#barryleva

Study for Sculpture Occupying 2' Area : "Institutional Template," Readings from above (Internal Observation from 1. Conference to 2. Lab), Barry Le Va, 1991, MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 76 1/2 x 50 1/4" (194.3 x 127.6 cm) Medium: Cut-and-pasted cardboard with ink and pencil on paper

Study for Equal Wall Base Divisions Crossed, Barry Le Va, 1973, MoMA: Drawings and Prints

Gift of Malcolm Goldstein Size: 33 1/8 x 41 1/2" (84.2 x 105.5 cm) Medium: Ink, and colored pencil on gray paper

Accumulated Vision (Separates): Length Ration (In Perspective) #III, Barry Le Va, 1975, MoMA: Drawings and Prints

Gift of Ileana Sonnabend Size: 38 1/4 x 62 3/4" (97 x 158 cm) Medium: Ink and colored pencil on gray paper overlaid with vellum

Untitled from the series 4 x 4 x 4, Barry Le Va, 1990, MoMA: Drawings and Prints

Given anonymously in honor of Andrea's birthday Size: Composition: 47 13/16 x 47 13/16" (121.5 x 121.5 cm) Sheet: 47 5/8 x 47 13/16" (121 x 121.5 cm) Medium: Screenprint

Criss-Cross Corner Shot - Plan View, Barry Le Va, 1970, MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift (purchase, and gift, in part, of The Eileen and Michael Cohen Collection) Size: 19 x 24" (48.3 x 61 cm) Medium: Felt-tip pen, colored pencil, and pencil on paper

Much thanks go to Dia Beacon for keeping its doors open during the pandemic. More than ever, being able to experience spaciousness during confinement, in a safe environment, feels like a luxury I’m grateful for. The deliberately sparse spaces offer room for the mind to wander [they allow room for individual imagination*], to get inspired, to appreciate the flow of natural light pouring through the many sky and side windows. 

These spaces create a sense of serenity, where one can not only discover art but also rediscover and reconnect with oneself. The stories told are quite different from the interpretive exhibits I am used to create; no interpretive panels with long explanatory texts, sometimes better suited for a book, but instead, a label, and... not much else. Actually, a lot more: a door wide opened to intuitive experience, to make our own interpretation of what is in front of and all around us [immersion with critical distance*]; in some ways, the journey is one of inward looking. The space and the artwork, together, create a vibration. If we are in tune, it reverberates and amplifies. It feels like a walking meditation, and I wish I could infuse my work and projects with some of this energy, which leaves a long-lasting, powerful feeling. I feel replenished, satiated, and can return to my daily life, inspired. Thank you, Dia!

Some of the installations and art experienced, in the order of our visit: Barry Le Va, Carl Craig, Dan Flavin, Richard Serra, Louise Bourgeois, Lee Ufan, Gerhard Richter, Donald Judd, Michael Heizer... and of course, the ethereal presence of Robert Irwin. 

Dia Beacon opened in 2003 in a former Nabisco box printing factory and was renovated with the guidance of artist Robert Irwin. Architects: Alan Koch, Lyn Rice, Galia Solomonoff, and Linda Taalman, then of OpenOffice.