A museum's permanent collection is a direct representation of the message that museum uses to promote itself. The permanent collection is an ever-changing, growing thing. Visitors begin to have favorites or notice when a piece has been switched out. Even when there are no special exhibitions on view, the permanent collection remains.
Summertime
SFO
In May I took a trip to San Francisco--my first vacation in a long time.
First day brunch at Boogaloos
Lobster Roll from Woodhouse Fish Co
On the coast
Whale Skull
The beach
Finally had In-N-Out
Leaving Chinatown
Barry McGee
Forever in love with Rothko
Red-eye back to NYC
In Like a Lion, Out Like a Lamb
March was a busy month (art-wise) for me. I attended my first Armory Show (opening night at that) & visited a lot of new exhibitions. More in-depth posts to follow, for now enjoy my photos.
Checking in at The Armory Show |
Sara & I & my red pants |
The booth for the David Zwirner gallery. Very meta. |
Nate Lowman, an artist in MoMA's collection, turned a membership email into a painting. My job is now art! |
Came with high hopes, left with mixed feelings |
Stand out piece from the New Museum's show by Adrian Villar Rojas |
Degas at the Met |
Mirrors at the Brooklyn Museum |
Keith Haring at Brooklyn Museum |
Cindy Sherman | MoMA
Cindy Sherman opened at MoMA this Sunday & last Tuesday I was able to attend the opening reception. This exhibition has been generating a lot of buzz & the opening was well attended.
I didn't think I was familiar with Sherman's work until I looked her up & came across her "Untitled Film Stills" series. These are a series of black & white photographs shot to resemble stills from films. The images were taken between 1977 to 1980, but reflect films shot in the 1950s and 60s. In these photos, Sherman takes the idea of the female character in film & pushes it further. She is the typical damsel in distress, the jealous housewife, or the shy yet sweet girl next door. Each photo captures a different character & a different emotion. Even in these early photos, Sherman is able to alter her appearance & change her personality enough so you don't think you've been seeing the same woman over & over. I like how this series acts as portraits of the roles women play on film, elevating them from objects of desire into flesh & blood figures that have lives beyond what the film shows.
The entire series is on view within the second gallery of the exhibition--I need to revisit them since it was so crowded during the opening. Below are some of my favorites, taken from MoMA's exhibition site:
I feel the exhibition gives a nice overview of Cindy Sherman's work & makes effort to highlight her earlier work, so viewers can see how she has developed over time (pun not intended). Enjoy some of my photos of the opening below:
I didn't think I was familiar with Sherman's work until I looked her up & came across her "Untitled Film Stills" series. These are a series of black & white photographs shot to resemble stills from films. The images were taken between 1977 to 1980, but reflect films shot in the 1950s and 60s. In these photos, Sherman takes the idea of the female character in film & pushes it further. She is the typical damsel in distress, the jealous housewife, or the shy yet sweet girl next door. Each photo captures a different character & a different emotion. Even in these early photos, Sherman is able to alter her appearance & change her personality enough so you don't think you've been seeing the same woman over & over. I like how this series acts as portraits of the roles women play on film, elevating them from objects of desire into flesh & blood figures that have lives beyond what the film shows.
The entire series is on view within the second gallery of the exhibition--I need to revisit them since it was so crowded during the opening. Below are some of my favorites, taken from MoMA's exhibition site:
Untitled Film Still 51, 1979 |
Untitled Film Still 57, 1980 |
Untitled Film Still 59, 1980 |
Untitled Film Still 63, 1980 |
I feel the exhibition gives a nice overview of Cindy Sherman's work & makes effort to highlight her earlier work, so viewers can see how she has developed over time (pun not intended). Enjoy some of my photos of the opening below:
Entrance to the exhibition; the font changes every few seconds |
Untitled Film Stills |
Untitled Film Stills |
Untitled #489, 1976. Read more here |
Recent
I've been pretty terrible at keeping this place alive. Excuses aside, I'm making a vow to update more. So here are somethings of interest:
- Last week I visited the Met's new galleries of Islamic Art. However, since I was camera-less, you can enjoy this old picture that was the background on my blackberry. I highly recommend visiting the new galleries--I enjoyed seeing something new at the Met & the illustrated manuscripts are amazing.
- I never was much of a gallery go-er, but that's starting to change. On my last outing I went to David Zwirner to see On Kawara's date paintings. I want to do a more in-depth post about On Kawara's work, so for now I'll just post this one photo.
- Two shows I wish I could visit: Ellsworth Kelly’s “Los Angeles” at Matthew Marks Gallery in LA & Vivian Maier at Jackson Fine Art in Atlanta.
- Still working on this series, expect a post soon
- Since I am so good at keeping this updated I started another tumblr: thepoint&theline. Follow it for more art. Also follow my regular tumblr teeth&things if you're up for it.
Sanford Biggers | Sweet Funk: An Introspective
I recently wrote a piece for Gnome Magazine on Sanford Bigger's show, Sweet Funk: An Introspective, at the Brooklyn Museum. I went to visit the exhibition at the end of October & was given permission to photograph pieces in the exhibit. I wanted to wait until the piece was published to share these images.
