Archive for Leo Villareal

Bright Lights, Big(ger) City: Bay Lights Goes Live

Posted in Bay Area Art Scene, Fine & Decorative Arts, Liz Hager, Public Art, Site Work with tags , , , , , , , on March 6, 2013 by Liz Hager

By LIZ HAGER
© Liz Hager, 2013. All Rights Reserved.

Last night I gathered with a few friends at the Ferry Building on the patio outside Boulette’s Larder, to witness the official lighting of the Leo Villareal project on the Bay Bridge. Mille grazie to Lori, who set us at a table in the heart of primo viewing real estate. We shared a picnic and some wine, as the crowd and storm clouds slowly enveloped us.

Bay Lights—The Bay Bridge unadorned  ©Liz Hager 2013

Bay Lights—The Bay Bridge unadorned ©Liz Hager 2013

Long before the official “lights on,” the atmosphere was charged with anticipation. Thousands of people gathering, conversing (Christo came up a lot), waiting patiently, as the drizzle turned into a downpour. The concentration of ions! The absolute wonder of of it all was that we had amassed not for an Obama speech, a Lady Gaga concert, a SF Giants parade, but for a WORK OF ART. As an artist, I experienced a truly a thrilling moment when the bridge went live and the crowd cheered heartily.

What a star Bay Lights is! 25,000 twinkly lights programmed in dynamic water-related themes—fish, reflective patterns, and wave forms undulated along the bridge’s spans. The ebb and flow of the rain added the perfect theme-based notes to the evening.

Bay Lights—The Ferry Bldg nods to the bridge ©Liz Hager 2013

Bay Lights—The Ferry Bldg nods to the bridge ©Liz Hager 2013

I will always refer to this work affectionately as “tiny bubbles,” for the first blast of lights, which floated up the bridge cables like bubbles in a champagne glass. Kudos to the private consortium who raised major funding for the piece—it is a fitting congratulatory toast to our city by the bay.

Bay Lights—A crowd gathers at Ferry Bldg ©Liz Hager 2013

Bay Lights—A crowd gathers at Ferry Bldg ©Liz Hager 2013

The bridge will be lit for 2 years. As we left the site last night, still basking in the glow of those light-emitting diodes, all we could think about was how sad a day it will be for us when the bridge returns to unadorned darkness.

Though the Villareal Bridge (maybe our bridge will acquire a proper noun through all of this?) does not rank as the largest public art project in the US (that honor may belong to Christo’s Gates), for us this is a big deal, a bona fide celebrity art piece. Along with SFMOMA expansion for the Fisher collection of contemporary art and the Andy Goldsworthy Presidio and de Young projects, Bay Lights demonstrates how San Francisco is inching ever closer to recognition as a destination spot for art.

I hope the success of this project encourages the SF art community to step up the level of its commitment with respect to nurturing and promoting locally-grown artists. One day we may not have to import a New Yorker to make our celebrity art piece.

Bay Lights, Bikers waiting in the rain

Bay Lights—Bikers waiting in the rain ©Liz Hager 2013

Wider Connections

Venetian Red—“Programming the Cosmos”
Bay Lights project website
Leo Villareal

Singular Gems—Anish Kapoor at the Sackler

Posted in Bay Area Art Scene, Contemporary Art, Liz Hager, Sculpture with tags , , , , , , on April 23, 2009 by Liz Hager

By LIZ HAGER

anish-kapoor

Anish Kapoor, S-Curve, 2006, polished steel, 32 feet (photo © the author).

File this post in the “Better Late Than Never” folder.  We admit gross dereliction of duty, possessed as we were in January by Inaugural Fever.  As a result of the mayhem, we overlooked posting on quite a number of the exceptionally good art offerings in our Nation’s Capital. Thankfully, we didn’t neglect everything—you’ll find Whistler at the Freer and Leo Villareal at the National Gallery among the Venetian Red pages. We we lucky to catch the Robert Frank retrospective—”Americans”—exhibition at the tail end of its run at the National Gallery. Fortunately for us, the show is coming to SF, so look for a posting in anticipation of that opening in May.

