Gardens and Architecture

September in the Central Garden

Hibiscus in the Central Garden at the Getty Center, September 2013

September is an odd month in the California garden. Fall officially begins on the 22nd, but the heat is winding up, not down. The Central Garden at the Getty Center, which changes dramatically throughout the year, spends the month in a riotous late-summer fever.

In the Stream Garden, home to the zigzag path that leads toward the azalea pool, flowers are relatively few. Foliage is the star of the show, as artist Robert Irwin intended. Spikes, coils, and fingers of lime, pink, silver, russet, and purple-black shimmer under the dappled sun of the just-turning plane trees. Dead leaves nestle amidst the living within the dark soil, forming dramatic still lifes.

Hellebore and fallen plane tree leaf in the Central Garden at the Getty Center, September 2013

The Bowl Garden, by contrast, is lit yellow and red. The tender blooms of spring are long gone, replaced by rugged, charismatic survivors: spiky coneflowers, Mexican flame fine, Spanish flag. Dahlias are giving up their last flush of giant blooms, roses are nodding under a mass of petals, and cannas are as brilliant as lit-up torches. There are also moments of delightful weirdness, like the first fluffy seedheads of clematis and the fluttery bracts of purple wings.

Dahlia in the Central Garden at the Getty Center, September 2013

Mexican flame vine in the Central Garden at the Getty Center, September 2013

Echinacea in the Central Garden at the Getty Center, September 2013

Purple wings in the Central Garden at the Getty Center, September 2013

Surprise and exuberance, bordering on chaos, are key elements of Irwin’s garden in every season. No matter when you wander through—even on those days when it seems too hot, too cold, too rainy, too dry, or too something to yield any magic—you are always greeted by the beautiful, the strange, and the unexpected.

Tagged , , , , , , , Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

One Comment

  1. Carol
    Posted September 12, 2013 at 2:55 pm | Permalink

    Super gorgeous photos! Now I will have to run down to see the garden!

Post a Comment

Your email is never published or shared. Required fields are marked *


You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      William Pope.L

      Tell us a bit about how and why you became an artist.

      I used to blame my being an artist on my grandmother, but that was my younger self looking for a scapegoat. At one point in undergrad, I had a moment, a crisis where I thought it was my job to save my family and the best way to that was to be a commercial artist—but I had to let go of that. Truth be told, being an artist is something I choose every day. Of course, maybe I choose art because I’m afraid of theater—too much memorizing and being in the moment and shit.

      A lot of your work deals with racial issues—perceptions of “blackness,” “whiteness,” the absurdity of racial prejudices, the violence of it. Why do you address race in your work? Do you think art can be an agent of change?

      I address race in my work ‘cause day-to-day in our country it addresses me. Yes, art can change the world but so can Disney—so there is that. I think the real question is not can art change the world, but can art be changed by the world? Would we allow this?

      Humor, with a touch of the absurd, seems to be an important component in your artistic practice. What role does humor play in your work?

      I like to use humor in my work ‘cause it answers/deals with questions in ways that are very unique. Humor answers questions with an immediacy and creates a productive amnesia of the moment in the receiver—but then the wave recedes, the world floods back in with its pain, confusions, and crush but the humor remains like a perfume or an echo or a kiss inside beneath one’s skin.

      More: Artist William Pope.L on Humor, Race, and God

      From top: Obi Sunt (Production Image from the making of Obi Sunt), 2015, William Pope.L. Courtesy of the Artist © Pope.L; Gans-Nelson fight, from the album ‘Incident to the Gans-Nelson fight’ (Page 40-3), Goldfield, NV, September 3, 1906, William Pope.L. Courtesy of Steve Turner and the Artist; Tour People, 2005, William Pope.L. Courtesy of the Artist © Pope.L; Failure Drawing #301, NYU/Napkin, Rocket Crash, William Pope.L. Courtesy of the Artist © Pope.L.


  • Flickr