In early September 1964, my parents took me to the eye doctor for the first time. Only a few days before this appointment, I had come home from school completely baffled. With rows of desks and alphabetical seating, the teacher called our names and we took our places. My desk was in the far right back of the room. To begin, we were told to work on the assignment written on the chalkboard. All around me, the other children in the class were pulling paper from their desk, asking if they might sharpen their pencils, and getting down to work. I could not imagine why. There was nothing written on the board. How did they know what to do? I could not see the soft white letters. For me, they did not exist. Continue reading
In a small passageway between galleries in the middle of the Ackland Art Museum, two identical clocks by artist Felix Gonzalez-Torres—placed side by side and touching—hang on the wall just to the left and above the Ackland’s sculpture Spanish Dance by Degas. It is a quiet presentation, but clearly part of the exhibition More Love: Art, Politics, and Sharing since the 1990s. I suspect that many visitors do not see it, favoring the larger and more actively engaging installations and art works in the exhibition’s main galleries. Nevertheless, when More Love closes on March 31st, I will miss this installation most of all.