{"id":2267,"date":"2020-09-25T21:24:09","date_gmt":"2020-09-25T21:24:09","guid":{"rendered":"https:\/\/blog.jillpearlman.com\/?p=2267"},"modified":"2020-09-25T21:49:26","modified_gmt":"2020-09-25T21:49:26","slug":"storm-king-art-in-the-time-of-covid","status":"publish","type":"post","link":"https:\/\/blog.jillpearlman.com\/?p=2267","title":{"rendered":"Storm King (Art in the Time of Covid)"},"content":{"rendered":"\n
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You couldn’t ask for a more socially distanced, more star-studded venue in which to view art than Storm King, the famous sculpture park in New York’s Hudson Valley. You can wander the 500 acres – 500! – of this pastoral estate, see milkweed pods caught in sharp points of grass, grand all\u00e9es of arbres, watch circling hawks – and boom, before you is a grand Calder, posing all kinds of questions, in its kinetic poise, about human possibility. I always feel the big heart of a circus performer in Calder’s sculpture, which is one reason why I love him.
Storm King puts a lot on the platter: in its early incarnation, the question might have been how do industrial “waste” and manly engineering coexist in the natural environment. Now, in the Anthropocene, we might ask if a “natural” environment even exists without its man-made face.
Such is sculpture that exists in space, in time. Are heroics poignantly pass\u00e9? Is the immense piece of Alexander Liberman called “Adonai,” made of on- and off-again balanced gas cannisters, arrogant, the title a touch dismissive, though he insists it was random? After all, this is an era where an invisible virus has changed our entire landscape. Is a Lichtenstein mermaid against a blue-draped mountainscape worth seeing? Absolutely.<\/figcaption><\/figure>\n\n\n\n
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