Word: dias
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...this the kind of work that will bring in 100,000 visitors a year? That's the number Dia hopes for. So does the State of New York and Beacon and its surrounding towns, which have chipped in $2.7 million toward the project so far and have visions of Guggenheim Bilbao dancing in their heads. Dia: Beacon offers some of the most potent art experiences to be found anywhere, in some of the most well-considered settings. But it was conceived largely to present difficult work for long durations in one space. And for much of what it offers, difficult...
...Dia was founded in 1974 by Philippa de Menil, of the Schlumberger oil fortune, and her husband Heiner Friedrich, a German art dealer. When oil prices slumped in the early 1980s, the foundation faltered for a while, but it re-emerged in chastened form several years later and, more recently, has got about $30 million from Leonard Riggio, chairman of Barnes & Noble. The foundation goes in for converted industrial buildings with good bones but no high-design drama. (The Nabisco factory was art-readied by little-known OpenOffice architects.) And while most museums collect a few works by each...
...Robert Ryman. Others are less so: Blinky Palermo, On Kawara. History has by no means decided that all of them are keepers. Minimalism, earthworks, conceptualism, performance art--all have entered our history without always entering our affections. For the artists who came of age in the 1960s and '70s, Dia: Beacon may become the place that secures their reputations once and for all. It could also become the Lourdes of Postmodernism, a place where we converge to share in an illusion about the power and consequence of their work...
...Dia has what you can only describe as faith in De Maria. For his Equal Area Series, 1976-77, the museum is devoting two galleries the length of football fields. At intervals along the floor is a polished steel circle next to a polished steel square, different shapes but each encompassing an equal area: 25 pairs in all. Judd is represented by some of his dryest, most unyielding output: not his colored aluminum boxes, which can have their share of sunlit surface incidents, but the eat-your-spinach plywood of Untitled...
...Dia: Beacon consisted of nothing but that sort of thing, a long visit would feel like being swatted all day with the complete works of Hegel. But Dia also collects much juicier artists. John Chamberlain's hunks of automobile metal, cut and welded, crushed and painted, build multicolored bridges between Abstract Expressionism and Pop. Not far from his galleries, there's a mini-show of Agnes Martin's delectable paintings, broad washes of color over a rectangular gridwork of lines drawn with a slightly trembling pencil. Something sings across those shivering wires. Dia also has the space to present some...