Mowry Baden, Kinhin 1979. Fir, cedar, steel, aluminum. At the Vancouver Art Gallery.
To my mind, the first envelope spaces represented a self-conscious attempt to create a separate world, suitable for refined perceptual experiences; but there was also something else at work: a conscious desire to escape from the overbearing banality of the modern art gallery.
Is it any wonder the envelope artists wanted to wash their hands of the gallery environment? Few art galleries today have much architectural character, and, what’s more, it is patently apparent that the architect and the artist have no sense of a common enterprise. Most art galleries in
North America, including the , strive merely for a neutral look, one that will not compete with the art. The envelope presented itself as a viable sculptural alternative to those neutered architectural spaces. Vancouver Art Gallery
Mowry Baden, in Mise en Scene: Kim Adams, Mowry Baden, Roland Brener, Al McWilliams, Liz Magor, Jerry Pethick. Exhibition Catalog for a show held at the