New work from James Turrell

turrell1.jpg

Left and below: End Around (2006).
Neon light, fluorescent light, and space.

GRIFFIN is pleased to announce an exhibition of new works by internationally acclaimed artist James Turrell. The exhibition will constitute the American debut of the artist’s Tall Glass series with three new works, along with End Around, a new work from his Ganzfeld series. This exhibition of new work highlights the most recent developments in Turrell’s forty-year exploration of light and human perception. It also serves as a bracket to the artist’s previous GRIFFIN exhibition, which featured the light projection works from the 1960s that constituted his earliest experimentations with the medium. As with that exhibition, the interior space of the gallery will be completely reconstructed to accommodate the new works.

turrell2.jpg

In his Tall Glass series, Turrell adds a temporal element to his perception-altering oeuvre. Each piece consists of a core of LEDs individually programmed by Turrell to carry out a subtle shift in color over time, similar to the deliberate but beautiful fashion in which the sky changes from late afternoon to night. However, these works’ careful construction insures that the viewer will see only a large floating, subtly changing field of light – a revelatory experience of photons as tangible entities and physical presence.

Also on exhibition will be End Around, one of Turrell’s Ganzfeld works. Upon entering the chamber housing the artwork, viewers instinctively approach what appears to be a faint wall of light in the distance. But upon reaching the light source, one’s entire visual field is consumed by an apparently limitless field of blue light. Turrell engineers the Ganzfeld works to eliminate all visual cues that the human brain uses to process depth. As a result, one is unable to tell whether the ethereal blue field he sees from the platform extends for inches, feet, or into infinity. The loaded act of “moving toward the light” and the subsequent experience of limitlessness reopen the spiritual dialectic that has perpetually surrounded Turrell’s light works.

James Turrell: New Work

GRIFFIN
2902 Nebraska Avenue
Santa Monica, California
90404

May 20th–August 26th, 2006

Watchmen

watchmen.jpg

This year sees the 20th anniversary of the publication of Watchmen by Alan Moore and Dave Gibbons. The landmark comic book, one of the few to deserve the designation “graphic novel”, remains a particular favourite of mine, and one that still excites for its consummate command of the comics medium. The following is a very long round table discussion with Watchmen‘s creators from issue 100 of Fantasy Advertiser, first published in March 1988. It’s surprising that this doesn’t seem to have been posted anywhere else on the web as it’s an excellent discussion about this great book.

Spoiler warning: this piece discusses in depth just about every revelation in the story so you’d be advised to skip it if you haven’t read the book.

MARTIN SKIDMORE: Alright, let’s have a starting point… just what is it about Watchmen that distinguishes it from other…
STEVE WHITAKER: Cream cheeses?
MS: …superhero comics on the market?
DAVE GIBBONS: Is this in the form of direct questions to us, or…
FIONA JEROME: No, we’re all gonna talk.
DG: Well, I’ll have a schnoozle then…
SW: The thing that I think distinguishes Watchmen from other comics is that the series holds together more like a novel. Your climax isn’t in the last 3 panels in Watchmen 12. There are long quiet tracts with exciting bits or…moderately exciting bits (LAUGHTER) In terms of Jack Kirby Wham! Smash! Pow! it’s all very quiet. There’s a lot of suffering but…
MS: …it’s all emotional rather than physical suffering.
ALAN MOORE: It’s a difficult question for me and Dave to answer, probably one that you could answer better, but if I had to say anything then it’s the degree of structure that me and Dave have applied to it—I can’t think of many examples of that degree of structure, that degree of layering.
FJ: I was going to say: especially visually you don’t get such a use of motif certainly not in American comics.
MS: Doug Moench has used it occasionally.
FJ: But not with the same complexity and not filling-in with written structure as well.
PETER HOGAN: The thing is: you’re given a world. The characters, alright, they’re based on the Charlton Characters but they’re new as of page 1. Even so, they’re characters with a history that comes out over the course of the thing… Their world has a history… it has a cohesion to it.
SW: Something that quite interests me now we’re talking about structure and stuff, is the symmetry—there is a real symmetry to Watchmen and the way the characters are set up.
DG: Two arms… two legs. (LAUGHTER)
MS: Perhaps the Comedian and Rorschach…
SW: I was thinking more of Osterman and Ozymandias.
MS: That’s right—the intellectual and physical, chaos and law…
AM: It’s difficult pinning down what’s symmetrical to what—I mean to me, at least to some extent, there’s an equally good case for contrasting Nite Owl and Rorschach.

Continue reading “Watchmen”