BSLA Fieldbook Archive | Page 40

served as an indoor training space during World War II , but was also a recreation hall where soldiers would watch movies during their downtime .
For Jamie Horgan and Alex DeMaria , creating art under the name Middle Kingdom , the acoustics of the powder magazine , which originally housed gun powder and other explosives , was the perfect setting for Melody Mill , a larger than life music box . The imposing device was powered by a windmill mounted onto the roof as its haunting sounds reverberated through the space . At times a single tinny pluck was all that was heard , while in stronger winds a raucous concerto would unfold .
One of the biggest challenges with Melody Mill ( which proved to be the case with many of the other island projects as well ) was to devise an engineering and installation plan that considered the limitations of the site . Fort Warren is designated as a National Historic Landmark meaning we were unable to drill into walls , screw in hooks , or otherwise alter the space in any way . Generally , ‘ free-standing ’ was music to everyone ’ s ears , but for Middle Kingdom , a complex system of clamps , scaffolds , and airplane wire was required to ensure their project lived in harmony with the space itself . The extra effort was certainly well worth it as Melody Mill quickly became a visitor favorite , and given its dynamic nature , presented a unique experience upon every encounter .
While many artists incorporated the physical structure of the fort directly into their work , others responded to the natural environment , with panoramic views and dreamy vistas serving as an idyllic backdrop . Regional collective Okay Mountain , created Monument to a Decommissioned Monument , a heroicallyproportioned , partially-tarped figure whose veiled gaze seems forever transfixed on the just-out-ofreach Boston skyline . The mysterious figure on the shore is further enhanced by the surrounding environment as twelve dinosaur-egg-shaped sludge digesters of nearby Deer Island churn away in the distance . In their own unique ways , each artist fully embraced the challenge of executing work away from the white cube , out on the islands , and in conversation with the world around it .
As is to be expected with public arts initiatives , installation was only the beginning of the IAI journey despite months of rigorous planning . Before the cork had left my celebratory bottle of champagne , I was introduced to the ‘ yo-yo factor ’ inherent to public art and most large scale projects .
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