I am delighted to unveil our plan to transform Brisbane’s Gallery of Modern Art’s ‘white box’ into a monumentally-scaled solid light wall. Part of the architects’ design concept by Architectus + Davenport Campbell lead architects Kerry Clare, Lindsay Clare and James Jones was for GOMA to have an artist-illuminated ‘white box’ on the building’s eastern and southern glass facades.
While that vast 1200 square metre container for light was built – using some two hundred 4 x 15 metre panels of translucent Starphire glass, set out from the interior to act as a diffuser – it remained determinedly unlit.
THIS PROJECT AT QAGOMA WILL GIVE NEW LIFE TO COMPLETING THE EXPRESSION OF THE BUILDING’S PERSONALITY AT NIGHT.
JAMES TURRELL
To realise that far-sighted and luminous vision – we can now announce one of the world’s most renowned artists James Turrell (United States, b.1943) has been engaged to create a new work in his Architectural Light series.
I HAVE ALWAYS WANTED TO GIVE LIFE TO BUILDINGS… TO CLOAK THESE STRUCTURES IN A BEAUTIFUL RAIMENT OF LIGHT.
JAMES TURRELL
Raised a Quaker – a practical theology that seeks pathways to the light of God – Turrell’s father was an aeronautical engineer and a school administrator, and his mother a doctor who at one time worked in the Peace Corps. He obtained his pilot’s licence aged 16 and has spent much of his life flying fixed-wing planes and gliders; a passion that echoes within the limitless horizons and confounding perspectives of his installation work.
Beginning with his earliest Projection Pieces, Turrell has spent 50 years considering our response to the materiality of light experienced in space and through time. He asks us to examine the nature of our looking and our seeing.
He works with man-made light– as in Rondo (Blue) 1969, in Houston – and with natural light, drawing attention to the light of the world through elegantly constructed apertures. His works occupy public spaces that are meticulously designed to cultivate a spirit of contemplation and private reflection – a moment of shared quietude in the company of others. They imperceptibly slow the passage of time.
For all his reliance on minimalist means, most notably in his Wedgeworks series, Turrell shapes projected light to create the unerring illusion of three-dimensional space, in a manner not unlike painting itself. In Caravaggio’s Calling of St Mathew 1599-1600 – as blindingly contemporary in its day – Christ’s entry into a tavern stands in symbolic parallel to the entry of light which transcends the mere elaboration of pictorial space. In both, light is dramatically arranged for patently common purposes: to enable us to bear witness to remarkable events; to apprehend space where none actually exists, and to create a space for revelation to occur.
Turrell’s Wedgeworks serve to demonstrate his long-standing interest in the “…thingness of light, its object-making, thing-making kind of ability.” The act of looking attentively at these works reveals light made manifest as an object in and of itself, rather than as an agent of material description.
In his Ganzfeld series – a German word to describe the phenomenon of the total loss of depth perception, as in the experience of a ‘white out’ – Turrell invites the viewer to physically, cognitively and emotionally enter the light space of the work; to enter through the picture plane, as it were.
“Early on”, he recounts, “I was struck by Antoine de Saint-Exupéry’s description of flight spaces…, spaces within space, not defined physically by the architecture of form but by pressures within the atmosphere… [I was] interested in the idea of the journey into these spaces…”
The colour of light in a Ganzfeld is constantly, imperceptibly shifting through time and space, un-anchoring us from our ground-based view of the world. For Turrell, the avid pilot, it’s a “differentiation of vision [of a kind that] happens through weather and water vapour”.
While Ganzfeld works like Breathing Light 2013 set up the dual conditions of a sublimely social as well as a dream-like experience, Turrell’s trenchantly utopian Perceptual Cells can only be experienced one viewer at a time. Lying face-up on a sliding support held in a completely enclosed orb-like space for five or so minutes, the solitary viewer’s every sensory receptor is assailed by what I can only describe as ‘light you can feel’. Perhaps it comes closest to fulfilling Turrell’s long-held desire to “…make a light that looks like the light you see in your dreams.”
By contrast, it’s an earth-bound light that is held via the cone of this long extinct volcano – Roden Crater – on the edge of Arizona’s Painted Desert north of Flagstaff, which Turrell found after a vast aerial search in 1974. Roden Crater Project (1979 –) is a monumental land-based work of art that will, when complete, form a naked-eye observatory into which he has very precisely inserted access passageways and subterranean viewing chambers.
