new-york

Patrick Ireland

Visual Arts Museum

Patrick Ireland’s installation piece Camera radiated a genius loci of exceptionally charming gentility. By using his characteristic materials (rope, nylon thread, and now, pale paint on walls) and a minimum of visual manipulation (just “lines” of rope), Ireland does little to upset the calm of the bare white room. He doesn’t push; his perfectly achieved effects are a function of humility and controlled passiveness. There is art which, by being resolutely and aggressively blank and empty, forces the viewer to confront its obstinacy; Ireland walks the thin line between blankness and its tendency to be pushy, and blankness as self-effacement. Such balancing is technically and visually faultless, but it does not leave one with the feeling of full experience: the information is quickly depleted.

The Visual Arts installation filled a room with a number of rope manipulations: one, an incomplete

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