In the meantime, we are reminded that Anish Kapoor’s sculpture S-Curve will be in the entrance hall at the Sackler Gallery until mid July.  S-Curve is fashioned from two 16-foot-long pieces of polished steel placed that are placed back to back to form a convex and concave wall. In its construction, this work references the sculptures of Richard Serra’s, Band (2006) in particular. Further comparison is thwarted by the mirrored surface; images bounce back at us, making it impossible for us to really grasp the materialness of the sculpture.  As Kapoor once said: “The minimalists, of course, were very, very concerned with the idea that ‘What you saw was what you saw.’ That’s it, it’s there, nothing else. Now, I’m afraid I don’t believe that. I’m afraid I believe that what you see isn’t what you see. It’s never what you see. It never was what you see.” (Interview, Greg Cook, 6/2008).

The reflective curvature immediately evokes funhouse mirrors and their distortion of space. The distorted reflection of the space around it is alternately disorienting and fully engaging. It’s challenging to adjust your sight to the distortion, but then again the panoramic picture that morphs and changes with viewer movement presents infinite visual delight. The distorted reflection creates an additional dimension, the space in front of the sculpture, which is simultaneously real and illusionary.  Herein lies the fundamental genius of the piece—although the sculpture is solid and stationary, it is also fluid and dynamic.

Illusion is at work in S-Curve on another level. Like his other highly-reflective pieces (Cloud Gate in Chicago’s Millennium Park is a predecessor), here Kapoor has pushed the boundaries of surface articulation, or, more precisely, lack thereof.  On these shiny surfaces the artist is nowhere in evidence. The irony of course is that many professionals labored mightily to produce a piece that looks untouched by human hands.

Perspectives (Contemporary Asian Art)”  until July 19, 2009. Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC.

Wider Connections

Mental Floss—Sculpture is an Heroic Art

Kapoor interview, Guggenheim Berlin

Big, Red & Shiny—Anish Kapoor at the ICA


Programming the Cosmos: Leo Villareal at the National Gallery

Posted in Contains Video Elements, Contemporary Art, Film & Video, Fine & Decorative Arts, Liz Hager, Sculpture with tags , , , , , , , , on January 29, 2009 by Liz Hager

Hypnotic, mysterious, mesmerizing, cosmic, soothing, ephemeral. . . enlightening. These are some of the sensations that wash over viewers as they encounter Leo Villareal’s Multiverse in the underground concourse between the East and West Buildings of the National Gallery. A computer geek from teen-hood, Villareal harnesses one of the fundamental attributes of the computer—simple rules, complex patterns—to create unique and kenetic light sculptures.

With 41,000 LED bulbs Multiverse is by far Villareal’s most complex work to date.  The software he developed for this project generates several different layers of synchronized patterns (Villareal likens what he does to composing music) that alternately shoot in straight lines down the length of the tube, explode in a big bang-like effect, bounce along in ball-shaped clusters, or just pulse.  The concourse is a transitional space; its ceiling is oppressively low, the space claustrophobic. Normally it must make for a rather prosaic journey. But whisked along the moving sidewalk under the twinkling stars, one is liberated into the cosmos, living a brief  StarTrekian moment.  The universe talks to us; we try to decipher its meaning.

While Villareal’s art acknowledges artistic forbearers in Dan Flavin and James Turrell, the underlying concept of his light pieces relates more to Sol LeWitt‘s wall drawings, Agnes Martin‘s grids, and even Peter Halley‘s paintings.

Comments Villareal: “I’m very interested in rules and underlying structures, which all tie in with the code I’m writing. There are things in nature that inspire me, like wave patterns or natural systems that at first glance appear to be very complex, but when I study them further there are simple rules that govern them. That’s what I try to get at in my code—building simple rules that refer to some of these ideas. Laws are another thing I’ve been working on lately. I’m not a physicist, but I use rules to create software and in the software I’m able to play with parameters like gravity, velocity, friction. I’m able to use these parameters and access them as an artist and see what compelling things result.”

Not everyone has been wildly enthusiastic about the project. Some critics feel that Villareal didn’t have enough mature work to warrant membership in the National Gallery club with Picasso, Titian, Rothko and Sol LeWitt.  The lack of critical thought surrounding Villareal’s work and the superficiality of the work (technology for technology’s sake, not art’s sake) are other criticisms.  Programmers have gone on record as saying that Villareal’s software is pretty basic stuff.

Multiverse may not embody a BIG ART IDEA, but what’s wrong with a little Sybaritic pleasure now and again?

Wider Connections

Multiverse

More Leo Villareal

Other light artists

Cool Hunting

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