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Anne Ring Petersen, American Connections: the Early Works of Thomas Bang, RIHA Journal 0128

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Anne Ring Petersen, American Connections: the Early Works of Thomas Bang, RIHA Journal 0128 RIHA Journal 0128 | 10 September 2015 American Connections: The early works of Thomas Bang1 Anne Ring Petersen Peer review and editing managed by: Elisabeth Kofod Hansen! "he #anish $ational Art %ibrar&! 'openha(en Reviewers: )ir(itte Anderber(! Anneli Fu+hs Abstract The Danish artist Thomas Bang spent his early years in the USA. The works he created in this formative period were thus profoundly shaped by the contemporary movements in American art of the 1 !"s and 1 #"s when sculpture$ or to be more precise$ three% dimensional work became a hotbed of e&pansive e&periments. This article traces how Bang made a radical move from painting to sculpture$ which was characteristic of that time$ and how he developed his artistic idiom by taking an active part in some of the seminal new departures in American art$ in particular process art and post%minimalism. By leaping forward to Bang's later works produced after his return to Denmark$ the article also demonstrates how the sculptural syntax and working principles developed in the early works still underlie and structure the artist's more allegorical sculptures and installations from the ("""s, thus testifying to the lasting impact of Bang's American period$ which remains the key to understanding his works. Contents "he outlandishness of a returnin( mi(rant artist ,ariations on abstract paintin(- bet.een /free hand hard ed(e/ and /abstract pop art/ Early dra.in(s: intimations of )an('s mo1e into spa+e )reakin( a.ay from paintin( "he sculptural breakthrou(h- /post minimalism/! /anti form/ and /pro+ess art/ "he return of the human bein( "he transition from .all plane to floor plane "he pictorial sculpture 'ircuit bet.een ima(e and sculpture "he transformation of the ima(e $arrati1e installations and te3tual e3pansion "he American connections The outlandishness of a returning migrant artist )1* The story of the Danish%born artist Thomas Bang's career has its beginnings far from Denmark. +is breakthrough as a painter and later as a sculptor occurred not on the Danish art scene but at the centre of where art was happening$ at that time on the other side of the Atlantic. In the 1 !"s and 1 #"s Thomas Bang was part of the American - and thus the world - art scene. It was not until 1 #. that he e&hibited in Denmark$ and it was only in the 1 ."s that he achieved greater recognition in Danish art circles. This coincided with his move back to Denmark while at the same time he continued to e&hibit in the USA and occupied posts in the art departments of universities in /alifornia and 0ew 1ork State. 1 This article is based on material previously published in Danish with supplementary illustrations. See2 3Amerikanske forbindelser. 4m Thomas Bangs tidlige v5rker$3 in: Thomas Bang. Apparatur til en ustabil verden$ ed. Anna Schram 6ejlby$ 8lemmig 8riborg and Anne 9arie 0ielsen, /openhagen: 0y /arlsberg :lyptotek ("" $ 1(%. The present article reworks a never published translation of the Danish te&t into English by 0eil Stanford. License: The text of this article is provided under the terms of the Creative Commons License CC-BY NC-ND 3.06 RIHA Journal 0128 | 10 September 2015 )(* This se<uence of events suggests that the Danish art audience of the late 1 #"s did not take much interest in what was happening in vanguard art outside this country. As a matter of fact$ such introversion was typical of the 0ordic art scenes at large until the 1 ."s and 1 "s.( )=* The lack of international outlook meant that the majority of Danes were without the necessary frames for understanding what Bang was working with. 9oreover$ his works have always made great demands on the beholder. ;ven though today Bang occupies an un<uestioned position as one of Denmark's most important sculptors and installation artists, there are thus two good reasons why recognition was a long time coming. )>* 4ne of the first people who 3discovered3 Bang on Danish soil was the artist and art critic +ellen ?assen$ who faithfully$ and with considerable insight$ wrote about his e&hibitions from 1 ." onwards. @hen$ in the conte&t of a major retrospective presentation of his works in 1 A$ she looked back on what she had written about Bang's works through the years, she openly admitted that they had always demanded a 3penetrating e&egesis and sympathetic insight3$ 3offering fresh challenges every time.3 As the years have passed$ she added$ Bang's oeuvre has constructed its own frames of reference in constant e&pansion and dialogue with itself and the surrounding world2 3As one becomes acquainted with the work over a period of years, more and more doors imperceptively spring open$ shedding light into