Our installation staff is busy in Gallery 27 removing temporary walls and building new ones to break up the gallery into several smaller spaces. As I mentioned in my previous post, the gallery’s architectural character and spatial sense is changing substantially for the new installation, Anxiety’s Edge, so that not everything will be revealed at once, creating a sense of intimacy with the art.
From both of the entrances into Gallery 27, visitors will be led through smaller spaces to points where they can enter a much larger space in the center of the gallery. In many prominent positions, art works will serve as focal points in the installation, leading the viewer into and through the various spaces and establishing a sense of discovery for the visitor.
One of the new features of Gallery 27 will be “The Cube,” a 10 ½ x 10 ½ x 10 ½ freestanding structure that from three sides will look like a huge sculpture with closed, impenetrable walls. However, on the back side of the structure there will be a doorway that leads to a small gallery inside, perfect for small works of art or video works.
The gallery’s new floor plan allows a larger number of works to be shown—approximately 50. My goal is to increase the visibility of the contemporary collection over time. The works in Anxiety’s Edge range from small drawings to large paintings and sculptures. Several works that were on view in the gallery will remain for Anxiety’s Edge, including the Francis Bacon Three Studies for a Self-Portrait, one of the great jewels in the museum’s collection, and Nam June Paik’s video work, Warez Academy.
In upcoming posts I will discuss some of the thematic clusters of works of art in the installation, as well as a selection of the individual works of art that visitors will see when Gallery 27 reopens in late August.