kinhin 1979

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 Vancouver Art Gallery, 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.

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 Vancouver Art Gallery, May 7-Jul4, 1982. pp.43.


2 comments:

donna said...

Hrm, do you think that the fact that it's over 25+ years old changes its meaning at all? Or is it stuck in a time/space continuum?

Veronicahhh said...

Neither, this sculpture is extant.

However, I think the thought-process behind it is still relevant. Not sure about time/space continuums though.