In 2005, the Musée d'Orsay created a program in which contemporary artists were invited to have their pieces displayed alongside one in the museum, which houses art from the 19th century. Joel Shapiro created his work Study, 20 Elements (2004) to reside alongside Carpeaux's Dance (1863-69). While these two pieces have a uniquely direct link, as Shapiro's was created in response to Carpeaux, there are many aspects of these artworks which can be explored in comparison.
Jean-Baptist Carpeaux created The Dance in 1863-1869 for the Paris Opera building. Asked to create a sculpture around the subject of dance, Carpeaux put the spirit of dance in the center, surrounded by a group of female dancers. The spirit leads the dance, urging on the dancers around her. The feeling of movement is presented both vertically as the spirit moves upward and around the piece as the dancers circle the central figure. Carpeaux's piece was quite controversial because of the detailed female nudes it portrayed, and many requested that it be removed from the opera house.
Shapiro uses brightly painted wood to create his Study, 20 Elements. In his other work, Shapiro often uses rectangular blocks of wood to represent figures and movement. This work features a central yellow block as the largest and most prominent image, and smaller blocks move around its base. The use of color leads the eye upward toward the largest block: the two smaller yellow blocks create a direct line towards it, while it contrasts with the others closest to it. The piece has an air of being off-balance, it's hard to believe that it is free-standing. The whole thing looks very light; the onlooker feels as if he or she could pick it up with one hand.
The pieces are very similar in many ways. The unity of the shapes, whether they be dancers or rectangles, are all similar but unique. No two figures are the same in Carpeaux's piece, while no two rectangles are the same in Shapiro's work. Shapiro's work also reflects the dynamic of Carpeaux's piece; both pieces have a similar feeling of movement. The overall shape of the works is similar too: both lead the eye upwards to a peak and have a light atmosphere, though they are more bottom-heavy with details.
This piece seems quintessential in our discussion of design as a conversation and the need for collaboration in art and design. The creations of Shapiro and Carpeaux are directly linked: Shapiro draws inspiration directly from the core design elements of Carpeaux's work. There is no actual conversation here, because Carpeaux will not be able to respond anytime soon, but these pieces give a clear example of how elements of design can be transferred.
This program at the Musée d'Orsay is characteristic of the paths that major museums have chosen to reach out to their audiences -- and to the contemporary creators among their audiences -- to strike up new dialogues about the power of the past, as your post indicates. Some of these have been very successful. Others seem a bit forced. Your blog reminds me to question what separates these groups; what makes the more creative responses to the past successful? It is a question that opens a dialogue with us all. Thank you, Valerie!
ReplyDelete