Since my last visit to New York, the Whitney Museum opened its new building in the Chelsea neighborhood of Manhattan, and so it was of course a high-priority stop on this visit.
The first work of art on encounters is the building itself. The overall style neither attempts to mimic the warehouses of the Meatpacking District nor projects the dissonance of some of the other intriguing buildings along the High Line. But it does open up to the neighborhood and the city, making that part of the show along with the formal art.
The main exhibition was a massive retrospective of works by Frank Stella which took up the entire 5th floor of the museum and featured his iconic large and colorful paintings as well as more recent works that veered towards the sculptural. One of the major themes is how over his long career he has shifted his focus and come up with new ways of working in the medium he still refers to as “painting.”
His most recognizable works are the large-scale colorful cutout paintings. The earlier examples contain elements of abstract expressionism and the emerging minimalism, but then modified by cutting out the shapes to make irregular canvases, freeing panting from being simply “colors spread onto a rectangular surface”. Nonetheless, my favorite examples of this phase are still geometric and stark.
[Frank Stella. Chocorua IV]
From straight lines, we move to curves, which further modify the boundaries of a painting. And then came the radical step of taking a painting outside of the flat plane by cutting, bending, and layering pieces.
[Frank Stella. Gobba, zoppa e collotorto]
While the placement and combinations of shapes may be complex, the shapes themselves remain simple and the whole composition abstract. I found this phase of Stella’s work to achieve its most refined form in La penna di hu.
[Frank Stella. La penna di hu, 1987-2009. Mixed media on etched magnesium, aluminum and fiberglass.]
It seems natural to ask whether such works are paintings or sculptures. Stella himself comes down squarely on the side of viewing them as paintings. This is true even for his most recent series of work that feature large metal constructions without color.
Stella has also embraced technology throughout his career including new materials and machines. Most recently that includes 3D printing.
It was great to see both his most famous paintings alongside the more surprising elements of his constantly evolving work in this large exhibition. As Stella is still alive, there may be more to come.
The top floor of the museum features a retrospective of works by Archibald Motley. Motley was a prolific and influential painter who came to prominence in the first half of the 20th century. The exhibition focuses on his works portraying African Americans in serious portraits and lively cultural scenes from the Jazz Age and Harlem Renaissance in the 1920s and 1930s. While the portraits are detailed and striking, it was his scenes of colorful musical spaces that most resonated with me.
[Archibald J. Motley Jr. (1891–1981), Blues, 1929. Oil on canvas, 36 × 42 in. (91.4 × 106.7 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne]
Motley was well known in his time, but faded later compared to other painters of American life and scenes (think Edward Hopper). Because his work depicts an American community often overlooked and his style is more modern and pushing away from realism, it is great to see him getting reintroduced through exhibitions such as this.
The galleries featuring pieces from the permanent collection were also “new” in the new space. Among the themes that permeates the museum’s collection are scenes of the city and industry. There is Joseph Stella’s Brooklyn Bridge (a poster of which hangs at CatSynth HQ) but also John Marin’s less-well known Region of Brooklyn Bridge Fantasy with a very different take on the same subject.
[Joseph Stella. Brooklyn Bridge]
[John Marin. Region of Brooklyn Bridge Fantasy, 1932.]
In terms of industrial imagery, among the strongest were Kay Sage’s surrealist piece and Elsie Driggs’ Pittsburgh. Both pieces, at least to me, have a very optimistic view of the city and progress even if others of our current time would see them as bleak.
[Kay Sage. No Passing, 1954]
[Elsie Driggs. Pittsburgh, 1927]
It’s also worth noting that some of the strongest images of these themes were done by women, something that inspires me in my own work into this subject.
The 6th floor featured works from the collection of Thea Westreich Wagner and Ethan Wagner, some of which will be come part of the Whitney’s permanent collection and some of which will go to the Centre Pompidou. It focuses American and international art from the 1960s to the present, and demonstrates the wide variety of media and concepts employed during this period. Minimalist works abound, such as Sean Paul’s series featuring arrangements of black shapes on a white background with implied complexity.
[Sean Paul. Arrangement 17, 2011]
There are also many works featuring technology. Some are the obligatory works with the light (that I do quite enjoy), but one of the more confounding pieces was by Aaron Flint Jamison. It featured two wooden boxes with multiple computers and a shelf of printed sheets. Were the computers the art, or were they just functional elements to support the concept?
[Aaron Flint Jamison. Half Matrix Vessel (part of “Manifold to Half Matrix” installation), 2013]
There was of course more traditional modernist painting, such as Charline von Heyl’s piece Boogey.
