Keith Edmier: Piano Legs I-III
Keith Edmier constructs illusions from everyday fragments installed in meaningful configurations. “Installation art” is one category of contemporary art making. Critics continue to debate the origins of installation art, including as early twentieth-century precedents the “Sixteen Miles of String” Marcel Duchamp wove through the 1942 exhibition First Papers of Surrealism; Kurt Schwitters’ “Merzbau”, a towering structure that took shape in the middle of the artist’s residence over decades (1923-47); and Brancusi’s studio (c. 1920-1948), a privileged space where boundaries between furniture and works of art eroded and individual sculptures were allowed, Pygmalion-like, to interact. The configuration of “Piano Legs” as installed at the Henry represented the artist’s ideal for the work, with Piano Leg I and II each six feet from a corner and Piano Leg III on the floor between them. This makes for a provocatively-and perhaps mystifyingly-empty gallery: a space to allow you time to hear your own thoughts.