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Issue-16.Pdf BRUCE MUNRO / MARFA BOOK COMPANY / ROBERT IRWIN / AT WORK: YOKO ONO / SUMMER 2017 CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT JOHN CHAMBERLAIN Twenty-two various works in painted and chromium- plated steel (1972–1982) from the permanent collection at the Chinati Foundation in Marfa, Texas Photograph by Florian Holzherr THE PALOMA Ice, tequila, sugar, and lime juice in a highball glass with a salted rim. Top with fresh grapefruit juice and club soda. Stir gently. ¡Salud! Field of Dreams Bruce Munro ARTIST BRUCE MUNRO ILLUMINATES THE NATURE OF HIS LIFE’S WORK. by Jessica Dawson BRUCE MUNRO Field of Light (2016-2017) Installation view at Uluru, in the Northern Territory of Australia. All photography by Mark Pickthall ARTDESK 01 CDSea (2010) Long Knoll in Wiltshire, England Water-Towers (2015) Desert Botanical Garden in Phoenix, Arizona Impression—Time Crossing Culture (2016) Ferryman’s Crossing (2015) Ashmolean Museum in Oxford, England Scottsdale Museum of Contemporary Art in Scottsdale, Arizona Tepees (2013) 02 ARTDESK Cheekwood Botanical Garden and Museum of Art in Nashville, Tennessee SUMMER 2017 OR THE PAST five years, Bruce Munro’s mas- “they have this surrealism to them. Field of Light in in the community. Friends brought along their sively scaled light installations have been our forest almost felt like fireflies.” friends. A few visitors were moved to tears. A making their way through American botan- “He’s the kind of installation artist that you phenomenon was born. Fical gardens. Pennsylvania’s influential Longwood don’t want to say no to,” says Wendy DePaolis, the But it was only last year that Field of Light was Gardens, in the town of Kennett Square, launched Minnesota Landscape Arboretum curator who realized at ground zero for its inspiration—Uluru the British artist’s invasion in 2012, and since then organized the Munro show, which closed in April. itself. The work is currently on view adjacent more than a dozen institutions—conservatories, art “This idea of synthesizing art and nature with the giant rock and will remain through March museums, and galleries—have followed suit, mak- light is something the Upper Midwest craves. The 2018. Like so much of Munro’s work, it’s proven ing the fifty-eight-year-old Munro one of the most days get shorter, the nights get longer.” Munro’s immensely popular. popular illumination artists you’ve never heard of. attraction to the fanciful tales of C. S. Lewis, which Munro installations are considered by their Think “light artist,” and if you’re an aficionado inspired some of the works chosen by DePaolis, led host venues to be unqualified successes; evidence of the global gallery and biennial circuit, a roll call him to create something of a winter wonderland both anecdotal and numerical confirms that slips off the tongue: James Turrell, Leo Villareal, for Minneapolis-area audiences. they’re people magnets. Longwood’s attendance Robert Irwin. The name that likely won’t come Munro’s life as an artist came together later nearly doubled during the 2012 Munro exhibition to mind is Munro’s. That’s not just because the than usual. It wasn’t until his mid-forties that he from the same period the year before. artist’s frequent venues—those greenhouses began creating the immersive installations he’s “It was a goal of ours to expand our audience and conservatories—are unlikely spots for the now known for. Although he graduated from art base and reach a younger arts-and-culture art crowd. It’s also because Munro who’s based in school, the practical matters of earning a living carnivore,” Redman says. “That is exactly what Wiltshire, England, is concerned not with art-world and supporting a young family led him to work in happened. It was a very diverse audience, a politics but in relating to his audience. architectural lighting, first in Australia and then in younger audience. People were driving for over Munro, he’ll happily tell you, is an everyday guy the United Kingdom. three hours to see the artwork.” who just wants to connect. “We are always trying to find ways to merge “I break walls down by making things very art and nature and marry these two worlds,” accessible,” he says. “I’m not trying to tease people says Bonnie Roche, the exhibitions manager or test them intellectually. I’m trying to represent at Franklin Park Conservatory and Botanical thoughts and feelings in the materials that I love I break walls down by Gardens, in Columbus, Ohio. She mounted a experimenting with.” Munro show in fall of 2013 after hearing about That spirit of inclusiveness has proven a strong making things very the Longwood installation. “His work has such a selling point. For audiences, a Munro show is a natural feel