{"id":849,"date":"2009-07-24T19:50:57","date_gmt":"2009-07-25T02:50:57","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/07\/art_to_sit_on_in_seattle_new_y\/"},"modified":"2009-07-24T19:50:57","modified_gmt":"2009-07-25T02:50:57","slug":"art_to_sit_on_in_seattle_new_y","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/07\/art_to_sit_on_in_seattle_new_y.html","title":{"rendered":"Sitting on the blue chip: chilly in Seattle, fun in New York"},"content":{"rendered":"

Seattle, Olympic Sculpture Park<\/a>, Louise Bourgeois<\/a> – Eyeball<\/i> Benches<\/i> (Image via<\/a>)<\/p>\n

\"eyeballbenches.jpg\"<\/span> <\/p>\n

New York, Franz West<\/a>, The Ego and the Id<\/i>. NYT slide show\/story here<\/a>.<\/p>\n

\"franzwestseat.jpg\"<\/span>While the West invites use, sitting on an eyeball isn’t for everybody. Bourgeois’ three sets of benches have been in place at southwest edge of the park for almost two years, beside her Father and Son<\/i> fountain, yet they remain a hard sell for the sore of foot. Unless they’re children, they look at them and continue to stand. <\/p>\n

Bourgeois: <\/p>\n

They are the expression, in abstract terms, of emotions and states of awareness. Eighteenth century painters made ‘conversation pieces’; my sculptures might be called ‘confrontation pieces.’<\/p>\n<\/blockquote>\n

The benches that get lots of use in the park are Roy McMakin<\/a>‘s. The seating and table spell out love<\/i> and loss<\/i>, with an ampersand as neon connective, visible to ships at sea. (Image via<\/a>)<\/p>\n

\"roymcmakinlove&loss.jpg\"<\/span><\/div>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Seattle, Olympic Sculpture Park, Louise Bourgeois – Eyeball Benches (Image via) New York, Franz West, The Ego and the Id. NYT slide show\/story here. While the West invites use, sitting on an eyeball isn’t for everybody. Bourgeois’ three sets of benches have been in place at southwest edge of the park for almost two years, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-849","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/849","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=849"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/849\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=849"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=849"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}