This was the first time I was introduced to Bigger's work. Through his work he tries to reclaim & reconfigure images & themes associated with Black culture. This is evident in his usage of the wide mouth grin, which alludes to black face, or trees, which speak to the history of lynching. Other themes, such as jazz music & the piano, speak more about the contributions African-Americans have made throughout history. Sweet Funk is made up of nine sculptural installations, with a focus on Blossom (2007), which the museum recently purchased. Please read my piece to learn more!
This was the first time I was introduced to Bigger's work. Through his work he tries to reclaim & reconfigure images & themes associated with Black culture. This is evident in his usage of the wide mouth grin, which alludes to black face, or trees, which speak to the history of lynching. Other themes, such as jazz music & the piano, speak more about the contributions African-Americans have made throughout history. Sweet Funk is made up of nine sculptural installations, with a focus on Blossom (2007), which the museum recently purchased. Please read my piece to learn more!
Blossom (2007) |
Lotus (2007) |
Kalimba II (2002) |
Still from Cheshire (2007) |
Calenda (Big Ass Bang!) (2004) |
(A Flight of Swallows)
[I mean to post this on August 7th--my grandmother's birthday. It is a piece I wrote last year for my Experimental Fiction class & is prompted from reading Wittgenstein's Mistress by David Markson]
My Nana, Eunice Hughes. Thanksgiving 2007 |
My grandmother
is the youngest of twelve children. Growing up she learned things; count the
chirps of crickets to determine the temperature; a Luna Moth lives for seven
days; orcas are actually dolphins.
She takes these
things & draws them in the dirt. She tells me she went around barefoot
because she could. She goes to church for the sound, since cathedrals helped bring
about the birth of harmony—the joining of many tones together.
Days pass.
During migration, the Branta canadensis
(Canada Goose) passes overhead in V-shaped flocks. She wants to call it the
Canadian Goose, but that name is not the ornithological standard. She instead
draws it as well, a waterfowl among her toes.
I ask about the
barn, if it was red like many are. We compare it to other structures of
architecture.
She starts
wearing shoes. She thinks about where she is from: North Carolina. About the
Appalachians. About the subranges. About the state insect (European honey bee).
About the state motto (Esse quam videri).
She grows up,
moves away.
Now my
grandfather enters. He tells her that the humming bird is often mistaken for a
large clear moth. He tells her that speaking begins in the lungs, with airflow
causing the vocal cords to vibrate. She marries him in a tea-length dress.
First they live
in Harlem, then Long Island—a product of two glacial moraines, one acting as a
spine for the island. Because of the movement of glaciers, there is a
difference between the North Shore & the South Shore. They decide on a
small apartment.
I ask where I am
during all of this. She tells me she hasn’t got to my part yet.
The past left by
glaciers doesn’t bother her, & she works at night for an airline that no
longer exists. My uncle is born. My mother is born. I am still waiting.
My mother takes
piano lessons. Two wholes make a major note; a half & a whole a minor.
There is no black key between B & C, & E & F. The piano makes noise
that can be simplified by calling it vibration.
On vacation they
take photographs at the Golden Gate Bridge, only the second largest suspension
bridge in the US (the first: Verrazano-Narrows Bridge). They stand looking at the bridge, which
spans the Golden Gate, a strait connecting the San Francisco Bay to the Pacific
Ocean.
At this, I tell
her I have seen both oceans.
My mother &
uncle grow up. They learn about the rock behind the elementary school: another
product of the island’s ice age. Once, while driving, my mother points it out
to me. It is most likely Sedimentary.
Landscape can
evolve by the process of faulting or folding. Erosion as well. The stream
behind my grandmother’s house in the south began to grow a larger mouth as the
water took more land.
Instead of brown
she says ecru or umber.
It’s a mild Saturday
in January, my grandmother says. I am excited because this is my part. My
mother whispers to her belly that the Sharp-Shinned Hawk (she is too tired for
proper classification) makes its nest in conifers (pines). Later I tell my
mother I have a memory of hearing a low-frequency humming noise while inside
her. When I was born, it stopped.
My grandmother
takes me outside, points things out to me. When we startle a flock of birds,
she says to use their collective name: a flight of swallows. Later there will
be a parliament of owls, an unkindness of ravens.
She tells me
people can develop an allergy to cedar trees.
Hyperthymesia is
a condition in which a person contains an extraordinary autobiographical memory.
But what good is remembering only about your-self? The Sturnella magna (Eastern Meadowlark) is among the first of the
birds to appear in spring. Its song is a clear whistle of say-you, see-here.
All birds have vocalization
other than song. My grandmother tells me that if we are ever separated to call
out to her, & she will hear me & respond, & at least our voices can
be together.
Fragment Eight
May 23rd 2011 - On the train from Dia:Beacon |
I learn that whales keep the coast to their right as they swim north. My body loses half a liter of water each day by breathing. The way skin opens when cut. I turn my back to you in sleep. Again the mountains in winter. Everything migrates—returns home. A place, an action. Bodies of water becoming solid. The quiet that winter brings. A hush. I think in grey & white. The still that becomes early morning—a weight held over the landscape. My bed a nest, the snow trying for the first time. I miss summer & how the days dragged. The warmth of a field, the haze between bodies. I go back to the same things. It is a habit, like the space between the door & the floor. A pause.
december 7