Drawing, Painting, or Something In Between

Of her work in response to Vincent van Gogh’s The Road Menders, Intersections @ 5 artist Linn Meyers says “The fact that he was really a painter, and that he really used the paint in a visceral way, effected the way that my drawing progressed; it actually started to become more of a painting than a drawing.”

Director’s Desk: Saying Goodbye to Art We Love

Xavier Veilhan's The Bear arrives and departs

The Bear arrived in warm weather and left in the cold. Photos: Amy Wike (left) and Dorothy Kosinski (right)

Bye, bye bear! I am touched by the attachment our public developed for Xavier Veilhan’s red bear. It reminds me of the vehement reactions to the departure of Linn Meyer’s wall drawing, another work that was only here temporarily. Our visitors’ emotional engagement is proof of the power of art.

Dorothy Kosinski, Director

2010 Intersections installation, at the time being by Linn Meyers

2010 Intersections installation, at the time being by Linn Meyers. Photos: Sarah Osborne Bender

Artful Privacy

You may remember Linn Meyers’s exquisitely detailed Intersections project for the Phillips in 2010, which responded to the brushwork and colors of Vincent van Gogh’s The Road Menders.

Meyers again employs thin, tremulous lines in her creation for the glass-walled conference rooms that line the main-floor lobby of Arlington’s Courthouse Plaza. The installation serves as both an artistic and economic  solution to the distracting “fishbowl effect” of meeting rooms. The work, Untitled, marks Meyers’s first permanent public art installation and was  officially unveiled and dedicated Tuesday morning.

The video above shows a visual montage of the creation, design, fabrication, and installation of the work.

A special edition print related to her Intersections project, screened on handmade paper and signed and numbered by Linn Meyers, is available in the Phillips’s museum shop.