From the Archives: John Cage, "changing installation," 1991

As an MLIS (Master of Library & Information Science) graduate student interning in the Mattress Factory Archives, I have a unique opportunity to work with records, documents, and photographs, which tell the story of the museum and the artworks created over the museum’s 35-year history. There are many amazing relics in the MF archives and I help preserve and provide access to this material for students, researchers, and artists. One of my favorite collections is a group of images of John Cage’s 1991 changing installation, an artwork exhibited as part of the 1991 Carnegie International. While cataloging, digitizing, and organizing these photos, I noticed an unexpected surprise that exemplifies the serendipitous magic that so often happens with artists working at the Mattress Factory.

Day 73 of changing installation

One of the poems included within the installation
instructions for changing installation

Most well known for his musical compositions, John Cage (1912-1992) also expressed himself as a poet, artist, and writer. In changing installation, 1991, Cage combines the use of two-dimensional works with poetry, all while maintaining an exploration of concepts surrounding randomness. The concepts of randomness and chance are frequently woven into Cage’s musical compositions, such as Music of Changes (1951) and the 85-part series, Music for Piano (1952-1962). For more about John Cage’s work, check out the John Cage Trust.

Based on the concept of “controlled randomness,” changing installation consists of two-dimensional works by artists Dove Bradshaw, Mary Jean Kenton, John Cage and Marsha Skinner, along with six chairs that rotate around the exhibition space in an order determined by a computer algorithm.[1] The six chairs are: one Bertoia Side Chair, one 1940s aluminum lawn chair, one Arne Jacobson Egg Chair, one chair made from sticks, one Empire chair, and one steel chair made by a steelworker. John Cage hoped to present randomness (in this case, the computer generated numbers), in a controlled and orderly way (through the use of clear and precise installation instructions). The installation was on view for 102 days and each day the chairs and artworks were rearranged based on placements outlined by the computer algorithm. Museum Co-Director Michael Olijnyk photographed the installation each day from a vantage point identified by the computer algorithm.

Wall Label for changing installation, 1991. Each artist provided 12 works to be used within the installation. The works each have an assigned number and a combination of 15 works was shown every day.

The entire fourth floor of 500 Sampsonia Way was divided into distinct locations for changing installation. Cage gave each corner of the gallery a unique number ranging from 1-64. 

Based on the computer algorithm, John Cage’s script lists the works to be displayed each day, their location, their display angle, and the placement of the camera. Here, this script page indicates the works to be shown and their location within the gallery for the first twenty days. For example, on day 1, work 5 is shown in position 30.   

Each morning Museum Co-Director Michael Olijinyk took “down the works from the previous day, put in place the new arrangement of chairs and artwork” and “photograph[ed] the space.” During this process, his pet cat, Godzik, would follow him around the gallery. In some photographs, Godzik placed himself directly in the center of the installation (and image), and in others, he appears as a blur or a reflection. Rather than retaking the day’s image, Michael Olijinyk noted that the cat’s appearance was “in complete accord with Cage’s concept of incorporating random sounds and occurrences into his work.”[2] All in all, Godzik can be seen in 17 photographs and is a surprising addition to an exhibition already based heavily on randomness.

Check out the images below—can you find Godzik in each one? (Click the image to enlarge)

Day 14 of changing installation

Day 25 of changing installation

Day 26 of changing installation

Day 30 of changing installation

Day 31 of changing installation

Day 58 of changing installation

Day 95 of changing installation

           

As you can see, through my internship at the Mattress Factory Archives, I have the chance to work with some fantastic collections and amazing artwork. The museum is made up of a multitude of moving parts, and as I continue to explore its history, I’ll gather more interesting stories to share!

Bibliography:

Bernstein, David W., and Christopher Hatch (eds.). Writings Though John

Cage’s Music, Poetry, & Art. Chicago: University of Chicago Press, 2000.  

Mattress Factory. “John Cage.”

http://mattressfactory.org/index.cfm?event=ShowArtist&eid=21&id=248&c=

Mattress Factory Education Department. “Mattress Factory’s Permanent

Collection Curriculum Guide.” Last Modified 2009.

http://www.mattress.org/documents/2009_CurriculumGuide_Web.pdf

Olijnyk, Michael, Barbara Luderowski, and Claudia Giannini. Installations:

Mattress Factory, 1990-1999. Pittsburgh: University of Pittsburgh Press, 2001.

