Sol lewitt’s work operates in an architectural fashion, though it doesn’t desire any traditional notion of space, or enclosure, operating instead at a middle scale which is neither that of the abstract model, or the fully realized structure, but rather the large dollhouse. Often sized to interact with the body, it remains particularly relevant in today’s increasingly virtual world, at once solid and tactile, yet fleeting in it’s monolithic rendering. It is an object in space, which often denies one the possibility of understanding this same space. One is struck by the simple cubes which at present occupy the grounds of City Hall park in New York City. The largest of the cubes are the height of an average person, which has the effect of flattening the perspective of one’s encounter with it, leaving one with doubts about the reality of one’s reality. The abstract work has a similar quality about it, as again the monolithic white facets of the work have a quality of existing somewhere between the virtual landscape of painting, which represents shade, and the real shade which flows along it’s faces. In opposition to the wireframe cubes that he is perhaps most famous for, his facetted works hold the most power as objects experienced from a fixed perspective. As objects in motion their power is lost, and they may only be evaluated on the grounds of their aesthetic composition, which would be rather hollow, especially in our time of geometric complexity.
Category Archives: Virtual
This post deals with the concept of insurance, and how it manifests itself physically. In an age where numbers have more value than objects, it seems fitting that the number must be “wrapped” in a box to provide physical housing to an otherwise immaterial and vague concept. This fact is not lost on the marketing people at Apple, or Progressive; as at the end of the day people still need something to walk away with, something that they can touch. These products also provide a glimpse into another disturbing trend in which information is becoming the basis for existence, and little or nothing takes pure physical form anymore. Physicality is now of the utmost importance, as it keeps us “grounded” and aware in a world dominated by spinning drives which hold all of our information and ideas. It is here that we will come back to the concept of insurance, and how it functions (or doesn’t) in the case of virtual objects. Insurance requires some form of physicality to measure against, as the payoff is based on the initial value of the object under consideration, but how do we assign value to our drives and servers, our information, and in some ways our existence. Lastly, I will leave you with this, if these hollow boxes attempt to describe a state of strength for the insurance industry, how can we manifest our existence in a similar way, representing its essence in neat box.
The time of discrete entities has passed. What is of importance now is the moment in a field of possibilities. The digital age has brought an end to singularity, as visual phenomena are but momentary manifestations in a pixel laden sea of possible creations. The most rudimentary example of this is the photo development industry. When is the last time that you can remember getting pictures developed. Now viewing a picture is but a momentary recombination of pixels on a laptop, iphone, or this very webpage (otherwise inaccessible).
In the digital age, it is incumbent on us to rethink identity. How is it that we define ourselves, is it through a series of numbers, supposedly unique to us, or is it something more. This question is obviously rhetorical, however the point remains that knowing something about someone does not mean that you know them.