You approach the gallery through an inclined corridor so dark that you are virtually without sight At the top of the ramp you sit...
You approach the gallery through an inclined corridor so dark that you are virtually without sight. At the top of the ramp, you sit in a chair and face blackness. After your eyes adjust, an amorphous sphere of grey-white, or perhaps red, begins to appear, more a presence than an object. As you look harder, the form becomes smaller. You turn away for a moment and back again. It grows and glimmers. But the source of light itself is constant and still.
Pleiades is a long-term installation. Please note that this is a 15 minute, timed experience. Time slots are issued on a first come, first served basis at the exhibition entrance on floor 2 in the Main Building.
Pleiades is a Dark Piece where the realm of night vision touches the realm of eyes-closed vision, where the space generated is substantially different than the physical confines and is not dependent upon it, where the seeing that comes from “out there” merges with the seeing that comes from “in here,” where the seeing develops over and through dark adaptation but continues beyond it.
It is the first piece in a series of works. While it relates to the last piece of the Mendota Stoppages, 1969-70, in that it develops over time, it is definitely a departure in that after the seeing develops, it is no longer static.
The thing that gave me the idea to do this was the fact that I needed to work with very low levels of light for the night seeing in the crater piece. The last time that I had really worked in that arena was with the Mendota Stoppages where I had some very dark pieces that took a long time of dark adaptation, sometimes as much as fifteen minutes. When you actually had that seeing, though, the space that was generated was a static space – you saw it and could walk in it but it didn’t change.
In this work, what is generated in you and what is actually out there become a little more equal.
James Turrell is one of the most celebrated American artists working today. Born in California in 1943, he grew up with an enduring love of aviation and the sky, as well as a fascination with light. His Quaker background also substantially formed his approach to life and art, with its emphasis on silent access to the “light within.” From age six, Turrell was urged by his grandmother to “go inside and greet the light” at Quaker meetings. In the early 1960’s, Turrell studied perceptual psychology at Pomona College, taking additional classes in other scientific disciplines, such as mathematics, geology and astronomy.
He also studied in an experimental program at the University of California at Irvine that combined art and technology. In 1966, Turrell rented the old Mendota Hotel in Ocean Park, California. For two years, he worked on his studio spaces, transforming them into pure white boxes. He closed the studio rooms off from all outside light by painting the windowpanes, constructing walls to cover the windows and smoothing the walls with plaster. These “shells” were ideal for his exploration of projected light. Turrell’s first works exploring light used projections of white or colored light in darkened rooms. At the Mendota Hotel he also developed “Shallow Space Constructions,” in which a secondary wall is built in a room so that slits occur at one or more of its edges. The partition wall is back-lit with fluorescent lights that shine through the slits, dissolving one’s sense of the actual dimensions of the room. In the mid-1970’s, Turrell lost his studio spaces and turned his attention to flying. He supported himself by restoring antique cars and rebuilding vintage aircraft. During this time, Turrell spent hundreds of hours flying over America in search of the ideal location for his life’s most ambitious work of art. He scanned the countryside from the foothills of the Rocky Mountains to the Pacific coast, and from Lake Louise south of the Canadian border down to Chihuahua near the Mexican border. The succeeding work of Turrell’s life grew out of his experiences viewing the earth and light during these flights. It was at this time that Turrell discovered the San Francisco range of extinct volcano cones in northwest Arizona. He was subsequently able to purchase Roden Crater, where he settled permanently in 1979. Roden Crater is a natural cinder volcano situated on the southeastern edge of the Painted Desert. Since 1979, Turrell has been transforming the crater into a large-scale work of art that relates – through the medium of light – to the universe of the surrounding sky, land, and culture.
Turrell studied and adapted essential features of other “naked eye observatories,” such as the 18th-century observatory in Jaipur, India, for the Roden Crater project, using and adapting the natural formation of the crater. James Turrell’s artwork has been exhibited in major museums around the world, and many cities and collectors have commissioned new permanent works. Turrell’s achievements have been recognized by the Acadamie Francaise when he was made a Chevalier des Arts et Lettres (a signal honor for a non-French artist) at the opening of a major installation of his work in Poitiers. Recent exhibitions of his work have been presented at the MAK, Vienna, Austria; the Scottsdale Center for Contemporary Art, Scottsdale, AZ; Espace Electra, Paris; and the Museum of Fine Arts, Houston.