I’ve had Michelle Kuo’s interview with Robert Breer [artforum, nov 2010] open in my browser tabs for months now, ever since Steve Roden posted about his incredible little toy Float, which was sold at MoMA’s gift shop in 1970, at the same time one of Breer’s original Pepsi Pavilion Floats had been liberated from Expo’70 in Osaka and set loose in the Abby Aldrich Sculpture Garden. [A PDF of The Modern’s Aug. 25 press release for the piece, titled Osaka I, said the toy Floats would be sold for $7.95, or two for $15,” in the Museum’s Christmas Shop.]
Kuo’s is one of the best interviews I’ve seen with Breer; most never got past the basic, “how did you get into animation?” “So you lived in Paris on the GI Bill?” chestnuts. With what is now a terrible lack of urgency, I’d made a few attempts to track down Breer this year, in hopes of following up with him about what he’d probably consider the least important aspects of his creative practice: the commercial work and product design and TV animation [including still unidentified segments on The Electric Company] he would bring up–and then insist be kept separate.
Because Breer’s consistently innovative filmmaking and playfully minimalistic/animalistic sculptures–and the fact that he did his most monumentally awesome art work for Pepsi–hinted at the potential relevance of the work he kept in his commercial closet.
Which, amusingly, is not really the point, except to say I want to find a Float of my own, please.
No, the immediate point is, wow, how awesome is Breer’s 1966 sculpture, Rug? This was the work that introduced Breer’s sculpture to me, at a show that also opened my eyes to the revelatory breadth of his filmmaking. It was recreated for the first time in decades in 1999 at AC Projects. Their small second floor space in off-Chelsea was creeping and crawling with little Breer sculptures, while the Mylar Rug slowly shifted around in place. The other works felt alive, droid-like. Rug‘s movements were creepier, more ominous, like something was alive underneath it.
Good for the Walker, it looks like they acquired the mylar Rug [there are others, in other colors/materials] just this year.
Anyway, while poking around GB Agency, Breer’s Paris gallery, I came across this sketch, dated 8/71, which includes an incredible proposal for a Rug piece made from an American flag. [The text underneath reads, “float flat on floor (flags) + motors”.] The storyboard-like drawing not only ties Breer’s sculptural and animation projects together nicely; the other three sequences–“cloud in sun,” “bushes in breeze,” and “daisies”–help site Breer’s work in observation, duration, and the natural world. Which may have mitigated the political implications in 1971 of something lurking under a crumpled US flag.
In any case, I expect, if not exactly look forward to the day when, this work will be realized for a future Breer retrospective.
Skip to content
the making of, by greg allen