Exhibitions and Installations, Getty Center, J. Paul Getty Museum

Be a Part of “Fuzzy Grids II”

Architects turn the Getty Center into an all-ages, logic-defying playlab for a participatory installation known as “Fuzzy Grids II”

A family builds Fuzzy Grids II at the Getty Center

Building “Fuzzy Grids II” at the Getty Center

On July 19 the Getty Center plaza—that vast expanse of travertine that greets you when the tram arrives at the top of the hill—is the scene for a unique artwork called Fuzzy Grids II.

The creation of Predock_Frane Architects with sound by Chris Rountree, Fuzzy Grids II plays with the creative tension between the timeless, grid-dominated architecture of the Getty Center and its “feral” counterpart, the colorful Central Garden. Visitors move cubes according to facilitator instructions, creating 3D color-field compositions that are photographed in time-lapse from above.

Clear now? Let me describe it another way. Fuzzy Grids II is:

  • An ephemeral artwork created by passers-by set on a travertine canvas.
  • A fuzzy color-field composition made of 256 giant cube blocks.
  • A giant artistic game board that is fun for kids and adults alike.
  • Gridded logic + loose temporality, with an idiosyncratic soundtrack.
  • Robert Irwin and Richard Meier shaking hands, maybe even getting intimate.
  • A merging: the stationary with the mobile; monochrome with polychrome; a temporary meeting of two worlds.

Curious? Come be part of this one-time-only opportunity to build a gigantic living, almost-breathing artwork on the Getty Center’s plaza: Saturday, July 19, between 10:00 a.m. and 4:00 p.m.

Towers of boxes at Fuzzy Grids II at the Getty Center

Behind the scenes with the creation of Fuzzy Grids II

Behind the scenes as the building blocks of Fuzzy Grids II are created. Note the “fuzzies” applied to the blocks at top left.

Fuzzy Grids II / Predock_Frane, architects

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      #ProvenancePeek: July 31

      Every art object has a story—not only of how it was made, but of how it changed hands over time until it found its current home. That story is provenance.

      This small panel by Dutch master Gerrit Dou (photographed only in black and white) is now in the collection of the Sterling and Francine Clark Art Institute. It was sold to American collector Robert Sterling Clark, an heir to the Singer sewing machine fortune, in the summer of 1922.

      How do we know this? Archival sleuthing! A peek into the handwritten stock books of M. Knoedler & Co. (book 7, page 10, row 40, to be exact) records the Dou in “July 1922” (right page, margin). Turning to the sales books, which lists dates and prices, we again find the painting under the heading “New York July 1922,” with its inventory number 14892. A tiny “31” in superscript above Clark’s name indicates the date the sale was recorded.

      M. Knoedler was one of the most influential dealers in the history of art, selling European paintings to collectors whose collections formed the genesis of great U.S. museums. The Knoedler stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Girl at a Window, 1623–75, Gerrit Dou. Oil on panel, 10 9/16 x 7 ½ in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts


      #ProvenancePeek is a monthly series by research assistant Kelly Davis peeking into #onthisday provenance finds from the M. Knoedler & Co. archives at the Getty Research Institute.

      07/31/15

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