The first part of Robert Stadler Playdate, Stadler’s solo at The Glass House is now open to the public. The exhibition was initially planned for 2020 @robertstadlerparis In the Sculpture Gallery, Stadler has created an installation, Richard, which playfully addresses Johnson’s concept of “safe danger.” Johnson was known for integrating a sense of titillation within his architecture – at the Sculpture Gallery its glass ceiling and central, rail-less stairway are examples of this. Stadler statically places nearly a dozen painted bowling balls, which clearly indicate movement. These spheres combine the utilitarian with the artistic in an environment filled with precious works by major figures of postwar 20th-century American art, from Frank Stella to Michael Heizer. In a nod to Richard Artschwager’s Yes/No, which employed bowling balls inscribed with “YES” and “NO” to be distributed on a gallery floor, Stadler reinterprets the traditional black bowling ball as something that begins with color and then needs to be altered with the addition of black to its surface before curating these among The Glass House’s notable permanent collection. n the Sculpture Gallery, Stadler has created an installation, Richard, which playfully addresses Johnson’s concept of “safe danger.” Johnson was known for integrating a sense of titillation within his architecture – at the Sculpture Gallery its glass ceiling and central, rail-less stairway are examples of this. Stadler statically places nearly a dozen painted bowling balls, which clearly indicate movement. These spheres combine the utilitarian with the artistic in an environment filled with precious works by major figures of postwar 20th-century American art, from Frank Stella to Michael Heizer. In a nod to Richard Artschwager’s Yes/No, which employed bowling balls inscribed with “YES” and “NO”. Photo @mikebiondophoto #theglasshouse_newcanaan #RobertStadler #RobertStadler #RichardArtschwager #GlennAdamson #CarpentersWorkshopGallery #trustsites #RobertStadlerPlaydate