set forth by Tara Donovan and Dan Steinhilber, Kellner’s piece utilizes a fairly standard household item but in large numbers.
From what I understand the piece was supposed to be pins embedded directly in the gallery wall. But for some reason (I heard different accounts at the opening), the artist had to prepare the piece in her studio and bring it ready to hang in the gallery. This is unfortunate because with my interpretation of “installation art” this piece, as is, would fail to meet the criteria. I’m willing to cut the jurors and artist some slack though… I assume her submission was to put pins in the wall (and thereby becoming installation art) but that something prevented her from doing so after being selected. Maybe the walls are too hard or something?
Admittedly I am often struck by this type of art. I love the topographical nature of the piece and the seriality of it (we’ll see a piece later that makes nothing of seriality). If feels lush and you want to touch it because it looks so soft. A quick reminder that the piece is comprised of thousands of quilting pins and you pull your hand back.
Though we’re seeing a long line of Wal-Martistic work appear in galleries, it’s nice to see an artist do it well. A sample of one is hardly enough to draw a conclusive opinion, but I’d like to see Kellner push the work more.