(Left) Inside Ann Hamilton’s palimpsest (1989) at the Hirshhorn. (Right) Inside the Laib Wax Room at the Phillips. Wolfgang Laib, Wax Room (Where have you gone–where are you going?), 2013. The Phillips Collection, Washington, D.C. Photo: Lee Stalsworth
During a recent trip to Over, Under, Next: Experiments in Mixed Media, 1913-Present at the Hirshhorn Museum and Sculpture Garden, I walked into Ann Hamilton’s palimpsest and couldn’t help but think of the Laib Wax Room at The Phillips Collection. All four walls and even the ceiling of the installation at the Phillips are coated with roughly 440 pounds of beeswax; conversely, only the floor of Hamilton’s installation at the Hirshhorn is covered with beeswax tablets.
The installations are comparable in their intimate scale, but that’s about where the similarities between the two end. While Hamilton’s work provides endless content for contemplation (including thousands of hand-written notes and live snails), Wolfgang Laib’s stark room, bare save for a single light bulb, leaves visitors alone with their thoughts and senses.
A closer look at the beeswax tablets coating the floor of Hamilton’s palimpsest. Visitors put on protective booties before entering to prevent damage to the wax floor.
Amy Wike, Publicity and Marketing Coordinator
Works on view in Wolfgang Laib: Without Beginning and Without End at Sperone Westwater. Photos: Dorothy Kosinski
Looking at more moving work by Wolfgang Laib on my last visit to New York, on view at Sperone Westwater gallery in NYC through March 30. On the left, Burmese red lacquer over wood. On the right, the large golden ziggurat is made from raw beeswax (like our Laib Wax Room) over a wooden understructure and, on the shelves above, boats made of folded brass are nestled in rice.
Dorothy Kosinski, Director
Watch the installation process of the Laib Wax Room, from transporting the beeswax, breaking it apart and melting it, applying it to the walls and ceiling, and illuminating it with a 40 watt frosted light bulb.