Assemblage
Photo credit: Jin S. Lee
Accession Number: C.2017.165.1
Dimensions: 11 in X 10 in X 8 in
Dimensions (Metric): 27.94 cm X 25.4 cm X 20.32 cm
Dimensions (Metric): 27.94 cm X 25.4 cm X 20.32 cm
Source: Janet Nolan
Credit Line: Gift of the artist, Janet Nolan
9/11 Glove Reliquary
Description
Assemblage by Janet Nolan titled 9/11 Glove Reliquary, 2002. The piece is composed of a pile of dusty work gloves, stacked vertically inside of a glass vitrine. Dust has fallen from the gloves and collected in a pile on the bottom of the vitrine.
Assemblage by Janet Nolan titled 9/11 Glove Reliquary, 2002. The piece is composed of a pile of dusty work gloves, stacked vertically inside of a glass vitrine. Dust has fallen from the gloves and collected in a pile on the bottom of the vitrine.
Historical Notes
Lower Manhattan artist, Janet Nolan, collected discarded work gloves worn by the recovery workers at Ground Zero. She packed the abandoned gloves into a glass vitrine as a reliquary.
Lower Manhattan artist, Janet Nolan, collected discarded work gloves worn by the recovery workers at Ground Zero. She packed the abandoned gloves into a glass vitrine as a reliquary.
Curator's Comment
Janet Nolan, an Alabama native, gravitated to New York City to live and work after studying painting and drawing at Georgia State University. Well before 2001, she took advantage of lower Manhattan’s then relatively affordable studio spaces, leasing a ground-floor studio on Warren Street in Tribeca. Although she continued to paint, a new body of 3-dimensional work emerged after she settled downtown, consisting of sculptural assemblages created from cast-off objects Nolan rescued from the trash or found on the sidewalks and streets as she moved about the city.
Nolan was at her downtown studio on September 11th, and remembered the chaos, fright and debris that descended on the neighborhood as the Twin Towers burned and collapsed, with evacuees streaming north to safety. She, too, left Tribeca for Uptown. Days later, she returned to Warren Street under official escort, and quickly resumed art-making as a therapeutic release for the collective trauma she and so many others had experienced.
With eyes already attuned to the potential aesthetic interest of material abandoned on city streets, Nolan took notice of refuse she was beginning to spot outside her studio, attributed to the arrival of emergency responders to Ground Zero. An idea was born, culminating in the two compositions Nolan has offered to the 9/11 Memorial Museum.
The process mirrored her work on related sculptural assemblages of repeated, singular objects found in the everyday world. However, there was nothing mundane about the rescue workers’ gloves and masks. Nolan experienced them as poignant reflections of both the singular and the shared resolve to undo the great pain inflicted by the terrorist attacks and their inconceivable consequences at the Twin Towers. Perceiving sanctity in this mission, the disembodied paraphernalia associated with it assumed a relic-like reverence for the artist.
HIDE
Janet Nolan, an Alabama native, gravitated to New York City to live and work after studying painting and drawing at Georgia State University. Well before 2001, she took advantage of lower Manhattan’s then relatively affordable studio spaces, leasing a ground-floor studio on Warren Street in Tribeca. Although she continued to paint, a new body of 3-dimensional work emerged after she settled downtown, consisting of sculptural assemblages created from cast-off objects Nolan rescued from the trash or found on the sidewalks and streets as she moved about the city.
Nolan was at her downtown studio on September 11th, and remembered the chaos, fright and debris that descended on the neighborhood as the Twin Towers burned and collapsed, with evacuees streaming north to safety. She, too, left Tribeca for Uptown. Days later, she returned to Warren Street under official escort, and quickly resumed art-making as a therapeutic release for the collective trauma she and so many others had experienced.
With eyes already attuned to the potential aesthetic interest of material abandoned on city streets, Nolan took notice of refuse she was beginning to spot outside her studio, attributed to the arrival of emergency responders to Ground Zero. An idea was born, culminating in the two compositions Nolan has offered to the 9/11 Memorial Museum.
The process mirrored her work on related sculptural assemblages of repeated, singular objects found in the everyday world. However, there was nothing mundane about the rescue workers’ gloves and masks. Nolan experienced them as poignant reflections of both the singular and the shared resolve to undo the great pain inflicted by the terrorist attacks and their inconceivable consequences at the Twin Towers. Perceiving sanctity in this mission, the disembodied paraphernalia associated with it assumed a relic-like reverence for the artist.
HIDE
