kottke.org posts about art
After months of renovations and a week or two of previews, MoMA officially reopens for business today. I was able to attend a press preview last week and here are some observations I had about my visit.
One of the main goals of the museum’s expansion was to “focus new attention on works by women, Latinos, Asians, African-Americans and other overlooked artists”. I’ll leave the question of their success in more qualified hands, but even making the attempt is an admission by one of the most influential museums in the world that the art that society considers important is highly subjective. If there are good paintings that aren’t currently considered that interesting or important (because they’re not by Picasso or Degas or Cezanne), maybe that can change depending on what stories you tell about them. Look at what the Hilma af Klint show at the Guggenheim did for example.
The display of the main collection is now not just paintings and a sprinkling of sculpture but also includes photography, film, architecture, performance art, design, and drawings. The art is also placed into much more of an historical context than before…the visitor gets more of a sense of what was going on in the world when these pieces were created and what societal happenings the artist may have been reacting to in creating their work. I very much enjoyed these improvements.
The general feel of the place is more casual than before. In Amy Sillman’s Artist’s Choice gallery, paintings and sculptures were resting on risers around a large room, all unlabelled. Gallery titles were sometimes colloquial instead of formal or academic. In the one of the exhibitions, the gallery titles were in all lowercase — “a revolution of limits” vs “A revolution of limits” or “A Revolution of Limits”.
In some areas, the space still smelled vaguely of construction.
One of the things I love about The Whitney is how it incorporates the city into the art viewing experience. On the top floors, you can look at what’s on display and then head out to the terrace to see the city on display: the architecure, the construction, people walking on the High Line, the Hudson River traffic. It doesn’t have the best location to work with, but the new MoMA tries to do this a little more after the renovation. There are new overlooks to the sculpture garden and larger windows with street views.
Was it my imagination, but was Matisse’s Swimming Pool room actually a bit warmer and more humid than the other galleries? You know, like an actual indoor swimming pool?
Honestly, the best part of my experience was how few people were there. This was the last of four press previews and was sparsely attended because most people had already filed their stories. In many galleries, I was completely alone with these amazing works of art. I stood in front of Starry Night for two minutes all by myself — same with Pollock’s One: Number 31, 1950 and Les Demoiselles d’Avignon. Monet’s Water Lillies gallery was empty. Empty! I sat for several blissful minutes taking it all in — it was almost meditative. This reveals a sad truth about large and popular art museums like MoMA: they are often not good places for actually viewing art. They’re just too crowded. Starry Night is basically an Instagram selfie wall at this point. During a normal visit, you can’t actually look at the thing to see what van Gogh was up to with his brushstrokes because there are 20 people waiting their turn to see it too. But you can’t spend $450 million on a renovation and just let a few hundred people a day into the place, right?
Roman Butin is a Russian artist who modifies coins with elaborate hand-engraved designs of his own. His latest creation is a coin with a beating heart. Here is the tiny mechanism in action…you turn the gear at the bottom of the coin and the heart beats!
Wow. You can check out the heart coin, a Banksy coin, this trap coin, a golden bug coin with working wings, and more of his work on Instagram. Heads or Tales has replicas of a few of Butin’s creations for sale.
One of the (several dozen) posts I started writing ages ago but never finished was a collection of the hundreds of bird illustrations pictured in John James Audubon’s seminal Birds of America. The images have been floating around on the web forever, in various sizes and collections, and I wanted to group (or at least link to) all of them in one place. But now I don’t have to because the Audubon Society has put them up on their website.
John James Audubon’s Birds of America is a portal into the natural world. Printed between 1827 and 1838, it contains 435 life-size watercolors of North American birds (Havell edition), all reproduced from hand-engraved plates, and is considered to be the archetype of wildlife illustration.
Thumbnails of all 435 illustrations are presented on a single page (sortable alphabetically or chronologically by their creation date) and then each illustration is given its own page with Audubon’s notes on the bird pictured, a link to the bird in Audubon’s Bird Guide (where you can see photos and hear bird calls, etc.), and a link to download a high resolution image (if you sign up for their mailing list). The barred owl image is 111-megapixels. What a resource!
You can also see online copies of Birds of America at the University of Pittsburgh and Meisei University.
And if you’ve never had a chance to see some of these illustrations in real life, you should keep your eyes peeled for the opportunity. They really are something. (via open culture, which has been particularly great lately)
This past weekend for a project called VIGIL, artist Jenny Holzer projected texts about the impact and realities of gun violence onto the buildings of Rockefeller Center.
