A: I am interested in art that challenges the viewer; art that, when displayed in public, is not necessarily immediately obvious as ‘public art’. In particular, I am fascinated by art that is intended by the artist to engage a public space, but perhaps only for a short period of time. One assumes that monuments or sculptures made to live in public space are somehow long lasting or permanent. But not all work being produced for public space today is intended to stick around. Call it interventionist in tone, or ephemeral by design, it is this kind of art that intrigues me. Perhaps it’s because I am a museum professional, charged with caring for collections in perpetuity, but I love it when you are engaged by the unexpected that might be there one day -- and gone the next.
A recent acquisition, generously donated by Canadian artist Kim Adams to the Glenbow’s collection, fits such a description. The work is intended to be displayed and interacted with, in public - beyond the walls of the gallery. The work is Curbing Machine, 1986. In conjunction with Calgary’s ArtCity Festival, the annual celebration of contemporary visual art, Glenbow displayed Kim Adam’s Curbing Machine at Olympic Plaza in September, 2008. Consisting of a utility trailer, a gas lawn mower engine and satellite dish, Curbing Machine invites spectators to stand in front of the dish as it spins. The artist accompanied the work and invited passersby to interact with the sculpture, transforming the work from sculpture to ride. Inserted into the context of street commerce and entertainment, the work questions our ideas about commodity and art. Kim Adams is an internationally recognized artist and this work was presented at the 2002 Sydney Biennale. I look forward to seeing its next iteration.
Kirsten Evenden, Glenbow Museum
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