to it. They fit right into these spaces magical thing, incorporating sometimes tens of accessible. I’m not and marry together.” thousands of LED lights and complex webs of fiber The complexity and scale of Munro’s art aren’t optics, which the artist and his team intersperse, without their challenges. It’s often an institution’s embed, and plant in natural environments. His trying to tease people. first nighttime exhibition; staff must establish nighttime installations enliven gardens, forests, pathway lighting, ensure that electricity reaches and fields as well as large-scale indoor atria. Some the far corners of their facility, and work longer works also incorporate sound—from feel-good hours. An installation generally runs about a tracks by Ladysmith Black Mambazo to the But landscape—and the British landscape month—not unusual in the contemporary art cacophony of cockatoos. tradition—remained close to his heart. As a world, but often requiring scores of volunteers in “I love placing something in a natural landscape child, Munro spent time with his father in the addition to Munro’s small team. and seeing how the landscape changes it and how it southwestern English fishing village of Salcombe That the local community is invited to help changes the landscape,” Munro says. “There’s theater in Devon. “I was about eight or nine, and my install the work was considered an advantage to this—it’s a happening.” In that spirit, his works father’d take my brother and sister off fishing and by Julie Maguire, the visual-art advisor to ask viewers to pay attention, to be present with I’d get bored,” Munro recalls. “I’d say, ‘Can you Green Box Arts Festival in Green Mountain earth and light. For Munro, it’s about probing the drop me off at the beach with my paints and sketch Falls, Colorado. She will oversee the Munro existential human experience, something he seems pads?’ I would sit and paint. When I got a little bit installations opening on July 1, 2017. increasingly to express in his works, likening them older I took walks around the cliffs.” “When we can involve people in the to the experience of life itself. “We land on this earth In his thirties, while living and backpacking in community with the artwork, it seems to resonate for a set amount of years and then we’re gone,” he Australia, Munro struck upon the idea for Field of more with the community,” Maguire says. “So that says. “What I’m doing is what a human being does. Light at the massive sandstone Ayers Rock—also was really a plus.” You’re here and then you’re gone.” called Uluru—in central Australia’s Northern But not all locals are keen on cooperating. Installations can be massive. A recent exhibition Territory. He was awed by the innate beauty of the Unexpected visitors to the Minnesota Landscape at the Minnesota Landscape Arboretum included scene and sketched out designs for illuminations Arboretum caused a ruckus, upending the delicate a version of Munro’s popular Field of Light that that would mirror the powerful natural forces he filaments that made their way across the ground incorporated tens of thousands of individual stems felt emanating from the spot. to feed the luminous bulbs. Building mechanic of fiber optics. The work ran the length of nearly “If I’d been a decent painter I might have painted Jeff Stuewe’s investigation of the outages three football fields. That’s almost twenty-four a picture,” Munro says. “But I was a crap painter.” unearthed a cadre of non-ticketed guests. “We’ve acres covered in lights, fed with a slowly changing It would be another twelve years before those been blaming it on the turkeys,” Stuewe says. “But spectrum of color that seemed to make the hills early sketches became the first iteration of Field I think the rabbits have been culprits too.” The wild undulate and breathe. of Light—and the works’ inaugural run happened animals had Stuewe and his team scurrying to the “It’s harmony in a way that is almost bio- in the artist’s backyard. By then, Munro was reconnect stems to their wires. mimicry,” says Paul B. Redman, Longwood in his mid-forties, his father had died several “We’ve had our issues, but we’ve been able to president and CEO, of Munro’s capacity to blend years before, and he found his own sketchbooks deal with it,” Stuewe says. “Everybody loves the his work into nature. The artist’s 2012 exhibition brimming with ideas never realized. With his exhibit. That’s the biggest thing.” in Kennett Square covered twenty-three acres and mother’s admonishments in the back of his included two versions of the Field of Light concept, mind—“Be a doer, not a talker”—Munro took out Bruce Munro w ill be the featured artist at the Green Box incorporating 27,000 illuminated stems.
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