|
Mercury,
September/October 2005 Table of Contents

|
Courtesy
of M. C. Odekon. |
by
Mary Crone Odekon
Three
round objects rested, museum-style, on square white pillars: an
ornate clock face, a gold-colored mask, and a head of fresh cabbage.
Our assignment was to write a single exhibition label for this collection,
as part of a faculty seminar with artist Fred Wilson at Skidmore
College. The purpose was to think about the creation of meaning
through juxtaposition and context — something of a Rorschach
test, as each of us came up with a different narrative exposing
our own interests. Not surprisingly, my interpretation, which I
called Brazen Heads, was connected to science.
I took
this seminar while preparing an astronomy exhibit for the Tang Teaching
Museum and Art Gallery. I initially joined the project at the invitation
of my colleague Margo Mensing, an artist at Skidmore who was collaborating
on a multidisciplinary performance of George Crumb's Makrokosmos
III: Music for a Summer Evening. I was to be the astrophysics consultant.
As
we thought about Crumb's music, we were drawn to changing perceptions
of the cosmos — fixed stars on crystal spheres versus pulsing
plasmas, a cosmos separate from our changing human world versus
a cosmos that changes along with us. The project grew quickly into
a full-fledged exhibit, co-curated by Margo, me, and Tang curator
Ian Berry. No longer a simple consultant, I visited artists' studios
in Chelsea and helped design the layout and look of the exhibit.
We named it A Very Liquid Heaven, a 17th-century quote from Descartes
describing his somewhat prescient model of a universe full of swirling
liquids.
If
you enjoyed this excerpt from a feature article and would
like to receive our bi-monthly Mercury magazine, we invite you to
join the ASP and receive
6 issues a year.
|
|