Employing her signature text-based practice, Holzer will project testimonies, responses, and poems by people confronting the everyday reality of gun violence onto the iconic buildings at Rockefeller Center after sundown. These hauntingly sober first-person accounts serve both as an acknowledgement of communities impacted by gun violence and an invitation for dialogue around the prevalence of this issue in the United States. Holzer will feature texts from the compilation Bullets into Bells: Poets & Citizens Respond to Gun Violence, stories from Moments that Survive collected by Everytown for Gun Safety, and poems by teens who have grown up in the shadow of mass shootings.
Gothamist has a story about the project, which includes several photos of the projected texts.
Creative director and artist Matt Jukes makes these lovely prints of “misremembered landscapes and nearly forgotten memories”. To me, they look like depictions of landskein, “the weaving & braiding of horizon lines, often seen most clearly on hazy days in hill country”.
You can purchase various editions of Jukes’ work from the shop on his website or Saatchi Art. (via tmn)
Inspired by some photos taken by the Hubble Space Telescope, Margaret Nazon began in 2009 to make beaded artworks of stars, galaxies, planets, and nebula. I love her representation of the Milky Way, pictured above. Nazon grew up in a First Nation community in Canada’s Northwest Territories and in this interview she talks about using traditional materials for her cosmic drawings.
I consider my art to be “abstract.” Aboriginal people have used animal skins, bones, seeds, quills and rocks for decoration, and I figured it would fit in my artwork. I was given buttons made of caribou bones as a gift and I decided I should try to incorporate a solid piece of bone into one of my galaxy pictures. Viewers loved that. I spent last December in Salt Spring Island B.C. One of my friends asked if I was going to incorporate B.C. rocks or shells in my work and I thought that was a great idea. I started receiving rocks and shells as inspiration. Just recently a Gwich’in friend gave me willow seeds to use. The Gwich’in people used to use willow seeds to decorate their clothing.
(via brain pickings)
I’ve featured Reuben Wu’s work here before so when I saw via Colossal that he’s got some new stuff going on, I immediately went to check it out. In his Aeroglyphs, Lux Noctis, and Field of Infinity projects, Wu achieves a minimalist sci-fi lighting effect by using drones to light desolately beautiful natural landscapes. Check out his Instagram and Facebook for more images, particularly this video.
Oh, and he also caught the recent total solar eclipse in Chile in this video and this photo. Wow. Kicking myself a little bit that I did not get organized to head to Chile for this.
Artist Banksy has opened a storefront in the South London borough of Croydon called Gross Domestic Product. It’s literally a storefront and not a store…you can’t go in and buy anything. Here’s a quick tour:
The impetus behind the store, aside from the artist’s continuing discourse with capitalism, is to help settle a legal dispute with a greeting card company:
This post from Colossal has a bunch more information on the project.
The temporary installation, which will be on view for two weeks in the Croydon neighborhood, incorporates multiple window displays for a shop that is not in fact open to passersby. However, some of the items on display are available for purchase in GDP’s associated online store including the welcome mats, which Banksy hired refugees in Greek detainment camps to stitch; all proceeds go back to the refugees. Revenue from sales of the doll sets will also support the purchase of a replacement boat for activist Pia Klemp, whose boat was confiscated by the Italian government. The product line is rounded out with such oddities as disco balls made from riot gear helmets, handbags made of bricks, and signed — and partially used — £10 spray paint cans.
No fooling, I would love to cop one of those used spray paint cans.
p.s. Does anyone remember Grot, the shop Reggie opens in The Fall and Rise of Reginald Perrin? For some reason, Banksy’s shop reminds me of that.
Watch as MoMA art conservator Diana Hartman repairs some weak spots of Paula Modersohn-Becker’s 1907 self-portrait. The painting is still on the artist’s original canvas stretchers, so Hartman can’t access the back of the canvas during the repair process. So she employs a tiny curved needle made for doing eye surgeries to gently darn with some linen thread.
The first thing I like to do when I sit down is just get my tools. No tools displayed on this tray were made specifically for conservation.
Watching someone tend to a treasured object with such devotion is quite relaxing, perhaps because it’s comforting to imagine ourselves being treated with equal concern by those around us. (via colossal)
In a letter announcing his resignation from the MacDowell Colony, novelist Michael Chabon considers what art is for.
Or, I wonder if it’s possible that I was wrong, that I’ve always been wrong, that art has no power at all over the world and its brutalities, over the minds that conceive them and the systems that institutionalize them. Those folks I cited earlier, the ones who offer their grim reassurances that the world has always sucked as much as it does now, in particular for women, the poor, the disenfranchised, the enslaved, the downtrodden, and the exploited, these folks might point out that art and misery have coexisted for the whole span of human existence on earth, and suggest that perhaps the time to abandon hope for the redemptive power of art is long overdue.
