i saw this installation and it just doesn't work. it doesn't do what it claims to. period. it's just a bunch of weak ideas interrogating something benign and vague: language/poetry??? and crappy sculpture equals-- uninspired, too sensitive artist trying to get away with "the gesture" which only a true genius can pull off.

ya. not worth the admission, don't go just for this room of poo.

Woops, wrong thread!

@4

Hi Paul,

I’m so happy you came on board and gave thumbs up to Heide. She’s something, isn’t she? All these attacks here against her work really surprise me. I may understand their reactions to her work. When I first experienced her work my first response was what is this crap? Clearly, I didn’t get it. But then I listened to her explain herself and work. It blew me away. I loved the experience of her thick German accent and apparent difficulty with our language. This surprised me too for I found that in listening to her she had, regardless, a remarkably keen sense of doing art. (That Euro centric understanding of art probably has something to teach us.) As she went on, it became clear that there was a profound sense of the contemporary art world in her and that she was not just producing amazing tongue in cheek art objects but was confronting us with something really deep but made of crap. I’m thinking she’s an art superwoman and it’s easy to miss it. So much is ephemeral and so much made of junk and so much understated but ass kicking art wise. I love this woman's art sense.

GaryyyyyyyyFinholt

Maybe it was a silly impulse or maybe I’m just stuck with my personality and how my mouth uses words but I’ve become a little self-conscious about using ‘crap’ to describe the quality of the items Heide distributes spatially in her works. I meant well but there might be better choices even beyond ‘junk’ like cultural detritus, found vernacular pieces of things often overlooked, ordinary trashy portions of life, etc. I meant to revere her not to trash her wonderful physical objects that puzzle the mind in superb ways and search for transcendental linguistic otherness. This is very smart art and I bow to it deeply. At least that's my point of view even if not important.

Juxtaposing the pin-board sea with the Eliot quote has made me think of this installation differently--at least that part of it.

That sea is tiny compared to the rest of the installation's "other creation." Depending on which we way you enter the exhibit changes how that sea could affect your experience of Hinrichs's piece (the pieces held in a room).

But, point being, this review makes me want to revisit the work.