In 1997 Jim Isermann slipcovered a Minimalist cube. The rest is queer art history
LA TimesJim Isermann’s art of the past 40 years comprises a body of hybrid work celebrated as crucial to the emergence of design as a discipline as powerful as painting and sculpture. Larry Bell’s “Cube” of vacuum-coated glass, which infused the form with a shifting halation that transmits, absorbs and reflects atmospheric colored light transmuted the rigid, rational form into an organic perceptual conundrum. Chris Burden’s “Five Day Locker Piece” wedded performance art to the cube, beginning with a found example — a common two-foot-square student locker at school — inside of which the artist locked himself in a harrowing human endurance test. After the quarter-ton steel “Die,” Isermann’s light textile cube performs a resurrection — a theme with a long history in sacred art, but here avowedly secular and unequivocally domestic in form. That the restoration project to refresh and resuscitate a worn-out domestic residence’s useful life coincided with production of the queer, slipcovered Minimalist sculpture “Untitled ” is only to be expected.
Discover Related
)
_1622450917595_1622450928958.jpg)
)
