Magazine article Sculpture

Indianapolis, Indiana

Magazine article Sculpture

Indianapolis, Indiana

Article excerpt

Julianne Swartz

Indianapolis Museum of Art

For Julianne Swartz, liminality is the common locus across disparate objects and materials. She holds some aspects of her work just outside of perceptibility and invites viewers to become participants, to cross thresholds of comprehension and thus fulfill the works.

In "How Deep Is Your," Swartz installed her works not only according to architectural spaces, but also in anticipation of visitors' bodies. For Line Drawing, she placed blue plastic tape on the wall, punctuating the line with lenses that invited viewers to squat and peer into lathing and institutional nether spaces containing hyperbolic continuations of her line. This voyeuristic encounter divulged a radical interruption of the minimal wall drawing. As is the case with many of Swartz's objects, curiosity and interaction were satisfied by revelation. On first viewing, the sculptures Surrogate (JS), Surrogate (KRL), and Surrogate (ARL) (all 2012) appear to be concrete meditations on Georges Vantongerloo's De Stijl idiom. The blocks are geometric approximations, if not exactly portraits, of the artist, her husband, and their daughter- spatial relations give way to familial relations. Hidden from sight, the blocks contain clockworks; the visitor, stooping and leaning in, could discern the intimate ticking of these metaphorical beating hearts.

In her photographs, Swartz presents displaced worlds in secondary lenses-a water drop, a soap bubble, or a cosmetics mirror. For instance, in the hovering film of Couple Bubble (Suspended) (2004-05), she encapsulates the world in a transparent sphere that evokes the crystal terrarium on the exterior of Bosch's Garden of Earthly Delights (1505-10). Entire skyscapes and landscapes are visible in the water drops of the "Close" images (2010). In the context of this exhibition, the photographs were instructional insofar as they model the close looking and patience necessary to interaction with Swartz's installations. …

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