KEEP THAT SHIT SAFE

YOU GOTTA KEEP THAT SHIT SAFE

Philadelphia Museum of Art.
They need that barbed wire. They need that big fence.
They need walls and bars that separate the NON-Art from the non-NON-Art
Despite the razors and locks, their are great works outside the museum...






The interaction of the museum with the surrounding city is not limited to the prison look, Louise Nevelsons Atmosphere and Environment XII, 1974 does a more subtle job of highlighting the meeting places between otherwise delineated space...

The outdoor sculpture garden, has some great spaces.

I felt like a small child at an amusement park when my eyes gazed at Oldenbergs "Giant Three-Way Plug, Scale A".

As I ran to it and gave it a joyous hug, the institution seemed to dissolve away and the entire world joined together to make a sensible, playful environment in which people's primary identity is human, and of the earth.  This wonderful experience continued up until the security guard forced me away from the sculpture.

The situation seemed odd.  The stability and durability of the piece combined with its setting contrasted with the sentiment of protection from the guard.

Exploring the drainage grating along the crevasse of the parking garage below is an exciting walk, also frowned upon.  If we are in a place which we call a sculpture garden, the entirety of the space needs to have potential for all sorts of physical engagements.  











To mentally engage with space is not enough, one must use their body and experience the space.  The physical engagement of the space proves mentally rewarding.

The green rough of the parking garage is interesting, and it is certainly an improvement upon the top of an otherwise skeletal parking garage.  The addition of a layer of life on an otherwise lifeless structure brings about an excellent arc in the life cycle of a very beautiful American city.