Another Take on Weyerhaueser's Elevations
An exhibit at the Pacific Rim Bonsai Collection

by Matt Chroust
November 16, 2004

Having read several strongly negative reactions to this exhibit, I thought I would comment on some of the displays that I thought were of particular interest. The Elevations exhibit repeats a theme of allowing artists to incorporate bonsai as an element of a mixed media display. In the 1992 Artful Environments exhibit at Weyerhaueser, artists explored the use of backdrops and accessory elements.

I've highlighted a few of the more common comments to consider each one in light of some of the displays.

"Conventional Wisdom: The Pot Must be Centered!"

1. Evergreen Pear

Fig 1. Pear Display - (Click to enlarge)

A common point of criticism of the Elevations exhibit has been the balance and placement of the bonsai as a component of the artistic whole. Coming from the perspective of bonsai enthusiasts, many of us have preconceived notions about the proper way to display bonsai, based on common practices. Conventionality aside, this display is one example that I think is actually quite outstanding. The iron stand with laminated glass provides a strong vertical element that is dynamic and organic at the same time. Decorative fillagree of leaf/fish shapes serve the function of supporting the pedestal itself and integrating what might otherwise be a very cold vertical column with the organic shape of the bonsai. The relative weight of those details, left and right, complement the movement of the tree in the opposite direction. The pot is in fact well centered on the stand. (However it's worth noting that the tree itself is planted well off-center in the pot). The rust colored ironwork are a wonderful complement to the rugged bark of the pear, and the pressed glass really brings this display to life. I personally find it interesting that no mention was made of the very formal rectangular, straight-sided pot that this very informal bonsai is planted in, which to me, is a more incongruous element.

"Conventional Wisdom: The Stands are too Unconventional!"

2. Chinese Juniper

Fig. 2a. Chinese Juniper by Amy Liang

The colorful stand for this Chinese Juniper presents a very controversial element. A "bonsai person" would probably never arrange a bonsai with a stand whose color draws attention to itself. The stands typically used in bonsai display are subdued, earthtones that harmonize with the tree and never call attention to themselves. However, when the bonsai is incorporated as a component of a larger art work, are the expectations the same? I find it very interesting to see what happens when artists are challenged to use the bonsai as a component of their work, and see what results from a different interpretation of what a bonsai might be.

Fig 2b. An off center pot!

If you look very closely you'll notice that the pot is off-center on the stand. This artist apparently hadn't read the bonsai display handbook. Does this mean that the result is not artistic? It's also well worth note that this tree has been conventionally displayed with a similar offset! It's difficult to know exactly whom to blame for this detail, but it seems a relatively minor point in the scheme of things. This stand here suggests to me a creative, or perhaps destructive fire that transforms the bonsai. The energy of the flames repeat in the directional and radical styling of the branches and deadwood.


Now what would a bonsai person want to see?

Does changing the color make it ART?

Consider this "toned down" virtual of the same stand. I'd bet it's generally more acceptable to the bonsai enthusiast. It all reminds me a little of a fashion show, where the outrageous designs that attract all the attention on the runway get seasoned down to match the tastes of the general public. Does that make the dramatic runway couture or the firebreathing bonsai stand less "artistic?" I don't think so.





3. Staghorn Sumac

Fig 3. Staghorn Sumac inspired by Seuss

The Cat In the Hat that forms the support pillar for this staghorn sumac is another example of a non-traditional element. Ordinarily a stand is selected that complements, but does not upstage the bonsai. Here we have an example that is entirely the opposite. The tree complements, but does not upstage the stand. Is the result therefore less artful?

"Conventional Wisdom: The Stands are too narrow or too small!"

4. Japanese Black Pine

Bonsai are conventionally displayed on relatively wide tables and slabs that

Fig 4a. Japanese Black Pine

provide a horizontal grounding to the tree's vertical dynamic. Several of the designs had their own interpretation of how a tree might be displayed. One interesting display included an juvenile accessory planting at the base of a tall pillar. Uninterrupted by any wide tabletop, the column drives upward into the canopy of the tree.

Fig 4b. Japanese Black Pine Detail A long, rugged road

A young pine in a metal nursery can is connected by a rough piece of barbed wire that encircles the pedestal, symbolizing a long hard life. It's hard to appreciate details like this from a photograph on the Internet.

"Conventional Wisdom: This stand knows its place!"

5. Atlas Cedar Cascade

Fig 5. Atlas Cedar

After the exciting and interesting stands we've reviewed above, this simple wood column brings us full circle to a more classical aesthetic. The colors are soft and the proportions are more typical of the traditional bonsai stand. The words "tasteful" and "classical" might come to mind. Still others might consider it "boring" and "traditional."




The Pacific Rim Bonsai Collection's Artful Environments succeeds at presenting a challenge to bonsai enthusiasts to revisit their expectations and consider the tree as an element of a larger whole. In assessing a display like this you need to be able to check your preconceptions at the gallery door and enjoy the bonsai in the context of elements in the larger design. This is a difficult problem for many of us who have been schooled in traditional bonsai appreciation. I encourage those who have an opportunity to visit these exhibitions firsthand to develop and discuss their own opinions.