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[1] David W. Bernstein and Christopher Hatch (eds.), Writings Though John Cage’s Music, Poetry, & Art (Chicago: University of Chicago Press, 2000): 5.  

[2] Mattress Factory Education Department, “Mattress Factory’s Permanent Collection Curriculum Guide,” last modified 2009, http://www.mattress.org/documents/2009_curriculumguide_web.pdf.

KELLY HOLMAN, Archives Intern

Extra-Curricular Interests:

-Biking, going to the cinema, and traveling.

What artists are currently in heavy rotation on your iPod?

-At the moment, I’m playing Passenger constantly. Folk makes up the majority of my current playlists.

If you could bring two things with you to a deserted island, what would they be?

-Flint and Steel.

If you could have dinner with one person from history, who would it be and why?

-Julia Child—if anyone could help improve my cooking skills, it would be her!

One more thing we should know about you:

-I’m an intern at the Mattress Factory and a graduate student at the University of Pittsburgh.

Once Upon a Mattress…Turrell, History & the Artists of Tomorrow

Mattress Factory brochure for James Turrell: Into the Light

In celebration of several recent of James Turrell exhibitions, the Mattress Factory took you, dear blog reader, on a trip down memory lane.  Along the way, we reminisced about Turrell's first meeting with Co-Directors Barbara Luderowski and Michael Olijnyk in a New York City cab, peered through the lens of 1983 video camera to watch Turrell building artworks, delved deep into the scientific processes that contribute to experience of Pleiaedes, and rode along as Turrell, Barbara, and Michael rambled across the country in aU-haul with a broken-down Jaguar hitched to the back.  We saw how the trio's immediate chemistry launched a catalytic partnership resulting in new artworks, new collaborations, and the ultimate validation of the Mattress Factory's primary mission of supporting artists' creative processes above all else.

In the years following that fateful cab ride, Turrell accomplished a tremendous amount of work on Roden Crater and created artworks for museums and private collections across the world.  During those same years, the Mattress Factory launched numerous successful exhibitions highlighting artworks made by regional, national, and international artists.  As the Mattress Factory's 25th anniversary approached, it felt natural to reconnect with Turrell, to touch base, and to celebrate the milestone together.  This celebration took the form of a large-scale, yearlong exhibition of works titled James Turrell: Into the Light.

Dinner menu for Dust to Dawn, a 24-hour opening 

celebration for James Turrell: Into the Light

James Turrell: Into the Light, which opened in 2002, was the largest exhibition of Turrell artworks on the East Coast since the Whitney Museum show in 1980.  Combined with the three works in the permanent collection, the Mattress Factory presented twelve installations, models of Roden Crater, and a series of prints based on the light and space of Roden Crater.  Open for an entire year, the show provided an opportunity to familiarize patrons with Turrell's work and to build an extended dialogue around pieces then usually held in private collections or on view for a limited periods of time.  The museum opened the exhibit in grand style, with a 25-hour party.

Barbara and Michael selected Gasworks, an older example of Turrell’s Perceptual Cells series, in order to showcase a vast range of his work with light.  It was the first time the artwork had been exhibited east of the Mississippi.  A self-contained sphere into which a viewer is rolled, Gasworks presents neon lights timed to flash on the domed interior walls, creating an intense Ganzfeld, an experience of light as a homogenous visual field.

 

Gasworks as installed at the Mattress Factory.  Photo by Florian Holzer.

Gasworks is one of my personal favorite Turrell works, in part because we have so many cool tidbits relating to this work in the Mattress Factory Archives.  These materials speak to the sometimes arduous task of planning and executing projects intended to expand awareness of and appreciation for works of contemporary art. Here are a few examples of historical documentation of the James Turrell: Into the Light exhibit housed in the Mattress Factory Archives.

 

Domes for Gasworks arrived on a wide-load truck from Arizona and required a 10-man crew to carry into the lobby

Operating Instructions for James Turrell's Gasworks at the Mattress Factory

Extra, unused labels for Gasworks at the Mattress Factory

James Turrell with Gasworks on opening night of the exhibition

During the James Turrell: Into the Light exhibit, the museum presented numerous public events to facilitate discussion from a variety of viewpoints.  Speakers from many different backgrounds and with wide-ranging areas of expertise (including scientists, curators, artists, health professionals, Zen reverends, poets and archeoastonomists) shared their thoughts and engaged with audience members throughout the year-long exhibit.

