One of the best accepted exhibits at Glenstone, the sprawling abreast art circuitous in Potomac, Md., is an audio video accession in which a aerial adolescent woman in a chiffon dress smashes car windows, one afterwards the other, spraying burst bottle all over the place. Created by Swiss artisan Pipilotti Rist in 1997, it had an accessible access on Beyoncé’s 2016 car-smashing video for her song “Hold Up,” from the 46-minute blur “Lemonade.”
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Rist’s video, blue-blooded “Ever Is Over All,” feels like a ball assignment in its own right. (It’s on appearance through Oct. 6; “Turbulent,” a video by Iranian artisan Shirin Neshat, opens in its abode Nov. 14.) There’s the faculty of beatific concrete absolution — so convincing actuality — and the agreeable accent in the animation of the adolescent woman’s stride, her abounding dress, the ability of her body. As a ball critic, I’m absorbed by this video, aloof one of several works that affix Glenstone to the ball world.
There’s a ablaze breeze of account from Rist’s video to Beyoncé’s, a activity of afflatus that’s not abnormal for the singer-songwriter, who’s accepted to sometimes borrow candidly from added artists. The “Hold Up” video shares Rist’s attitude of blithesome abandon and changeable power, and her acknowledgment of chiffon. Beyoncé’s use has a affectionate of annular argumentation to it, aback Rist fabricated a name for herself in allotment by abduction techniques from MTV, ambience movement to music to actualize her own appearance of athrill music videos, steeped in ablaze colors and carnal feeling. In “Ever Is Over All,” the music is acclaim upbeat, accompanied by humming; alike the passersby — a changeable badge officer, an earlier woman in a red covering — accept a aerial footfall and acknowledging smile for the appealing vandal’s actions.
Glenstone’s added ties to ball are beneath accessible but no beneath vital. As you would apprehend in a building adherent to postwar art, there are works by Andy Warhol, Jasper Johns, Robert Rauschenberg and Sol LeWitt, and because that anniversary of those artists additionally collaborated with arresting choreographers, their works bang me as ball Easter eggs in a branch of anchored works.
[This building doesn’t appetite Instagram or crowds. Does that accomplish it elitist?]
Glenstone’s different area on 300 acreage in bourgeoisie invites you into a apple of movement. The wide-open agriculture and airy, aerial galleries alert self-reflection.
How am I activity to get about this all-inclusive complex?
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Every move seems amplified. It’s account accepting an activity plan, including comfortable shoes, maybe a hat.
As abundant as I like the bare breeze of the galleries — some are ample abundant to drive a brace of trucks into — I additionally acquisition that aimless to them from the parking lot artlessly feels good. A ambagious aisle leads to a soft, accustomed setting, through an bouncing acreage overextension to the border — wildflowers, grasses, adroit adolescent trees.
This, at least, is the acquaintance in bounce and summer. My aboriginal appointment was on a albino day aftermost March, aback the area were desolate-looking, a mix of awesome and romantic, actual Scottish Highlands.
No amount the season, ball history springs anon to apperception aloft seeing works by Warhol, Johns, Rauschenberg and LeWitt aggregate calm in a arcade in the pavilions. At assorted credibility in their careers, Warhol, Johns and Rauschenberg teamed up with arresting choreographers including Merce Cunningham and those who were allotment of the beginning Judson Ball Amphitheater in Greenwich Village. Rauschenberg formed with added cardinal dancemakers including Paul Taylor and Trisha Brown, designing sets, lighting and costumes; he alike choreographed and performed dances of his own. Warhol and LeWitt formed with Lucinda Childs.
The works on appearance by the four artists were all fabricated in the backward 1950s and ’60s, a time of abolitionist reinvention in ball studios and artists’ lofts, “and aqueous cross-fertilization amid the beheld and assuming arts,” said Emily Wei Rales, administrator and co-founder of Glenstone, in a contempo interview.
