Sin nombre 2017-18
Cotton, graphite, spray enamel, toner, and lithographic crayon on ball-grained aluminum lithographic plate mounted on dibond.
|A review of the Frick Collection's bronze statuettes collected by Janine and J. Tomilson Hill.|
|Attributed to Adriaen de Vries, Bacchus/Silenus, c.1579-80, bronze, 89.5 cm, private collection, USA, photograph by Maggie Nimkin.|
Visited the Frick Collection on Sunday, the last day the museum exhibited bronze statuettes collected by Janine and J. Tomilson Hill.
|Eva Hesse, No Title, 1970|
I like to go to the Whitney to experience one artist's work — and that is it. The Whitney does a good job of showcasing one work by one artist in a collection of works dedicated to several artists' work. Here is Eva Hesse's sculptural evocation — I call it an evocation of a sculpture because I am not sure if it is a sculpture or something else. Rope suspended from the ceiling in what appears to be haphazard, but on closer inspection, the organization of rope is purposeful, designed. Hanging rope. Hanging garden. Hanging. The feeling I get standing, hanging, hanging around, flapping my arms, my body, in space — this is how this piece makes me feel.
|The Face of Perseus|
|Detail - The Head of Medusa, Metropolitan Museum|
|Terra-Cotta Mixing Bowl, Dionysos and Young Pan, 410-390 B.C., Metropolitan Museum of Art|
Paul Chan, 1st
At the Whitney Museum in New York City, there is currently, as of this post, a video installation made in 2005 by the American artist, Paul Chan.
Upon walking into an open room in the museum's "Singular Visions" collection on the fifth floor, devoted to single pieces of individual artist's art, there on the floor, like a cut into another reality, emanates Chan's video imagery.
|In the Studio, Alfred Stevens. 1888. Oil on canvas. The Metropolitan Museum of Art, New York City|
"In the Studio," is a nice example of art playing on art and reality. Notice the model sits on a couch entertaining visitors to the artist's studio. The unfinished painting of Salomé is perched on the easel to the right. The piece plays on the viewers perception of reality. Is the model posing for the work or is the representation of the unfinished work the work? Where does art end and reality begin? Works of art adorn the wall, as well. Notice the mirror. Another nod by Stevens of the mimetic nature of art. Does art imitate life or does life imitate art? The piece becomes more than a mise-en-scène of the artist's studio, but is a representation of the mimesis itself, the artist's craft, and the effect art has on the viewer viewing an artist's work, as if Stevens is inviting us to view both the process of art and the art itself as art. Brilliant.
Noah Lyon, an artist in New York City, has showcased at the New York Art Book Expo his poster image of an amalgam between Hitler and Ronald McDonald. Strangely, the combination seems appropriate, don't you think?
|The Registry Room at Ellis Island. |
Notice the Gustavino tiles.
|The Insectarium is housed in the Old Customs House|
on Canal Street in New Orleans
|Ants go marching . . .|
|Kids gawk at the Insectarium|
|A museum interpreter answers questions.|