![]() We've powerful analytic tools to simplify an experience, so we can absorb it emotionally. The poet and social reformer Rabindranath Tagore wrote “The main object of teaching is not to explain meanings, but to knock at the door of the mind.” You are here So he starts with light itself and reaches into the mind to expose the limits and viscosities of perception. In the gallery guide, the curators mention Turrell’s thinking that “in a way, the human eye-because of its dense neural network links to the brain-is almost like ‘the brain exposed.'” There’s a connection he makes between light, time and perception. ![]() I had to wait for the group to finish their Perfectly Clear experience, and, as I was the only person who was late, I got the lightbox to myself. I got a bit lost in the museum-a complex of industrial buildings converted into art galleries-and so I was one minute late for my scheduled time slot. This phenomenon can in turn produce an array of effects in the brain.” from the MASS MoCA website, James Turrell “Into the Light” ![]() Ganzfeld is a German term that describes a uniform or “whole field” which produces a loss of depth perception. As the light changes, viewers watch the boundaries of the space disappear before their eyes as if the room has been shrouded in a cloud of mist. My mission was to experience James Turrell’s “Perfectly Clear (Ganzfeld),” a 15-minute light-experience in which viewers perceive perception itself: “a bath of changing color fills the room, punctuated by periodic bursts of strobing light. That’s a 2.75-hour drive north that I’d been meaning to do for a while. Last weekend, I drove up to the Berkshires in western Massachusetts to visit MASS MoCA in North Adams, one of the top centers in the international contemporary art scene. It’s the flexible nature of the heart that makes us need contradictions. Do we count the number of fishermen laughing in January chill along the river while on our Sunday walk, and do we count on the river to carry away our cares? Some part of creative work is idle counting some of it is the core figure of our intention.īut we honor both-exactness and freedom-to keep artistic practice strong, growing, and ever more relevant. This exhibition features a major work from each decade of the artist’s career.Counting syllables, counting on images to carry you, counting the stanzas in the back of your mind, counting on soul to show up in the lines. Wilson Building - with galleries designed and constructed specially to best accentuate his installations. A pioneer in the Southern California Light and Space movement, MASS MoCA presents a multi-decade retrospective of Turrell’s work in B6: The Robert W. His practice has been shaped by the ongoing manipulation of architecture, framing and altering the way viewers engage with the environment. ![]() Turrell began using light as a sculptural medium in 1966, painting the windows of his studio in Santa Monica to seal off the natural light and experimenting with projections. Squares of sky seem to float, suspended, in ceilings or walls architecture disintegrates and brilliant geometric shapes levitate in midair. His sculptures and architectural interventions elevate our experience and perception of light and space. In James Turrell’s hands, light is more than simply a source of illumination: it is a discrete, physical object. ![]()
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