 

Public Programs Brochure for James Turrell: Into the Light

Public events surrounding the exhibit brought the attention to the act of seeing

Many James Turrell: Into the Light public programs were free to the public

 ARTLab at the Mattress Factory

The Mattress Factory continues to engage audiences with the James Turrell works in the museum's permanent collection. ARTLab occurs every first and third Saturday and provides hands-on, interactive activities for all ages inspired by the works in our galleries. Much as our Mattress Factory artists have a chance to experiment with new materials and ideas in a space, we also want to give ARTLab visitors the experience of playing in a lab and exploring their creativity.

This past June, ARTLab participants sculpted with light by creating projection slides and played with the elusive material of light. Participants worked with color and perception as they created small slides that were projected onto the wall or into various spaces (much as Catso, Red is also a projection). James Turrell says that his work is "sculpting with light" and the ARTLab was an opportunity for visitors to play with this same idea.

Kids having fun creating light spaces with black light

An ARTLab artist with her creation

Another recent ARTLab inspired students to create collages and objects to be placed in a black-light booth. Inside the black-light booth, the collages and objects shine and glow in different, unexpected ways and the students experimented with their compositions to achieve a desired effect.  Works of art can take on a whole new character once placed in the light - and this project helped to deepen the students' understanding of the properties of light and how it can impact an experience with art.

As you can see, the history of collaboration, support, and inspiration between James Turrell and the Mattress Factory is carrying on to the artists and entrepreneurs of tomorrow.  Check the MF Website to see what the Education Department is planning next!

As much fun as it has been to dig back into the history of the collaborations between James Turrell and the Mattress Factory, there are so many other treasures and stories to tell that we'll shift gears in our next post.  Let us know if there is any artwork you're curious about and I'll see what we can dig up from the Archives.  Until then...

Once Upon A Mattress: The Road Trip

James Turrell's 1983 Mattress Factory residency (previously discussed here, here, and here) produced seminal artworks Danaë and Pleiades, which stand as core pieces within the museum's permanent collection.  Moreover, the residency forged a warm and lasting friendship between Turrell and the Mattress Factory Co-Directors, Barbara Luderowski and Michael Olijnyk.  This friendship not only served as a catalyst for the numerous collaborations that have occurred over the years between the Mattress Factory and Turrell, but it also illustrates how the Mattress Factory works with artists.  As if with friends, the Mattress Factory aims to share and build a mutually supportive and inspiring environment where art can be created, appreciated, and developed with some smiles, laughter, and a few surprises along the way.

When his residency ended, Turrell agreed to exchange ownership of Pleiades for Barbara's stash of aged black walnut and a giant, motorized 10-foot band saw, which came with a huge motor and a joiner.  To transport all the wood and machinery to Turrell's studio in Arizona, Barbara, Michael and Turrell rented a U-haul truck and the three set off on a cross-country journey.  Barbara recalls that all along the way, after every meal and pit stop, they would race each other back to the truck, each aiming to avoid the dreaded middle seat where one had to straddle the truck's manual stick shift.  They had originally planned to explore little towns along the way in a Jaguar Turrell bought in Connecticut before the trip.  However, the Jaguar dropped all its oil before they left the Mattress Factory, so it was rigged behind the U-haul for the whole ride. 

Michael and Turrell with parade float encountered during road trip

James Turrell with Barbara and Michael after arriving in Arizona

Whether it was the laughs they shared along the road trip or the mutual appreciation they discovered on their first meeting, the Mattress Factory and James Turrell found in each other a natural friend and collaborator.  Turrell enlisted the help of Michael to install his piece Meetingat PS1 in Long Island City and again when Turrell exhibited at the Hirshhorn Museum and Sculpture Garden in 1986. 

In 1994, Turrell returned to the Mattress Factory to exhibit his works Soft Cell and Catso, Red.  A part of Turrell's Perceptual Cells series, Soft Cell is an enclosed, autonomous space with room for only one person at a time. The series explores how perception of space is influenced by light^[1]. 

