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Ladder Suspended

gently coming in from the far top right,
a single, dangling line comes down and hooks
j-like upward to catch the bottom edge of a
fairly massive ladder. It is laid flat against
the wall, small end towards the yarn and tilted
so that the bottom edge slow rises (about 20 degrees)
towards the left More properly the supported edge of the ladder should be just below the top of the ladder; viz:

Ladder Suspended, 1a

Alternatively the ladder can be hung the other way.
Same as above, but this time, the large end
is being balanced on the end of the j-tip of 
the yarn

Ladder Suspended, 2

Several aspects are worth commenting about. Clearly the work fits into my ideas of "up from minimalism" in that they extend from some of the basic wall installations of "suspended without a frame". For example, in the MOMA-FW's Donald Judd "tower" we see: This picture (as badly cropped as it is) doesn't really do the work justice, so with a bit of digital legerdermain, i created a virtual space for it, viz: Leaving this as our starting point of minimalism from which to be up from, "Ladder suspended" (working title only) clearly juxtaposes the two physical aspects of line. The yarn definitely "reads" as traditionally drawn line element. But in almost no case, will the ladder read as a flat, 2d object. In working on this, i had considered (and went so far as to purchase and locate materials to this end) creating a mock ladder out of geometric shapes - mostly trapazoids. In keeping with my usuall "black ink on white paper", these would have been coloured black. The choices were construction paper (which even with v. high quality materials) often do NOT have a consistent black colour to them. The alternative then was black card stock -- approaching museum board, matting board, etc. In these cases they clearly are 3-d when mounted. Of course they could be masked and painted onto the wall, but then we lose the physicallity of the yarn as trying to be read as 2d. Hence, the one approach would be to create a flat of corregated cardboard (eg, a refridgerator box), painted (carefully) flat black. This could then be mounted OFF the wall using mounting foam tape. Viewed from the ceiling looking down the side of the wall to see the spacing we get: =========================== cardboard ---- --- mounting tape (poss. sev layers) XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX wall itself This idea of "lifting" these off the walls goes more towards things like Richard Diebenkorn and/or even Frank Stella's shaped canvases. But, then it brings in a parallel "feel" (i think/hope/intend) that mirrors the fact that the yarn is definitely NOT attached so rigidly to the wall - indeed part of it BEING yarn is that it *isn't* a painted/drawn line on the wall surface. Note that an important aspect is that the yarn "j" should extend as high as possible as if it passes (like Paul Scheer's "A Ladder for Booker T. Washington") thru the ceiling - that is: In the limit it achieves total and actual freedom. A difference here is that Scheer's work (like Brancusi's "Infinite Column" depends on forced, false perspective or what i usually refer to as "anti-perspective". In the case of the yarn "j", it's un-likely to "read" as infinitely tall, but the idea that it somehow escapes the physical space of the room is sufficient to let it be "read" as infinity for the most part.

Metaphysical Considerations

The title "(untitled; 2007.12.11)" is (to my way of thinking) simply too mundane since eventually some accounting and/or insurance person will attach a title "ladder with yarn" or something. And indeed, we all know the problems with things like Marcel Duchamps "The Large Glass" in this manner. Recall also, that Konstine Brancusi was arrested by custom's guards for "smuggling" (presumably gold) into the country; ie, his "Bird in Flight". Alas; i, digress. Thus, the several titles that naturally engendered themselves to me were (in approximate time-increasing order) Greg's Iconoclastic Dilemna This derived from a discussion during a show of one of my yarn drawings where-in i had tacked my 4-foot level to the wall to create a constant line end-point. That i should leave the level up on the wall was simply something that i hadn't thought of before even though i free preach the gospel of "the thing used to make the art IS the art". So, naturally one of my old nemesises, the rickety old wooden ladder came to mind. But, of course in keeping with questions concerning the exact deeper meaning of works (eg, "For Carl Andre" by Linda Benglis; viz:
a large mound of oil scluumph't

"For Carl Andre"

That is: Once we attache a NAME (ie, a person's name) to a work, it automatically attaches the entire works, life, time, etc of that person to the work - even though only one single aspect might be *intended*. Thus, it's better to simple title the work: < insert picture here &gr; "Iconoclastic dilemina" Next: [MonoLith with table] or: [Back to TOP of main page]


-[]- -[MOMA-FW.org site]- Other people's various rants, blogs, and articles... -[Judd and minimalism, etc]- -[The probs with the Richard Serra sculpture]- http://paulscheer.tumblr.com/post/20284614 Scheer's ladder]-