One enjoyable activity to partake in at the Pulitzer Arts Foundation in St. Louis during the „Scott Burton: Shape Shift“ retrospective is observing people trying to sit on the Two-Part Chaise (1989), a granite lounger outside the museum. Visitors cautiously approach the unique furniture sculpture, contemplating the challenge of reclining on it. Some boldly sit down, while others take a more gradual approach. The act of sitting on the chaise becomes a spectacle in itself, with individuals navigating its unconventional design with varying degrees of grace. Those wearing dresses proceed with caution to avoid any wardrobe malfunctions.
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The experience of interacting with Two-Part Chaise encapsulates the tensions present in Burton’s work: the balance between form and function, art and utility, and public versus private engagement. His art thrives on embodying these contrasts without seeking resolution. The retrospective showcases Burton’s exploration of irreconcilability in various aspects, including materials, identity, communication, and meaning itself. A shapeshifter in his own right, Burton straddled the worlds of post-minimalism and expressive representational art, weaving queer subtext into his creations.
Burton, originally from Alabama, transitioned from being an art critic to a performance artist in the late ’60s, engaging in provocative works that challenged societal norms. His later sculptures, especially his unconventional chairs, subvert traditional design and challenge the notion of functionality. The retrospective presents a comprehensive view of Burton’s diverse output, organized thematically to delve into the dichotomies that define his artistic practice.
While the exhibition layout may feel disjointed at times, with sculptures from different periods coexisting in the same space, it offers a compelling introduction to Burton’s artistic evolution. From futuristic aluminum chairs to enigmatic marble tables, Burton’s creations exude a sense of intrigue and innovation. The juxtaposition of inhospitable materials in the stark museum setting emphasizes the complexity and depth of his work.
On the second floor, Burton’s playful side shines through in pieces like Child’s Table and Chair (1978) and Formica Lawn Chair (1979), which blend elements of humor and subversion. These works reveal another facet of Burton’s artistic identity, adding layers of depth to his already multifaceted oeuvre.
Solche Dissonanz tritt auch im unauffälligen Caféstuhl von 1987 auf, dessen offene Stahlrückenlehne das umgekehrte Dreieck ist, mit dem Nazis Schwule gebrandmarkt haben.