Andrew Rogers at White Box Gallery in New York
Rhythms of Life Features Geoglyphs
By: Adam Zucker - May 06, 2009
Andrew Rogers
Rhythms of Life
Through May 13
White Box Gallery
329 Broome Street
NY, NY 10002
212 714 2347
Working with permanent and strong material has been Andrew Rogers' forte throughout his career. He first achieved art world recognition for his abstract bronze sculptures; however it is his most recent project that will make Rogers one of sculptures' biggest giants. Andrew Rogers' geoglyphs are the most massive land sculptures ever created by an artist. The project spanned the globe, taking place in twelve different, and exotic locations; from way below sea level, to high up in the clouds, from the sub-zero temperatures of Iceland, to the extreme dryness of North America's Mohave Dessert. The other locations include Israel, China, Sri Lanka, India, Turkey, Nepal, and Rogers' homeland, Australia. It commanded the cooperation of many local tribes, gypsies, soldiers and common folk. There were over 5,000 people who were physically involved in the construction of these geoglyphs.
The project is captivating and the earthworks truly look as if they interact with the land in a magical way. In an urban art-space however, the constructs lose that magic and reminds us that we are just spectators rather then participants. A forty-minute documentary and a gallery full of glossy hi-resolution images comprise the entirety of this show. It feels like a national geographic segment more then a fine art exhibition.
When thinking about earthworks, the Robert Smithson Retrospective exhibition at the Whitney Museum of American Art (2005), comes to my mind. Smithson's most famous work is definitely Spiral Jetty (1970), which like Rogers' geoglyphs is site specific and couldn't physically translate to the museum's geography. However, Smithson's artful sketches of the project were highly adaptable to hold their own on the walls of the museum. There are no sketches of Rogers' work. Rogers' photographs are hung in clusters and tower to the ceiling. They were extremely glossy, a problematic choice. There was unavoidable reflection from the lights and towering photographs became a strain on my neck. The exhibition could have definitely benefited from some breathing room.
The idea of the exhibition is still very important and couldn't be more relevant as we embark on an intimidating future with our planet Earth. We need to account for our environment and ourselves. Thinking both locally and globally is a valuable message presented through Rogers' land sculptures. This work is important in showing the interaction of the extreme environments of our constantly changing landscape. Most importantly they achieve a sociological message that plays around their aesthetics. Humans will always have an important role with the environment. Our ability to address the building blocks of civilization and to create an interconnection among us is something that can bring hope and strength to combat the potentially inclement climate change.
Rogers unites groups in their community creating stronger bonds among friends and tribes who are taking part in a wide cultural vision that associates various symbols from ancient rock carvings, paintings and tradition in each location. It is a relief that a conception so primitive as this can be more meaningful then much of today's confusing conceptual art and trendy design. It is heartening to encounter artists that are trying to make connections between culture and the environment. Andrew Rogers is sincere in his message and he says that most of all he feels honored to have been able to share the traditions of local and remote communities.
The opening at White Box Bowery in New York's Lower East side was full of international folk. The success of the gallery is its ability to attract non-stereotypical art viewers. White Box is a treasure among many of New York City's stale and predictable gallery spaces. The not-for profit art space was founded in Chelsea as an alternative to the commercial galleries. Now that it is in the Lower East Side, White Box is accessible to one of New York City's biggest melting pot communities. Over the course of the opening there was an eclectic and lively group of visitors, no two persons were alike. This is something that almost never happens at a Chelsea opening.
Significant projects and artists like Andrew Rogers open our eyes to emerging international artists who may be the next big names in contemporary art. In a very stagnant market, it is very possible that the next profitable and/or important artist will be discovered through showing at alternative spaces like New York City's White Box. Many broadcast companies and television stations filmed the opening of Andrew Rogers' exhibition.
The exhibition also runs concurrently with the release of a large-format monograph: Andrew Rogers: Geoglyphs, Rhythms of Life, published by Charta and distributed by DAP (Distributed Art Publishers) in March 2009. The 464-page book features approximately 1,500 color images of all project sites, a primary account by Rogers himself, and essays by distinguished art critic Eleanor Hartney and the show's curator Lilly Wei. In closing, if you are looking for a fantastic art exhibition, you won't find much physical masterworks here. However, you will take away a countless amount of history, culture, and allusions of grandeur.