In lockdown times, there’s euphoria in going much of anywhere, not to speak of a journey to a tract of paradise. You could say that I was primed for giddiness on this occasion. I noticed unaccustomed intensity in my responses to the art works that I encountered, taking them in like gulps of air after escaping a miasma. It was a gift of refreshed aesthetic innocence, which I think awaits us all when we are set free in even non-curated environs—I’ve been feeling apologetic to certain trees, near my home, for my past indifference to their beauty—and a lesson in joys that we used to take for granted. We will have peeled eyes.
His descriptions of the sculptures are superb. He says of Louise Bourgeois’s “Eyes,”
Louise Bourgeois’s writhing cluster of silvered-bronze eyeball shapes that electrically light up from within now and then—“Eyes” (2001)—requires a bit of a climb to be viewed properly. You may then be reluctant to move along, so engrossing is the work’s rambunctious grotesquerie and smack-on-the-ground adamancy at the edge of a lovely wood. That’s a happenstantial quality of the finest things at Storm King: art that, beyond looking good, feels keenly aware of where it is and what it’s doing there.
That “smack-on-the-ground adamancy at the edge of a lovely wood” is inspired. The whole piece is inspired! I enjoyed it immensely.
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