{"id":1113,"date":"2009-09-27T21:11:24","date_gmt":"2009-09-28T04:11:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/09\/leo_saul_berk_caves_mines_and\/"},"modified":"2009-09-27T21:11:24","modified_gmt":"2009-09-28T04:11:24","slug":"leo_saul_berk_caves_mines_and","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/09\/leo_saul_berk_caves_mines_and.html","title":{"rendered":"Leo Saul Berk: caves, mines and hideouts"},"content":{"rendered":"


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\n<\/m:rmargin><\/m:lmargin><\/m:dispdef><\/m:smallfrac>Monty Python: <\/p>\n

First sad sack:<\/i> We were raised in a corridor. We longed for a room.
Second sad sack:<\/i> We longed for a corridor. We were raised on
\na road.<\/p><\/blockquote>\n

Not since 17th-century Chinese painters focused on the fluid connectives between forms has empty space been as riveting a subject as it is now.<\/p>\n

Rachel Whiteread<\/a> is crucial in this context, but by the time she began to explore the space between legs of a chair, for instance, Bruce Nauman<\/a> had already been there and gone. (The peerless Peter Schjeldahl<\/a> described their relationship as Nauman’s Chuck Berry to Whiteread’s Beatles.)<\/p>\n

In Seattle, Leo Saul Berk has his own version of the theme: empty space as landscape narrative. In his exhibit at Lawrimore Project<\/a>, Deep, Dark,<\/i> he maps the volumes of famous undergrounds, including the hole in which Saddam Hussein unsuccessfully sought refuge after the U.S. invasion of his country on trumped-up charges.<\/p>\n

Spider Hole<\/i>, 2009<\/b>  Fiberglass, foam, resin and glass.  6 x 4 x 10 feet. <\/p>\n

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