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Arts & Culture

Public lured by a more open Linda Pace Foundation will find tragedy, magical reflexivity in 'Ten Thousand Waves'

Photo: Courtesy photo, License: N/A

Courtesy photo

Still from Isaac Julien's film Ten Thousand Waves.

Ten Thousand Waves was commissioned in part by the Linda Pace Foundation, and is on an international tour that has featured the nine-screen version and a single-screen version, made for the film festival circuit. Julien, who was born in London in 1960, is a 1999 alumnus of the Artpace International Artist-In-Residence program; he was nominated for the prestigious Turner Prize in 2001 for his films The Long Road to Mazatlán (1999) and Vagabondia (2000). He has also been a visiting lecturer at Harvard University's schools of Afro-American and Visual Environmental Studies and a visiting professor at the Whitney Museum of American Arts.

Also on view is Adam Schreiber's "Flanagan—Tiravanija," new chromogenic prints by the Chicago-based photographer that he pairs with selections of artworks from the Linda Pace Collection. Sited in what was once the penthouse of philanthropist, artist, and Artpace founder Linda Pace, who passed away five years ago, the photographs were taken over several days in July, 2011, when Schreiber had unprecedented access to photograph the collection. Immersed in the sea of bright white walls, white furnishings, and shiny white epoxy floor, the artworks photographed reveal the peculiarly dual nature of what was Pace's residence: touchingly intimate domestic spaces embedded within the white cube of contemporary art. A blue jerrycan by Adam McEwen sits on a low, white table, its azure intensity matched by the pallid surround. A colorful painting by Gerhard Richter, Abstraktes Bild 774-4, is reflected in the floor below. Barry Flanagan's metal sculpture Hare with Telescope, is seen casting a shadow that overpowers the sculpture itself. Other prints (hung on opposite walls of the Tall Gallery) show Schreiber's view camera, a nod to self-reflexivity and a wink to the viewer seeing herself reflected, palely, in the framed glass covering the photograph. Artworks by Thomas Demand, Michel Francois, Byron Kim, Catherine Opie, Iran do Espirito Santo, James Welling, and others are installed in rooms next to Schreiber's photography exhibition.

Artists' selections have been in vogue the last year or so. In 2011, filmmaker and pop-culture hero John Waters made his own choices from the collections at Walker Art Center in Minneapolis; local artist Franco Mondini-Ruiz did likewise at the Ceramic Research Center at Arizona State University in Tempe.

Both shows made comments on the two respective permanent collections by demonstrating the choosing artist's connoisseurship; this effort, by showing the artist's own hand in his photographs, serves rather to heighten the sense of subjectivity held within the collection itself. And so, paired with Isaac Julien's three-screen film Ten Thousand Waves, the Linda Pace Foundation's commitment to both supporting artists and their enquiries long-term and to the continued growth of the collection are on view.

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