Orly Genger’s outdoor installation opens at deCordova in November; includes 1.4 million feet of painted rope
DeCordova Sculpture Park and Museum is pleased to announce that 2011 Rappaport Prize recipient Orly Genger will install her monumental installation Red, Yellow and Blue in the Sculpture Park this fall. Slated to be on view at deCordova from November 1, 2013, through summer 2014, it is among deCordova’s largest and most ambitious installations to date. Originally commissioned by the Madison Square Park Conservancy (MSPC) in New York City, where it was on view during the summer of 2013, Genger’s project is a notable collaboration for both MSPC and deCordova, as it marks the first collaboration between the two institutions.
Red, Yellow and Blue features Genger’s renowned usage of hand-knotted, paint-covered nautical rope, configured in bright, undulating walls in three primary colors that wind through deCordova’s 30-acre lawn, pathways, and hillsides. The work is comprised of 1.4 million feet of rope collected from the Eastern seaboard and 3,500 gallons of paint, weighing in at over 100,000 pounds. Red, Yellow and Blue will be re-shaped and re-sculpted from its MSPC installation to adapt to the contours of deCordova’s variable landscape. The miles of layered rope will redefine the topography of the Sculpture Park, bring aspects of the New England coastline to Lincoln, and create interactive environments that invite visitors to experience the landscape anew.
“For its second life at deCordova,” Genger notes, “I wanted to create a piece that would encourage visitors to travel through the Sculpture Park grounds as opposed to holding visitors in a space as it did in Madison Square Park. Like an elongated sentence meandering through the landscape, Red, Yellow and Blue will move and transition from ground to ground and color to color.”
Genger’s piece alludes to works of modernist icons, such as Barnett Newman’s 1960s painting series Who’s Afraid of Red, Yellow and Blue?, and Richard Serra’s massive, site-specific sculptural installations. However, unlike that of her male predecessors, Genger’s process involves the acknowledgement of collective labor. According to Genger, “I wanted to create a work that would impress in scale but still engage rather than intimidate. The tradition of knitting caries the sharing of stories and the installation draws on that idea.”