To some, Burning Man seems like a relic of the past, made for those who miss Woodstock. To others, it offers escapism when a touch of wonder is desperately needed. The annual event in Nevada’s Black Rock Desert is getting a chance to speak for itself at the Renwick Gallery with “No Spectators,” a collection of work from Burning Man mainstays.
After over thirty years of operation, the experimental gathering gained a reputation as a desert bacchanal. To those not involved in Black Rock Culture, the sunburn and stupefied behavior can be the final impression. However, attendees contribute the euphoria to the art and design, as much as the illicit substances. Curator Nora Atkinson has assembled the collection to show Washingtonians the childlike wonder the event promotes.
Of course, the attendees need not analyze the work deeply to enjoy it. Docents can be found scatter among the rooms, wearing Seussian hats and less noticeable badges. Whimsical as it seems, any conceivable question a guest may have is met with complete sincerity and enthusiasm. The guides can explain all there is to know about the giant metallic dragon on wheels, the wooden temple on the second floor or the stop sign that reads “START.”
Five Ton Crane, a California-based art collective, created the piece “Capitol Theater” specifically for the Renwick. The fully-functional cinema on wheels allows visitors to take a seat and enjoy a film, made as part of the project. Only once you get your head around this concept do you realize everything is a little stranger than initially thought. The theater is anachronistic, showing only silent films and “selling” candy for five cents while exhibiting neon lights and art deco styling. Esoteric, certainly, but it fits seamlessly with its exhibit counterparts.
As I finished walking through the ground floor, “A Series of Unfortunate Events” came to mind. The children’s series gained a devote following during the time I was the age of the intended readership. The themes in the books -- absurdism, Victorian Gothic, self-referential humor, etc -- mirror what I saw as I noted the details in the art. Curiosity and intellectualism are not things to shun, they should be sought out and celebrated. Pieces like Natalia Bertotti and Michael Garlington’s “Paper Arch” beckon the viewer to come closer and find patterns in the seeming madness.
FoldHaus, another West Coast art group, contributed their piece “Shrumen Lumen,” which displayed at Burning Man 2016. Replacing traditional paper with thick slices of plastic, FoldHaus created origami light-up mushrooms that lack the immature feel the description might imply. Powered by attendees stepping on a floor panel, the mushrooms grow and shrink like luminous lungs. Children and adults alike lined up to power the transition with their weight.
The interactivity of the exhibit is reminiscent of the Yayoi Kusama retrospective that had a limited two month run at the Hirshhorn in early 2017. Instead of incorporating mirrors and the Casimir effect as Kusama did, “No Spectators” relies on the mediums of paper and wood- ephemeral and able to go up in flames at a moment's notice.
These types of exhibitions and modern art in general are having a renaissance among a younger generation, gaining popularity in the hyper-visual, social media age. Purists bemoan the constant viewing of art through a phone screen. Curators exalt in having a surefire way to fill their museums each weekend.
In a situation where there is no definitive right or wrong, it’s undeniable that reciprocative art is a growing force that gives no indications of slowing down.
“No Spectators” capitalizes on this trend spectacularly. The pieces displayed are engaging and, as the title suggests, visitors are there to do more than just view. They are there to experience.
A common complaint about the world of art is the seeming air of exclusivity. One may ask “how does this relate to me?” and have disinterest spring from lack of an answer. “No Spectators” lowers the bar to entry by making the exhibit directly relatable to almost no one, leveling the playing field.
The exhibit, like the event is portrays, is a carnival of sensory overload, making you nostalgic for a time that never occured. It is wonderful and confusing and highly recommended. Interested parties should mind the denouement of the display- “No Spectators” will remain at the Renwick until January 21st.