Rauschenberg’s 1964 amalgamate “Gold Standard,” on appearance at Glenstone, goes to the affection of that multidisciplinary conversation. It’s a large, gold folding awning adorned with adult totems: beat assignment boots and assignment gloves; a tie, biconcave in paint; a abundant abridged watch and, while we’re on the subject, a beauteous phallic attribute perched on top, craning advancement with its naked, aglow bulb. Perhaps subtlety fell victim to the affairs of this work’s creation. Rauschenberg fabricated it while he was in Tokyo with the Merce Cunningham Ball Company, confined as artisan of the troupe’s sets and costumes. He created “Gold Standard” onstage, in advanced of an audience, in an accident that was organized by a Japanese analyzer and is remembered as more-or-less improvisation, a achievement as able-bodied as an assemblage.
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Warhol, acclaimed for his spirit of play, was artlessly accessible to a ball collaboration. Glenstone has his “Large Flowers” (1964), a wall-spanning, spirit-lifting brace of poppies, one orange-red and the added a affectionate of electric lilac, so active they about jump off the aphotic blooming field. Four years later, for Cunningham’s assignment “RainForest,” Warhol created square, brownish helium-filled balloons, which reflected ablaze and floated about the dancers. They were adopted from Warhol’s accession blue-blooded “Silver Clouds,” and it was Cunningham’s abstraction to accept them as decor. I’ve consistently advised them amid the added allegedly affectionate set designs for dance.
Johns advised the apparel for Cunningham’s “RainForest” ball — Warhol capital the dancers to be naked, Cunningham didn’t and Johns’s flesh-colored, all-over tights were the compromise. He was Cunningham’s aesthetic adviser from 1967 to 1980, designing a advanced ambit of sets and costumes, and Johns charcoal a best of the backward choreographer. On affectation at Glenstone is one of his American banderole paintings, “Flag on an Orange Acreage II” (1958).
The 1962 LeWitt assignment on view, “Run IV,” is the best cautiously evocative of ball energy, with its again rows of stick abstracts corrective on canvas and wood, their active tucked down, bodies aptitude advanced in a sprinter’s gangling stride. Individually, these runners are stringy, close and frozen, like the Giacometti amount in a adjacent gallery; angle aback and unfocus your eyes a bit, and they assume to flow, like a cast book, into curve of advanced thrust.
LeWitt brought his attraction with alliteration and what it can do to the viewer’s eye to a ball adornment he fabricated for minimalist choreographer Childs. In 1979, he created a arresting black-and-white blur for her abstruse assignment artlessly blue-blooded “Dance.” Childs had anticipation the artisan ability acrylic a accomplishments for her, but LeWitt insisted that her dancers were the project’s big idea, and he capital to augment their actions, so he acclimated a camera to aftermath layered images. The final artefact was a montage of larger-than-life angle of the dancers, assorted somewhat like “Run IV.” In performance, the alive dancers arise to mirror their accurate counterparts, their active blush bustling adjoin LeWitt’s monotone. I was advantageous to see this anesthetic comedy of contrasts aback Childs brought “Dance” to the University of Maryland’s Clarice Smith Center in 2011.
I asked Rales if, accustomed the accessible amplitude central the pavilions and surrounding them, she would anytime agency a site-specific performance.
“Performance is acceptable anytime added important to abreast art museums,” Rales noted, citation new barrio that accommodate spaces for dance. So, while she has no accepted affairs for ball at Glenstone, she’s abrogation the aperture open. “I never appetite to aphorism it out,” she said. “If there’s a angle for article accompanying to ball that fits able-bodied with how we like to appearance art, which is in these additional accessible spaces, we ability accede it.
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“We’re actually absorbed in those things that address to assorted senses.”
Among Glenstone’s accepted offerings, Rales credibility to Robert Gober’s “Untitled,” a room-size accession that is allotment forest, allotment prison, with barred windows and sinks always blubbering water. She additionally mentions the alfresco audio accession in the trees, “FOREST (for a thousand years . . .),” by Janet Cardiff and George Bures Miller, area aerial sounds of gunfire, aircraft and birdsong blanket visitors like an acquaintance in immersive theater.
“If ball and achievement can abutment that,” Rales said, “it will actually be article that we will be added absorbed in.”
Glenstone, 12100 Glen Rd., Potomac, Md. Admission is free, but tickets charge be aloof online at glenstone.org.
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