When seen from the bottom of the crater, its nearly circular dish-shaped bowl – made more so by colossal levelling and grading works – accepts and amplifies the optical and visual effects of celestial vaulting. Multi-level viewing portals are strictly oriented toward events observed in the sky, enabling a direct and profound experience of the sun, moon, and stars, and with it an apprehension of our place within the cosmos.
One tunnel, which impels your eye toward a distant viewing chamber, is designed to frame the moon at a point of astronomically precise alignment. By isolating and occluding light from events not being looked at, Turrell intensifies and profoundly expands our understanding of solar and lunar light.
In 2013, James Turrell was granted an unparalleled honour for an American artist; concurrent exhibitions at the Guggenheim Museum in New York; the Los Angeles County Museum of Art; and the Museum of Fine Arts in Houston. Among several major new works was Aten Reign 2013, which was formed...
A major architectural light installation by internationally renowned light artist James Turrell (United States, b.1943) is set to transform Brisbane’s Gallery of Modern Art (GOMA).
QAGOMA Director Chris Saines said the James Turrell commission would illuminate GOMA’s facade at night with support from the Queensland Government, generous donations from leading benefactors, and the 2017 QAGOMA Foundation Appeal.
The ambitious and dramatic artwork will be a permanent installation, transforming the way the building is seen and experienced.
In 2002, after Architectus + Davenport Campbell won the international competition to design GOMA, lead architects Kerry Clare, Lindsay Clare and James Jones envisaged an artist-illuminated ‘white box’ on the building’s main pedestrian approaches.
Turrell’s architectural light installation will activate the potential of GOMA’s white box facade and realise one of the architects’ original design intentions with the building. It will see GOMA’s eastern and southern facades illuminated from within from dusk with an evolving pattern of light developed by the artist for the location.
“We have our day clothes, but when we go out at night we often dress up. Like buildings, we have a different life at night, and I have always wanted to give this life to buildings, to cloak these structures in a beautiful raiment of light. It is amazing how much light can change your perception of a building”.
James Turrell, 2016
The artwork will be visible from around the Cultural Precinct and across the river, adding substantially to the presence of the already iconic building, giving it new life after dark.
The Queensland Government had generously contributed funds towards the development of the ambitious commission and QAGOMA has been fortunate to receive an outstanding lead donation from Paul and Susan Taylor, and a generous contribution from the Neilson Foundation.
In helping realise the extraordinary artwork, it is the focus of the 2017 QAGOMA Foundation Appeal, seeking further support from Foundation members and the broader community to realise an iconic addition to GOMA and Brisbane’s cityscape.
Turrell’s work will showcase GOMA and it has the potential to become yet another impressive ‘destination artwork’, the likes of which the Arizona-based artist has created around the world.
For more than half a century, Turrell has worked with light and space to create immersive and moving artworks that play with viewers’ perceptions. His large-scale luminous installations – located in or on buildings, or within landscapes – attract visitors from around the world.
Turrell has created more than 80 ‘Skyspaces’, chambers with an aperture in the ceiling open to the sky, including Within without (2010) at the National Gallery of Australia, Canberra, and Amarna (2015), at the Museum of Old and New Art in Hobart.
Since 1974, he has been working on a monumental project at Roden Crater, an extinct volcano in northern Arizona, while continuing to create works for public and private institutions in 24 countries. In 2014 Turrell received a National Medal of Arts — the highest award granted to artists by the US National Endowment for the Arts
Know Brisbane through the Collection / Read about Australian art / Subscribe to QAGOMA YouTube to go behind-the-scenes
2017 QAGOMA FOUNDATION APPEAL
‘One of the world’s most renowned artists, James Turrell’s “Architectural Light” work will breathe new life into the glass facade of GOMA and complete the original design intention for the building. Your experience of GOMA is to be cast in a brilliant new light.’‘ Chris Saines CNZM Director, QAGOMA. We sincerely appreciate your support for this magnificent new commission.
Feature image: Indicative image of James Turrell’s architectural light installation at the Gallery of Modern Art (GOMA)
#JamesTurrell #QAGOMA
