all I can say, really, about Maya Lin's show Systematic Landscapes, is that the title is appropriate.
Lin takes a number of materials and objects, and systematically finds a way to impose landscape/topography on them, or to use them to depict topography and landscape. Some of these are beautiful and successful, some are strained. All are cold, minimalist, and uninviting.
Which is not to say that I disliked the show. It's up at San Francisco's de Young Museum right now and was the impetus to finally mounting an original exhibition of Asian American art from 1900-1970 that had been years in the making. The Asian American exhibition is rich, vibrant, diverse, and full of high-energy, extremely skilled landscape paintings of the very landscapes Lin is depicting in Systematic Landscapes: Yosemite, the San Francisco Bay. The coldness of Lin's work doesn't contrast with the warmth of the other work to the detriment of either; the Asian American historical work enriches and contextualizes Lin's work, and Lin's work gives the obvious tradition of Asian American landscape depiction continuity and contemporary currency.
But I think Lin's work would have suffered without the juxtaposition. Ultimately, this is an intellectual show that takes little pleasure in its aesthetics, and doesn't love its materials very much. This is especially apparent in her 3-D topographical "drawings." She imposes a grid on a topography, and then transposes
that grid to 3-D space using plastic tubing or wire. I have no doubt these topographies are very precise, but they don't look precise; they look messy and unloved. I would vastly prefer that she had fudged the scientific precision a bit to make the pieces look more precise, and to perhaps express her love of the hard definition more ... er, emotionally?
I did like the look of the wooden topographies [one set of vertically placed 2x4s (to the left) and one set of horizontally placed pressboard depicting mountains, and one set of horizontally placed planks representing landlocked sea basins] and of the topographically carved atlases (one of which is in the image at top.) But the atlases might have made more sense if the actual topography of the region shown on the atlas page had been carved, rather than something more random. And even the good work was all one-liner.
I think I rather appreciated the show as a palate-cleanser after the rich meal of the Asian American history show, than as a free-standing set. If nothing else, it's an object lesson in the difference between simple (her best work) and simplistic.
Recent Comments