labyrinthine layers of meaning - which$ 7ust as imperceptively$ multiply.3= )A* The reason why Bang's works were perceived as outlandish and challenging in the beginning was probably that$ after his being reconnected with Denmark$ Bang's works came to involve two sets of cultural e&periences, conte&ts and languages, two ways in which the artist could articulate his e&periences and his thoughts about art. +ence$ the works became more comple&. It is significant that in the 1 ."s Bang created a series of non%figurative ob7ects entitled 3Buffertob7ekter3 - suitcase ob7ects. They were given this name because they were small enough for him to transport them in suitcases when commuting across the Atlantic. During the same period he was deeply preoccupied with the transfer and translation of information as a formal theme in sculpture.> Both ( +anna Cohansson, 30ature in 0ordic /ontemporary Art2 8rom the Environment to a /ommon, Shared @orld$3 in: Nordic Contemporary: Art from Denmark, inland, !celand, Nor"ay and #"eden ed. +ossein Amirsadeghi$ London ("1>$ ("%(A$ here (1. Datricia :. Berman$ 3The 0ordic 9odel and the /omple& Topography of Daradise$3 in: Nordic Contemporary: Art from Denmark, inland, !celand, Nor"ay and #"eden, ed. +ossein Amirsadeghi$ London ("1>$ (!%==$ here (.%( $ =(. = +ellen Lassen, 3/ultural 9alaise2 9ain /urrents in Thomas Bang's work$3 in: Thomas Bang. Et udvalg af tidlige arbejder &'()*&'+,$ e&.cat.$ Eoskilde2 9useet for Samtidskunst 1 A$ =(%= $ here =(. The <uotation is re%translated from Danish into English by Thomas Bang. > 9ikkel Bogh, 3Thomas Bang and the ,nstrument2 Eeflections on the @orldliness of Sculpture$3 in: Thomas Bang. -etrospektiv$ e&.cat.$ /openhagen$ Esbjerg$ +erning2 0ikolaj Udstillingsbygning$ Esbjerg Bunstmuseum$ +erning Bunstmuseum 1 A$ AA%!!$ here A($ !!. License: The text of this article is provided under the terms of the Creative Commons License CC-BY NC-ND 3.06 RIHA Journal 0128 | 10 September 2015 factors indicate that works of art are$ on one hand$ never purely aesthetic e&ercises in form$ e&ecuted in a vacuum outside of history and unaffected by the artist's e&periences in life and living conditions, but on the other hand neither can works of art be e&plained purely in terms of biographical and historical circumstances. It is precisely because art has dimensions which transgress the historical$ the biographical and the culturally specific that it can speak to people across time and space. )!* +owever$ one gets a better understanding of Thomas Bang's works through an acquaintance with both the language and the conte&ts on which he draws. The aim of this article is thus twofold. 8irstly$ it seeks to trace how Bang developed the basic components of his artistic language as he moved from painting into the e&panded field of sculpture during his 3American period3F and secondly$ it aims to show how themes and principles of construction developed in this early phase re%emerge in new$ altered forms in later works such as .an havde gennem l/ngere tid )G* H38or some time people had )G*3I H(""=I. +ere they are$ so to speak$ translated into the more direct pictorial and allegorical language of forms Bang has developed since the 1 ."s. This happened in tandem with the revival and revitalisation of allegory and figuration within the international framework of a postmodern aesthetic. Dostmodernism's predilection for doubling and twisting e&isting images is something Bang does not share. Instead$ his allegories and images develop out of the interpretations that the formal relations between the work's components and materials call forth in the viewer. This characteristic is probably the clearest evidence that Bang's starting%point in the American si&ties' sculpture has had a crucial and lasting significance for his method of working - and thus our$ the public's e&perience of the works. Variations on abstract painting: between free!hand hard edge and abstract pop art )#* Thomas Bang's first three%dimensional ob7ects were made in the summer of 1 !#.A It would soon become clear that they marked the crucial turning point in his work$ a movement into a field of e&perimental sculpture which was then transforming sculpture into a field of spatial e&pansion as well as material and conceptual innovation. At the same time$ it was a move away from the area of non%figurative painting of which$ through the 1 !"s, Bang had established himself as a talented upcoming representative. It was indeed a radical movement out of and away from painting as a medium$ but$ as we shall subse<uently see$ Bang's leave%taking of painting was in no sense a farewell to the image. 4n the contrary$ the image understood as 3the pictorial3 in the discipline of sculpture$ and the opposing processes of building up and breaking down of 3the pictorial3 A The biographical information on Thomas Bang's work$ e&hibition activity etc.
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