situated by curator David r. Collens—and, when commissioned, by the living artist—to fully embrace the
fields, hills or woods in which it’s placed.
hatch’s former home was turned into the museum
Center. it has galleries for smaller exhibits, a gift shop
and offices, and it is itself a bit of outdoor sculpture.
the building was constructed in part of granite stones
salvaged from Danskammer, an 1834 mansion that
overlooked the hudson river near newburgh, n.y.,
for almost 100 years. Five of Danskammer’s ionic columns are now standing free on the front lawn, like the
ruins of some millennia-old acropolis.
Tiptoe Through the Meadows
the museum Center was our first destination. to get
there from the parking lot, we walked through the
meadows—Storm King is divided into geographically
named sections—and passed two pieces called Iliad
and Adonai. Why? no idea. the former looks like a big
red jungle gym made from sewer pipes, the latter like a
kind of tan cannon. Both scream to be climbed upon, as
my daughter started to do, until we saw the signs asking
patrons to stay off. Still, the physicality of the pieces is
an important part of their power.
From there, we ascended museum hill, adorned
with both large and small sculptures: tall spires that
seem to mimic the trees, hilltop ovals and blocks that
look like welcoming rest stops, rounded shapes that
merge into the far-off mountains.
From atop the hill we looked back down over the
meadow and spotted, in my opinion, one of the coolest
pieces, David von Schlegell’s Untitled. three white pic-
ture-frame squares seem to hover over the grass. As you
move, they frame different views—a sort of real-time
landscape painting. Later, back in the meadow, we see
that the squares are supported on thin poles, which
explains but in no way diminishes the illusion.
(a) 8´x49´ 1˝x 2½˝
(b) 8´x35´ 1˝x 2½˝
(c) 8´x38´ 4˝x
2½˝; (d) 8´x54´
“Storm King is both art gallery and
nature preserve, a theme park for aesthetes.”