Exhibition photograph of Soft Cell, 1992 at the Mattress Factory in 1994

Catso, Red, which was designed in 1967 as part of a series of Cross-Corner Projections, was added to the Mattress Factory's permanent collection in 1994.

Exhibition photo of James Turrell's Catso, Red, 1994

Photo by Florian Holtzer

The friendship and collaboration between James Turrell and the Mattress Factory culminated in 2002's James Turrell: Into the Light, a year-long exhibition presenting a variety of newly created and older works re-imagined for the Pittsburgh audience.  We'll hear more about that mega-show in our next posting. 

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[1]  http://jamesturrell.com/artworks/by-type/#type-perceptual-cell

ONCE UPON A MATTRESS: PART III

In an earlier post, we talked about James Turrell's residency at the Mattress Factory and how it exemplifies the Mattress Factory's continuing and fundamental commitment to providing artists with the resources of space, time, and support without encumbrances or expectations of any sort.   Not only does this commitment remain today, some 35 years later, it stands as one of the museum's guiding principles and a hallmark of the mission of the museum.   When we look at the James Turrell artworks that developed in this unique environment and how those works advanced the entire spectrum of his works (pun, um, intended), we can't help but feel a little encouraged for our next 35 years! 

James Turrell, Danaë, 1983

Photograph by Florian Holzer

During his residency, Turrell slept at one of the Mattress Factory neighbor's house, shopped, cooked, and ate with Barbara and Michael, and spent hours drafting, building, revising, and adjusting to his satisfaction two artworks, Danaë and Pleiades.  While Danaë is a framed light piece similar to his earlier "Space Division Constructions"[1] works Acton, 1976 and Cumo, 1976, Pleiades marked a clear departure from his earlier work.  Pleiades was his first foray into a type of artwork referred to as "Dark  Spaces" or "Dark Places." Later "Dark Spaces" include Selene, 1984 at the Capp Street Project, Meso, 1986 at the Hirschorn Museum of Art in Washington, DC, Thought When Seen, 1988 at the Jean Bernier Gallery in Athens, Greece, and even portions worked into the construction of Roden Crater, 1976-.  These works, and others, all relate to the efforts and artistic developments that occurred while working on Pleiades at the Mattress Factory, way back in 1983.

Working Drawings for James Turrell's Pleiades, 1983

As anyone who has seen Pleiades, visitors to the artwork are guided by a handrail up a long ramp in a pitch-black hallway leading to a viewing platform where they gaze at a seemingly completely dark space.  Resisting the urge to click on one's phone for light, the viewer waits, maybe twenty, maybe thirty, or even forty minutes while the eyes adjust.  As Craig Adcock, scholar of 20th American art, describes Pleiades, "Gradually, dim areas of luminance seem to become perceptible and to move through the space, but these are often phosphenes generated by the random nerve firing inside our own retinas." Eventually a physiological adjustment called the Purkinje Shift occurs allowing the retina's cones and rods to perceive a blob of color first blue and then red, suspended in the darkness (we all paid attention in 9th Grade Biology, right?).  The viewer becomes aware of the ability to perceive color (cones do this) within the darkness (rods do this).  This process rewards the viewer with not only an artwork, but also the opportunity to observe our eyes in the process of perceiving. [2]  Adcock explains:

 ... [P]erception at these threshold levels is never really a matter of "seeing" so much as "sensing" the light's presence.  Such viewing is hard to describe.  The light is there and in no way indefinite.  Indeed, in some ways, it is more "definite" than the light of normal experience.  As it appears in the world, light lacks its own place; it is most often seen on something else as illumination.  In the subtle conditions of the Dark Pieces, light has ipseity.  It is itself, just as light, just as the basic stuff of perception, and in that unique place, it is extremely intense, despite the fact that it hardly exists at all."[3]

It is a truly fascinating piece.  Check out these handwritten notes about Danaë and Pleiades found in the Mattress Factory archives. 