[Charline von Heyl (b. 1960), Boogey, 2004. Acrylic, oil, and charcoal on canvas. 82 1/16 × 78 1/8 (208.4 × 198.4)
Promised gift of Thea Westreich Wagner and Ethan Wagner P.2011.472. Courtesy of the artist and Petzel, New York]
Overall, this was a great visit and a chance to see a new museum in a favorite neighborhood of mine. One question that I had was what would be the fate of the old midtown Brutalist building that housed the museum for decades. Fortunately, it appears that it will survive, and the Metropolitan Museum of Art plans to use it for some special exhibitions. I hope to be able to see one in the future.
[Images without “catsynth.com” watermark courtesy of the Whitney Museum of American Art.]
From Eliran Ohayon on the Facebook group Synthesizer Freaks.
It’s been a while since I have been able to attend Outsound’s regular weekly music series at the Luggage Store Gallery, but I was finally able to do so a week ago. The show featured two very different sets focused on electronics.
First up was the New False Gods, a “supergroup” of sorts featuring Eli Pontecorvo , Jack Hertz, Doug Lynner, Tom Djll, and R Duck.
I am quite familiar with all the artists and count them all as friends, but this is the first time I heard them together as this unit. Musically, this was an improvised set, but Jack Hertz’s rhythmic percussion helped provide a structural foundation for the other sounds, which varied from sparse and light to thick noisy pads. Doug Lynner provided intricate sounds on his Serge modular, and Tom Djll had an intriguing setup with trumpet driving a modular synth.
Next up was Charles Xavier, aka The Xman performing a solo set with electronics and small sound makers. The central instrument in his setup was a malletKAT, an electronic MIDI mallet percussion instrument.
The Xman was musically quite different from the New False Gods. In addition to presenting a series of composed pieces as opposed to a set-length improvisation, his music was centered on standard tonal pitches, albeit sometimes in more atonal arrangements. There was a gentle and playful quality to many of the pieces.
Overall, it was a good night to come back to the series. Hopefully it won’t be so long before I attend again.
From androidlust on Instagram.
“Executive engineer Motu in the studio. #catsofinstagram #synthesizer #catsynth”
Cosey the cat owns this Yamaha DX7. Submitted by Blight Records (blightmakesright) via Instagram.
“Meet cosey the blight cat who cant get enough if those glacial fm synth tones #catsynth #keyboardcat #blightmakesright #dx7 #fmsynthesis”
Submitted by Karl Lee Avery via our Facebook page.
“Sam chilling with the K-Station”
By J.B. of Vacuum Tree Head
Last month I had the privilege of seeing the Wayne Shorter Quartet at the SFJAZZ Center.
Over the years, many of his compositions have become standards in the jazz world, and he has had a long and illustrious career with Art Blakey, Miles Davis Quintet, Weather Report, and more. In each case he has reinvented and reinvigorated his music, most recently with an all acoustic quartet featuring Danilo Pérez (piano), Brian Blade (drums), and John Patitucci on bass. It was this band that we saw on this occasion.
This band took a very original approach to Shorter’s compositions, some of which were very recent (there was a suggestion some the material was even new for the show). What made it most interesting was how subtle and sparse the music was, rarely did we hear a head or chord pattern in its entirety. The music was nonetheless extremely intricate and tight. There weren’t defined roles of a rhythm section and solo instrument in a traditional sense, but everyone took on every role, including Brian Blade’s drums. Especially when Wayne Shorter was playing, it affects the whole tenor of the proceedings (no pun intended). He would only play a few notes and then pause for a time, but those few were enough to take command of the direction of the song. But each musician had a role that transcended their instrument. Blade’s drumming could be at times quite forceful and his use of vocalizations quite curious, but these were moments of punctuation and in between he was very metric and even quiet at times with just enough hint of time to keep things moving. Danilo Pérez was a force of nature on the piano, and his pouring through reams of sheet music as he played was a reminder that these were fully formed compositions and not simply free improvisations.
The complexity and subtlety made it challenging even for seasoned fans to pick out the individual tunes. But we are pretty sure we heard an extended workout on Sanctuary (best known version appears on the B side of Bitches Brew); Aung San Suu Kyi (timely given the elections in Myanmar); and we thought that encore was an acoustic and distilled version of Joyrider. It was a perhaps funkier and more accessible way to send the audience off for the evening.
This one is pretty self explanatory. Submitted by Steven Franks via our Facebook page.