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August 12, 2015


Filed under: robert therrien — Tags: — jherzlinger @ 7:52 am

I have always been intrigued with installation art, as I have mentioned on many occasions.  So I thought with this blog I would bring to you a world renowned installation artist.  Robert Therrien’s work is above all comical and when you look at installations art, the first thought is that anyone could pull it off.

That’s what they say about boho chic also-  And we all know what bad and missed opportunities look like.

Installation art takes a lot of thought to convey to the viewer without words necessarily what they are viewing.  It is definitely a medium that demands attention and will most certainly evoke an emotion.

Therrien is known as an object maker who transforms elements from everyday life into works of art that evoke mythic archetypes. Working both two- and three-dimensionally, he has created a deceptively simple oeuvre that lends itself to psychological interpretation with its evident fascination with

childhood, its anxieties and fantasies. While his mentors would seem to include a generation of Pop artists, his work also attests to the impact of Conceptualism as well as folk culture, cartoons, and everyday objects.

In 1993, Therrien made a significant breakthrough that influenced all his ensuing work. . The work  – Under the Table (1994), a colossal wooden kitchen table and chair set measuring ten

feet by twenty-six feet — marked a new direction for Therrien. He found that by recreating everyday objects true to their original material and color, but on a greatly enlarged scale, the viewer’s relationship to them changed dramatically. In an  exhibition there were  four gigantic sculptures, each of which

relates to the acts of stacking and folding. No Title (Folding Table and Chairs) comprises four sets of card tables and chairs in authentic ‘institutional’ tones of beige, brown, and green. The monumentality of these objects invites the viewer to walk around and beneath them, altering perspective and

experience to render a formerly familiar situation strange. In No Title (Stacked Plates) andNo Title (Pots and Pans II), Therrien similarly remakes everyday domestic accoutrements in new and uncannily large proportions, then assembles them into precariously balanced towers standing almost eight feet tall.

No Title (Red Room) (2000-2007) took Therrien seven years to realize, gathering and arranging 888 red objects inside a custom-made closet with Dutch doors. His meticulous assembly of objects both found and made–red shoes, red laces, red lanterns, red sweaters, red bricks, red canisters, and so on—prompts

various associations, for example, from the object/group relationship in Matisse’s Red Studio (1911), to the total environment of Cildo Meireles’ Red Shift (1967-1984), or Louise Bourgeois’ The Red Room—Parents (1994) and The Red Room–Child (1994). In Therrien’s work, however, the red items are subsumed

into the background, the seemingly disparate objects becoming a unified, monochromatic whole.

Robert Therrien was born in Chicago in 1947. His work has been exhibited throughout the world since the 1970s, most recently at the Museum of Contemporary Art San Diego and the Albright Knox Art Gallery, Buffalo.




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