Handwritten notes about Turrell artworks on Michael Olijnyk letterhead

The exhibition was such a success that the Mattress Factory and Turrell agreed to keep the works on view beyond the initial exhibition period and to come to an agreement on a purchase price.  By a stroke of serendipity, Turrell took an interest in a giant, 10-foot motorized band saw that Barbara had rescued from the trash heap at one of the local hospitals several years prior and offered to exchange Pleiades for it, along with her stash of aged black walnut.  Formally, the acquisition marked the start of one the nation's leading permanent collections of contemporary installation art.   It also prompted a decidedly informal cross-country road trip to transport the giant saw and the stash of walnut from Pittsburgh to Arizona during which Barbara, Michael, and Turrell forged what has come to be a long and lasting friendship.  We'll hear more about that road trip in our next installment.  Stay tuned!

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[1] Turrell, James et al., James Turrell: Light & Space, (New York: Whitney Museum of American Art, 1980) 35.

[2] Craig Adcock, James Turrell (Tallahasee: Florida State University Gallery and Museum, 1989) 53.

[3] Craig E. Adcock, James Turrell: The Art of Light and Space (Berkeley, University of California Press, 1990) 111.

Bridging The History of Public Art

As you may have noticed on your commute this week, the Andy Warhol Bridge has been yarn bombed.  Thanks to the dedication and vision of fiber artist Amanda Gross, 1,847 volunteer knitters and installers, and a number of foundations and institutional partners, Knit the Bridge stands as the largest yarn bomb in the United States! Knit the Bridge is not only super cool piece of ephemeral art, but it helps to raise awareness of the wealth of public art in the Pittsburgh region.  In celebration of the Knit the Bridge project and the recent release of the new edition of the Pittsburgh Art in Public Places: Downtown Walking Tour ,we did a little digging around in our archives to find a handful of historical video clips of the public art works produced by the Mattress Factory artists over the course of our 35-year history.

One of the earliest public art pieces the Mattress Factory supported was a series of performances by Chrome, an Australia-based performance art group.  Having already performed all over the world, in Tehran, in Paris, all over Australia, and throughout Canada, the Mattress Factory's presentation of Chrome was the group's premier performance in the United States.  The performances took place in early August, 1983 and progressed from Market Square to One Oxford Center.  Consisting of a unique mix of song, dance, music, mime, comedy, and improvisation. The performances captivated crowds in downtown Pittsburgh.

Chrome's artwork Public Performance in Market Square in downtown Pittsburgh.

Chrome's artwork Public Performance at One Oxford Center in downtown Pittsburgh.

For more information about Chrome, visit their website.

A couple years later, the Mattress Factory again presented a public art performance work that fascinated local audiences.  The work, Steamshuffle Pittsburgh by artists Christopher Janney and Joan Brigham, consisted of eight large glass panels that were inscribed with the text of a poem by Emmett Williams and installed upright in Oliver Plaza in downtown Pittsburgh.  In this interactive work, movements by pedestrians triggered electronic sounds and activated jets of steam aimed at the glass panels, thereby revealing the text of the inscribed poems. 

Look in the botton right corner of this video to see Founder and Co-Director Barbara Luderwoski chatting with passersby as a child interacts with Steamshuffle Pittsburgh.

Steamshuffle Pittsburgh was exhibited during the winter of 1985 in Pittsburgh.

The Mattress Factory also maintains two public artworks as part of the museum's permanent collection.  These works, Garden Installation by Winifred Lutz and Music for a Garden by Rolf Julius, are available to the public during regular museum hours.  Check out this video of artist Winifred Lutz sitting in the chair in Garden Installation.

Winifred Lutz sitting in the chair in Garden Installation.

and this video of her walking around the various levels of the artwork. 

Caption: Winifred Lutz in Garden Installation.

You can read more about Winifred Lutz's artwork at our website or stop by the museum lobby to see the models she created while planning the artwork. 

Rolf Julius's sound work, Music for a Garden, neighbors the Lutz garden, but is an independent work of public art.  In this archival video, Rolf Julius discusses the relationship between Music for a Garden and Winifred Lutz's Garden Installation.  

Interview with Rolf Julius about Music for a Garden.

Julius discusses the sculptural elements to his sound piece.

You can read more about Music for a Garden and several other Julius artworks on view at the Mattress Factory at our website.

As you can see, public art plays a vital role in the creative life of Pittsburgh.  We tip our hats to the Knit the Bridge project and to Greater Pittsburgh Arts Council's Office of Public Art for all their efforts to raise awareness of the rich cultural heritage available in our region!