YOU ARE HERE: LAT HomeCollections

Artist Tim Hawkinson floats an idea at Getty

March 03, 2007|Susan Emerling | Special to The Times

Tim Hawkinson's jury-rigged homemade aesthetic could scarcely be more antithetical to the J. Paul Getty Museum's modernist, geometrically precise Richard Meier campus and the gilded, pristine masterpieces on view there.

Yet Hawkinson's "Uberorgan," a fully functioning but rudimentary self-playing musical instrument made up of enormous polyethylene balloons that dangle from the ceiling, will make its West Coast debut Tuesday in the Getty's glass, steel and travertine entrance hall. For six months, it will float above visitors and moan out its one-octave score in five-minute bursts, every hour on the hour.

The "Uberorgan" will be exhibited along with four new works commissioned from Hawkinson -- a life-size sculpture of a bat, a large clay sculpture of a brontosaurus, a monumental photo-collage of an octopus, and an ink wash painting of a dragon -- called "Zoopsia" and inspired by the hallucinations experienced by alcoholics during withdrawal from heavy drinking. These are the first in a planned series of commissions of contemporary art designed to allow the Getty, whose collection, with the exception of photography and sculpture, stops at 1900, to participate in ongoing artistic production.

"Exhibitions like this one allow us to put our own collections in a new light and make explicit the links between historical and current artistic practice," said Getty Director Michael Brand.

According to Peggy Fogelman, assistant director for education and interpretive programs and the organizer of the exhibition, Hawkinson was chosen as the first artist in the series because he is based in Los Angeles and because the Getty would have "the privilege" of premiering the "Uberorgan" on the West Coast, a sculpture that Fogelman calls "a major work by a major artist."

When the museum's preparators and conservators began opening the 17 crates containing the "Uberorgan," they knew they were in for a new experience. Crates usually arrive at the Getty filled with "beautiful, historical works of art," said Fogelman. "Everyone wears gloves, we document every item." Hawkinson's crates contained nuts, bolts, frayed yellow rope, PVC pipe and air compressors. "It was hysterical dumping out a box of screws and photographing them," Fogelman said. "They're the same screws that you can buy at Home Depot."

One object photographed as it was gingerly removed was a paintball gun Hawkinson had used in previous installations to mark a spot on the ceiling where he wanted to tether the balloons. Paintball guns are emphatically not part of the Getty's installation protocol. Besides, Hawkinson could not improvise as he had during the original 2000 installation at Mass MoCA in North Adams, Mass.

Michael Mitchell, Getty lead preparator for special exhibitions, said details had to be worked out in advance and approved by the L.A. Department of Building and Safety. The city mandated myriad restrictions, leaving only 27 points where 2-inch eye bolts could be welded onto the building's superstructure to anchor the work.

Hawkinson, Mitchell and a crew of four to seven staff members worked mostly at night for nearly two weeks to install a somewhat reduced version of the original sculpture. The artist chose six of the original 12 balloons -- a "feeder" balloon and five "satellites" -- partially inflated them and manipulated them into shape by cinching their orange fishnet casing. Using a rope and pulley, each 75-pound balloon was then lofted into place and tied to one or more of the eye bolts near the 55-foot ceiling by workers using a bucket lift. A new steel cable was attached as a backup. The satellite balloons were connected to the feeder balloon by translucent tubing, and the feeder to a hidden air compressor, which inflates them with 1,500 cubic feet per minute of air pressure.

On occasion, Hawkinson had to convene the crew and give a lesson on his homemade techniques. Mitchell and his staff strive for perfection, but Hawkinson deliberately avoids that quality. "We were about to hang one of the balloons," Hawkinson said during the installation, "and one of the preps said, 'You better take that piece of tape off that's stuck to the netting.' I said, 'What are you talking about? We're going to leave the tape on.' The balloons pick up these little attachments, dust has crept into the seams. It has gathered this nice patina that plays well off the beautiful pristine building."

Los Angeles Times Articles