Modern Lab: The Box as Form, Structure, and Container
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| Image: Andy Warhol, Portraits of the Artists, 1967. Gift of The Estate of Roy Lichtenstein, 2006.126.9 |
The Modern Lab is a small gallery dedicated to focused installations of modern and contemporary works in a variety of media from the Gallery's collection.
Art objects do not exist alone; they are subject to accumulation, display, and rearrangement. The box allows the artist to act out this relational impulse and at the same time make it a subject of the work.
Some of the boxes here address art's relationship to the camera, other optical devices, or the diorama; they let in or block out light and they enable or obstruct perception. Others address the relationship of art to architecture and its dichotomies: looking in and looking out, open and closed, concealment versus exposure. Boxes allow artists to consider the architectural problem of how to combine two-dimensional surfaces to create three-dimensional objects. Conversely, the unfolded, commercially produced cardboard box splays out a pattern of ready-made folds legible as a grid or picture and frame.
Finally, the long history of the box's relationship to death is referenced in works that contain body parts, recalling the reliquary, coffin, or sarcophagus. Hair displayed in a case suggests the saving of a relic for the sake of remembrance, a memento mori. Cast body parts suggest a death mask. Both art and the body are material objects, and as such they are subject to change despite the protective boundaries of the box.
www.nga.gov/collection/ml_box.htm (Exhibition Information)
Organization: Organized by the National Gallery of Art.
Schedule: National Gallery of Art, November 10, 2012–May 12, 2013
Passes: Passes are not required for this exhibition.
On view in the National Gallery's East Building, Upper Level.
National Gallery of Art
6th Street & Constitution Avenue NW
Washington, DC 20565 | Map
Hours: Mon-Sat 10am-5pm, Sun 11am-6pm
Art objects do not exist alone; they are subject to accumulation, display, and rearrangement. The box allows the artist to act out this relational impulse and at the same time make it a subject of the work.
Some of the boxes here address art's relationship to the camera, other optical devices, or the diorama; they let in or block out light and they enable or obstruct perception. Others address the relationship of art to architecture and its dichotomies: looking in and looking out, open and closed, concealment versus exposure. Boxes allow artists to consider the architectural problem of how to combine two-dimensional surfaces to create three-dimensional objects. Conversely, the unfolded, commercially produced cardboard box splays out a pattern of ready-made folds legible as a grid or picture and frame.
Finally, the long history of the box's relationship to death is referenced in works that contain body parts, recalling the reliquary, coffin, or sarcophagus. Hair displayed in a case suggests the saving of a relic for the sake of remembrance, a memento mori. Cast body parts suggest a death mask. Both art and the body are material objects, and as such they are subject to change despite the protective boundaries of the box.
www.nga.gov/collection/ml_box.htm (Exhibition Information)
Organization: Organized by the National Gallery of Art.
Schedule: National Gallery of Art, November 10, 2012–May 12, 2013
Passes: Passes are not required for this exhibition.
On view in the National Gallery's East Building, Upper Level.
National Gallery of Art
6th Street & Constitution Avenue NW
Washington, DC 20565 | Map
Hours: Mon-Sat 10am-5pm, Sun 11am-6pm
www.nga.gov
