The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.
Jeanne Silverthorne, Dandelion Clock, 2012. Platinum silicon rubber, phosphorescent pigment on wire, 33 x 29 x 16 in. The Hereward Lester Cooke Memorial Fund, 2014. The Phillips Collection, Washington, DC
Dandelion Clock is a contemporary vanitas, a reminder of transience and mortality. It is infected by signs of morbid excess (the giant size), decay (the faded or “blown” flower), and toxicity (it glows in the dark). Collapsing under the weight of history and new technologies, traditional studio practice is an excavation of the past, offering an archeology of loss. Flirting with the genre of the floral painting, Dandelion Clock embraces the baroque exuberance and post-modern melancholy of the nearly extinct.
We love how creative Instagrammers have been getting when snapping photos of Bernardi Roig’s sculptures inside and outside of the museum. Here are some of our favorites.
Unique angles of Bernardi Roig’s sculpture An Illuminated Head for Blinky P. (The Gun), 2010 from (left) @catbradley and (right) @pootie_ting
Roig’s The Man of the Light (2005) as seen by instagrammers (left) @vajiajia and (right) @frisbeejackson
These two instagrammers caught almost the exact same image in reverse (top: @zlexi, bottom: @katemartian)
Roig’s Acteón (2005) from below (photo: @lgomez66) and above (photo: @vajiajia)
Intersections artist Bernardi Roig came to the Phillips in October to install his works for NO/Escape. “All of of Roig’s figures are crouched, strangled, twisted, in pain…with eyes open or closed, blinded, they’re shouting yet unable to communicate,” says Senior Curator of Modern and Contemporary Art Vesela Sretenovic.