Since 2000, David Best has designed and coordinated the construction of approximately half of the Burning Man temples. Established as sacred spaces of reflection and prayer, all of these have been massive, incredibly intricate, wooden structures. During the week of Burning Man, the Temples are adorned by participants with memorials and inscriptions. The structure is burned in a cathartic ritual to inspire healing and community. Since 2005, Best has also built similarly ephemeral temples in public spaces outside of Burning Man, within the United States and in countries such as Ireland and Nepal. Committed to the values of inclusion and participation, he creates opportunities for anyone who wants to take part in his projects, augmenting a core group of volunteers known as the Temple Crew with members of each community where he works.
Originally part of the exhibition No Spectators: The Art of Burning Man, this site-specific installation covered the walls with intricately carved raw wood panels that lead to an ornate altar. Wooden placards were provided for visitors to write a personal message and leave within the installation [on show from March 2018 to January 2020].
Bronzes provide a body through which gods make themselves available and accessible to humans. Inspired by the verses of south Indian poet-saints, sculptors sought to endow each bronze deity with breathtaking presence.
The poet Sambandar expressed the impact of encountering Shiva embodied as Lute Player, one of the god’s many forms:
The coral red Lord came to me chanting sweet Tamil poems. He stayed, playing the lute, singing songs to the beat of the mulavam and montai drums. Now he is gone. Taking my beauty with him, Leaving me pale as the kumil flower.
This mighthy protector of the Buddha once stood guard at the entrance to Ebaradera, a temple in Osaka, Japan.
The Freer Gallery of Art and Arthur M. Sackler Gallery, National Museum of Asian Art
Though he was famously suspicious of photographic reproductions of works of art, Freer felt an immediate affinity with Alvin Langdon Coburn, who came recommended as ”a young man of taste” who shared his host’s enthusiasm for the art of Whistler. Like Freer, Coburn believed that Whistler was preeminent among contemporary painters. Many of Coburn’s pictorialist photographs were indebted to both Japanese prints and Whistler’s tonal landscapes and urban views.
At Freer’s house, Coburn worked from six in the morning until ten at night to photograph the collection. During those long hours, Freer became comfortable enough with Coburn to pose for a series of portraits. Never intended for public display, these images document Freer’s intimate relation ship with his collection. Though it took ”heaps of hard work” to capture the ”elusive” qualities of the art, Freer enjoyed the photography project. He admitted to a friend, ”You will understand what fun we are having”. [source: Freer Gallery of Art]
Photographs of Freer with works from the collection, 1909, by Alvin Langdon Coburn
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