Jennifer Rubell

Creation
October 30, 2009

 
'Creation' was inspired by the first few chapters of Genesis, and three scenes in particular: the creation of the Garden of Eden, with Adam tilling the soil; the creation of woman; and the expulsion and Fall. The location was chosen mainly for the use it no longer has, as the DIA Center for the Arts. This seemed appropriate for what is fundamentally a story of exile by choice. On each floor are a series of food installations that people can and must interact with in order to have a meal. On the fourth floor are the drinking components: 3,600 glasses of varying sizes and shapes; one ton of ice cubes, with 30 ice scoops mounted on the wall; one ton of roasted peanuts in the shell, in a pile; and, in the 28-foot-long elevator, a pedestal of wine, liquor and mixers. On the third floor are the savory meal components: one ton of barbecued ribs, with honey dripping on them from a honey trap mounted to the ceiling; five tables, each seating 100, with a series of pots running down the center filled with side dishes, forks, knives, toothpicks, napkins, and wetnaps; and groupings of water coolers, filled with red wine, white wine, and water. The liquor elevator descends to this floor. On the second floor are the dessert components: three felled apple trees, with their apples still on the branches; three nearly four-foot-cubed industrial bags filled with powdered sugar, with cookies buried inside and shoulder-length gloves to fish them out; and seven chocolate facsimiles of Jeff Koons ‘Rabbit’ sculpture, with hammers mounted on the pedestals to destroy them. The liquor elevator also descends to this floor. The project as a whole serves many functions: as a commentary on the artisanal, the original, the unique and the appropriated; as an exploration of ways to engage art history through a medium virtually absent from it; as a catalyst for a working interaction between viewers and objects, and viewers and each other; as a meal; and as a questioning of the boundary between art and all that exists to support it.
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Photos by John Berens and Kevin Tachman