toward the social and political — often with a dose of the autobiographical — I was eager for Dr . Galpin to show me around and shed some light onto the collection and its signifi cance .
One of the fi rst pieces Galpin began with was Jenny Holzer ’ s Lack of Charisma Can Be Fatal . The marble footstool bears the titular phrase — one of Holzer ’ s “ Truisms ”— engraved in the top of the small sculptural work . Galpin noted its placement , in front of a pair of glass doors that open to a small courtyard , and mentioned that the hardwearing work can be moved to the area outdoors . Light and shadow danced over the smooth surface as she spoke of the piece , and we both admired the subtle interaction between artwork and space ; this interplay would later be observed as a strongly recurring theme throughout the selections on display . Around the corner , at the end of a long hallway , is another work by the neo-conceptual artist , though Holzer employs oil on linen with this piece , titled 6 . Text : U . S . Government Document . The abstract painting with a strong political message is a far deviation from Lack of Charisma Can Be Fatal , so much so that one might not readily connect the two works to the same artist . The fact that these disparate pieces have been acquired by the same collectors , though not directly juxtaposed in their presentation , hints at the playful yet sophisticated nature of the collection and curatorial approach .
Though the Alfond Collection is quite eclectic , many parallels can be drawn between the works that provide the group of works with
Lack of Charisma Can Be Fatal , Jenny Holzer , Chinese St . Laurent Noir marble
a strong cohesion . Some connections are glaringly obvious like the Al Loving ’ s Untitled , and Jack Whitten ’ s E-Stamp IV ( Five Spirals : For Al Loving ); related to technique or materials , seen with Marco Rios ’ The Woman Made for Me Was Not Made for Me and Maya Lin ’ s Silver Thames ; or a bit more esoteric , like John Giorno ’ s We Gave a Party for the Gods and the Gods All Came and Deborah Kass ’ Triple Ghost Yentl ( My Elvis ). The multitudinous avenues of discourse between the pieces in the collection ensure a lasting impression and a continuation of the conversation that they incite once outside of the confi nes of the hotel .
Silver Thames , Maya Lin , recycled silver cast 1 of 3
We wrapped up the tour with the Tracey Emin I had initially spied upon arrival at The Alfond Inn . As we chatted in front of the work , a mother and her daughters walked over and asked if they could take a photograph in front of the piece . Galpin and I obliged and stepped out of the way ; she remarked how popular the piece had been for photos . I wondered if it was the work ’ s universally sought-after theme of love , or its prestige , that enticed the group of women to their photo-op . Was one intention more so that of a pure aesthete than the other ? Then I wondered if its deliberateness , or lack thereof , even mattered . I thanked Galpin for the fantastic tour and for sharing her passion with me . As I left , I glanced toward the reception desk , at the neon Joseph Kosuth work hanging overhead . The phrase “ Language must speak for itself ” glows confi dently and bright . Art must speak for itself , too , and this collection has an undeniably powerful voice . photos by Jason Fronczek
Tours of the at The Alfond Collection of Contemporary Art are given every Sunday at 1pm , and the first Wednesday of the month at 5:30pm at The Alfond Inn .
You can see more at : alfondinn . com
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