Maybe the world in its violent turning is too strong for art. Maybe art is a kind of winning streak, a hot hand at the table, articulating a vision of truth and possibility that, while real, simply cannot endure. Over time, the odds grind you down, and in the end the house always wins.
After seeing some videos on my pal Jenni’s Instagram of Refik Anadol’s immersive display at ARTECHOUSE in NYC, it’s now at the top of my list of things to see the next time I’m in NYC.
Machine Hallucination, Anadol’s first large-scale installation in New York City is a mixed reality experiment deploying machine learning algorithms on a dataset of over 300 million images — representing a wide-ranging selection of architectural styles and movements — to reveal the hidden connections between these moments in architectural history. As the machine generates a data universe of architectural hallucinations in 1025 dimensions, we can begin to intuitively understand the ways that memory can be spatially experienced and the power of machine intelligence to both simultaneously access and augment our human senses.
Here’s a video of Anadol explaining his process and a little bit about Machine Hallucination. Check out some reviews at Designboom, Gothamist, and Art in America and watch some video of the installation here.
The Uffington White Horse is a prehistoric monument that’s been around since the late Bronze Age, some 3000 years ago. Situated on a hill in the South of England and measuring 360 feet long, the horse is made of deep trenches filled with white chalk and is easily visible in the satellite view on Google Maps.
So cool. Here’s the truly amazing thing though: the horse requires regular maintenance or erosion and grass growing over the chalk will obscure the figure. Which means that the inhabitants of this area have continuously cleaned and maintained the horse — through changes in religion, king, climate, and empire — for 30 centuries.
It’s chalking day, a cleaning ritual that has happened here regularly for three millennia. Hammers, buckets of chalk and kneepads are handed out and everyone is allocated an area. The chalkers kneel and smash the chalk to a paste, whitening the stony pathways in the grass inch by inch. “It’s the world’s largest coloring between the lines,” says George Buce, one of the participants.
Chalking or “scouring” the horse was already an ancient custom when antiquarian Francis Wise wrote about it in 1736. “The ceremony of scouring the Horse, from time immemorial, has been solemnized by a numerous concourse of people from all the villages roundabout,” he wrote.
In the past, thousands of people would come for the scouring, holding a fair in the circle of a prehistoric fort nearby. These days it’s a quieter event. The only sounds are the wind, distant birdsong and the thumping of hammers on the chalk that can be felt through the feet.
The maintenance may have actually been the point of the horse:
From the start the horse would have required regular upkeep to stay visible. It might seem strange that the horse’s creators chose such an unstable form for their monument, but archaeologists believe this could have been intentional. A chalk hill figure requires a social group to maintain it, and it could be that today’s cleaning is an echo of an early ritual gathering that was part of the horse’s original function.
A group from the Long Now Foundation recently went to help out with the chalking of the horse and the trip report touches on the importance of upkeep to the infrastructure that our society depends on:
Though it requires considerably less resources to maintain, and is more symbolic than functional, the Uffington White Horse nonetheless offers a lesson in maintaining the infrastructure of cities today. “As humans, we are historically biased against maintenance,” Smith said in her Long Now lecture. “And yet that is exactly what infrastructure needs.”
When infrastructure becomes symbolic to a built environment, it is more likely to be maintained. Smith gave the example of San Francisco’s Golden Gate Bridge to illustrate this point. Much like the White Horse, the Golden Gate Bridge undergoes a willing and regular form of maintenance. “Somewhere between five to ten thousand gallons of paint a year, and thirty painters, are dedicated to keeping the Golden Gate Bridge golden,” Smith said.
(via @veganstraightedge)
I love this advice from Jenny Odell (author of How to Do Nothing: Resisting the Attention Economy):
I can’t give my students more time in their lives; but what I try to do is change the way they think about and value it in the first place. My class typically includes students who aren’t art majors, some of whom may never have made art before. I give them the same advice every quarter: Leave yourself twice as much time as you think you need for a project, knowing that half of that may not look like “making” anything at all. There is no Soylent version of thought and reflection — creativity is unpredictable, and it simply takes time.
(via austin kleon)
A fellow by the name of David who goes by PixelDanc3r made this animated map of the United States in the style of 16-bit video game graphics; it seems like the most direct inspiration is the overworld map in Super Mario World. He’s done similar maps of Brazil, Venezuela, and his home country of Argentina. You can check out more of his pixel creations on Instagram and DeviantArt. (via the morning news)
For some of his latest street art, Portuguese graffiti artist Vile has been creating optical illusions of his name “cut” into the walls of buildings.
That’s just spray paint he’s using…that effect is quite good, no? Here’s another one:
And here’s how that wall looked before:
You can see Vile’s most recent work on Instagram.
Newer posts
Older posts
Socials & More