Pacific Rim Bonsai Collection
2004 Special Exhibit "Elevations"
August 13 - September 29, 2004

TEXT & IMAGES ©2004 bonsaiTALK, All Rights Reserved

Attached Images

darkstand.jpg (50.3 KB, 79 views)

Tree,

I think you've covered this nicely. The use of bonsai as an element (not unto itself) is a concept that takes some time for us "bonsai folk" to warm to and actually see. Thanks for the review.

Mr. Matt,

This is an excellent review of a wonderful exhibit, and I would like to thank you for taking the time to point out the beauty of these displays...In my opinion, although it is quite difficult to step outside the 'conventional box', this is what it will take to create an awareness of bonsai in the United States, and thereby establish our potted trees as an 'American art form'...I realize there are many bonsai artists that cannot accept changes such as this, and I certainly do respect that opinion...I applaud the Weyerhaeuser group for their efforts, both this year and last, in attempting to bring potted trees and other forms of art together...

I wish I were close enough to visit this exhibit in person, but alas this is not the case so I will be content with enjoying it in 2D on my computer screen...

Regards
Behr

Matt,

Interesting thread. It lends substance to the term, "different isn't necessarily better, it's just different".

I myself was not moved, or insulted, by these attempts at something different. I just know I would not opt for them myself. To each his own though. I just hope we, as Americans, don't continuously do bonsai different just because we want to have a unique style. The style must have merit that supports the change. I can't say I see it in these displays, although I don't feel "turned off", so-to-speak.

Experimentation is how we develop good styles though. Kudos to those who try.

John

Hi Matt,

Your counterpoint was much appreciated, especially because you've provided clear and explicit explanations for the aspects of the show that you think were successful. This gives me more to think about, and is an example of how intellegent discussion of art can take place, even on the internet.

Best wishes,
Carl

Matt,

I can't thank you enough for this great article. It gives me a lot to think about in terms of looking at bonsai.

Outstanding contribution to a future curriculum on bonsai appreciation.

Attila

I know this won't be a popular opinion but I feel this way nonetheless. I believe bonsai as an artform in the US is still in its infancy. Exhibits such as the one discussed above to me seem to be attempts to run before we can even crawl, and falls flat on its face.

I rarely see traditional, formal displays even attempted in the US, and I think the vast majority of us (myself included) would benefit from practicing these further before experimenting. I can't imagine we are so bored of these things that we already have to experiment, or go the nonconventional route just to be different from other countries. Perhaps the Pacific Rim Collection and other elite bonsai collections should lead the way in teaching the public about bonsai and help establish a conventional norm so that all can understand fundamentals of bonsai display artistry and with a mental picture of this, individuals at a later point in time can better assess the nonconventional attempts of display.

Howard, I understand what you mean, but your post might lead an uninformed person believe that Weyerhaueser (and others) don't teach fundamentals. In fact, some have been doing so for years (Weyerhauser, in a series of Sunday lectures from May through September. And second Saturday lectures. The presentation on August 14th, 2004, for example, was Creating a Formal Bonsai Display.)

http://www.weyerhaeuser.com/aboutus...collectione.asp

Regards,

Matt

Matt,

Thanks for the clarification. I am happy to hear that the fundamentals are tought.

heyMatt; Frankly I just don't understand why you feel the need to bring up this subject for a second time. During the last go-round there were 5 discussions of the cat-in-the hat and 23 vague references (most of which poo-pooed the neon red stand) to one or two of the other stands, YET you have the audacity to discuss no less than five different displays. And to make things worse you seem to show a penchant for using underhanded techniques like logic, clarity of thought and constructive criticism. Didn't the fact that 63 of the 85 previous postings never even discussed any particular display stand teach you anything?

And what about all the previous references to post-modern relativism, pornographic expresso bars, Goya, El Gecko, and automotive bumper design. You seem to have conveniently avoided bringing up these important topics, didn't you?

While you seem to skirt the issue that these displays don't represent the best efforts of "traditional" bonsai display, surely you would support someone who wants to offer his new $300 polished rosewood table for 6 weeks of OUTDOOR use in Seattle's weather. This certainly would dress up any display and demonstrate their point of view perfectly.

Hey what about the Golden State Bonsai Federation exhibit in southern Cal. shown in pic 1 below. Those stands definitely are not the least bit artistic (plus many of the top plates are too small). I'll bet their suggestion box is overflowing with complaints and suggestions for replacing those stands. Maybe we should sue them for lack of compliance (I can talk to Mark Gerragos about representing us).

Lastly, I would like to say that I agree with the ranters who say that a formal bonsai exhibit is like a website gallery in that it presents an opportunity for the presenter to put his/her best foot forward. So get out the furniture polish and your best linen table covers as shown in pic. 2.

Facetiously yours, heyMikey!!

Attached Images

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