The museum will hold the coinciding show Lapsed Quaker Ware (until 30 October), which explores this lesser-known series of the same title, which Turrell made in collaboration with the artists Nicholas Mosse and Bill Burke in 1998. He began experimenting with light as a medium in the mid-1960s and had his first solo exhibition of light works in modified spaces at the Pasadena Art Museum in 1967. Turrell has said that his hallucinatory light-based works are inseparably tied to the sky and the concept of “pure light” and aim to “create an experience of wordless thought”. Rendering of James Turrell's Skyspace at Mass Moca due be unveiled this spring James Turrell, Structure and Rendering by Darryl CowieĪround 50 viewers will be able to visit the immersive work, which will operate at state-mandated capacity until further notice due to the coronavirus pandemic. It will contain a mobile ceiling and will debut with a collection of sketches of the artist’s process. The ambitious free-standing circular work, due to be unveiled on 29 May, will encompass a space that is 40 ft tall and 40 ft in diameter, making it one of the largest of the Skyspace works to be shown in the US. The work will join the long-term exhibition of nine immersive works in a multi-decade retrospective devoted to Turrell at the museum titled Into the Light that will remain on view until at least 2025. Turrell’s vision will be finally realised this spring when the inoperative outdoor water tank, which has remained on site as Mass Moca developed, is transformed. The notion was to install it within a concrete water tank that had been used as an emergency fire extinguisher when the museum complex housed factory buildings. Featuring paintings - including new commissions - by a diverse group of over a dozen contemporary artists, including Patrick Bermingham, William Binnie, Cynthia Daignault, TM Davy, Jeronimo Elespe, Cy Gavin, Shara Hughes, Josephine Halvorson, Sam McKinniss, Wilhelm Neusser, Dana Powell, Kenny Rivero, and Alexandria Smith, The Lure of the Dark illustrates the ways in which the hours of darkness continue to provoke the contemporary imagination, providing apt metaphors for the diversity of human experience and the intersections of human experience along with the anxious tenor of the day.More than three decades ago, the American artist James Turrell, a pioneer of the Light and Space movement, visited the vacant campus of the Massachusetts Museum of Contemporary Art (Mass Moca) in North Adams and envisioned how he would create a Skyspace there, one of his signature coloured chambers with apertures opened to the sky. Many of the artists in The Lure of the Dark look back to predecessors, such as the Impressionists and Monet and Pisarro, to study the night en plein air, completing a painting in a single sitting or night. Of course, an exhibition about the night is also about the light that illuminates the darkness, from the moon and the stars, to candles, cigarettes, and the glow of cell phones. From Rembrandt and his Night Watch to Georges de la Tour’s candle-lit scenes of the seventeenth century, James McNeill Whistler’s woozy Nocturnes, Vincent van Gogh’s dizzying Starry Night, and Edward Hopper’s lonely Nighthawks, artists have sought to capture the mood of the night. For centuries, painters have been drawn to the mysteries and marvels of the night and its perceptual and poetic possibilities. Sex, death, romance, magic, terror, wonder, alienation, and freedom: the night invites a myriad of often contradictory associations.
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