MoMA: Francis Picabia, Kai Althoff, and more.

For us at CatSynth, coming back to New York almost always means a visit to Museum of Modern Art (MoMA). It’s a place that is always safe, inviting and inspiring. It’s also a change to spend time with some old friends, like Piet Mondrian’s Broadway Boogie Woogie, a painting that for me has an almost religious significance.

Mondrian Broadway Boogie Woogie

There are of course, many special exhibitions, and we discuss them below.


Much of the top floor of the museum was reserved for a retrospective of the work of Francis Picabia, one of the less-well-known of the great modern artists from the first half of the 20th Century. Though known for his association with the Dada movement, his oeuvre includes many other ever-changing styles. Indeed, the exhibition begins with his early works in an impressionist style. Though very well executed, they are not particularly exciting other than the provocative nature (for the time) of using photographs as sources. However, after this initial period, his work explodes with large abstract canvases.

Picabia,Francis (1879-1953)
[Francis Picabia. Udnie (Jeune fille américaine; danse) (Udnie [Young American Girl; Dance]). 1913. Oil on canvas, 9′ 6 3/16″ × 9′ 10 1/8″ (290 × 300 cm). Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Purchased by the State, 1948. © 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: © Centre Pompidou, MNAM-CCI/Georges Meguerdtchian/Dist. RMN–Grand Palais/Art Resource, New York.]

The painting shown above, Udnie (Jeune fille américaine; danse) (Udnie [Young American Girl; Dance]) is exemplary of this period of his work. It is huge, almost 10 feet by 10 feet square, and features bright industrial colors with large curving lines. This painting had a colder and higher-contrast palette than its neighbors, so it particularly attracted me. There is also the fact that the title reminds me of the David Bowie album of similar name.

Picabia became a leading artist in the Dada movement, producing many paintings and drawings of industrial and manufactured objects, some featuring bits of text that he found from encyclopedias and other sources. They have the sparse, sometimes sad quality of readymades, but also show steady and disciplined hands at work to create these pieces.

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The centerpiece of the Dada sections of the exhibition was a recreation of one of his Paris exhibitions, with drawings arranged in a linear fashion and rugs along the gallery floor. The pieces were a mixture of Dada, abstraction and figurative images (mostly of Spanish women). These demonstrate the artist’s desire to not be stuck in one style or even just one movement.

Picabia went through a period of more figurative painting in the years leading up to and during World War II, including a somewhat odd set of photorealistic paintings from soft-porn images that he created while living in under the Vichy regime in southern France. After the war, however, he returned to abstraction until his death in 1953. Many of these late works have a somewhat minimal quality, including a series consist of large dots on a monochromatic background


The other major exhibition on the top floor featured a full-gallery installation by Kai Althoff entitled and then leave me to the common swifts (und dann überlasst mich den Mauerseglern). The space itself was the artwork in which the viewer was invited to wander.

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[Installation view of Kai Althoff: and then leave me to the common swifts (und dann überlasst mich den Mauerseglern). The Museum of Modern Art, New York, September 18, 2016–January 22, 2017. Photograph © Kai Althoff]

The labyrinthine installation is a seeming clutter of objects, looking more like a messy artists’ studio. However, on closer inspection, one sees that there are a lot of older works from the artist in various states of integrity among found objects like dolls and clothing. The artwork fragments included heads with strange expressions. Overall, it was one of the more confounding exhibitions I have seen. I am not one to necessary require “meaning” from art, but I do tend to look for lines, shapes and patterns. But being challenged by an exhibition is not a bad thing.


In addition to the hunt for old favorites in the permanent collection, an entire floor was dedicated to works from he 1960s, arranged one room per year. The detailed view shows just how rich and varied the art of that decade was, and how art transformed into what we think of as contemporary in the early 21st Century. Among the works on display was a set of photographs by Bernd and Hilla Becher. We have discussed them before, as their work is very influential for my own art photography.

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The video work of Nam June Paik has also been a major influence. The exhibition featured a very minimal work of his, essentially reducing analog video to a single line.

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Yayoi Kusama is enjoying a lot of attention of late. This work, which appeared to be a chair of penises, was featured prominently. The description of the piece confirmed my phallic interpretation.

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The second floor also featured multiple special exhibitions, including the provocative “architectural” show on displacement and shelter, focusing on migrants and refugees in the modern world. It included a full-size refugee tent shelter, as well as overhead images of a sea of such shelters. There were images from camps that have been in the news lately, such as the large one in Callais, France. There were also some art pieces on the same theme, such as lightboxes with images of war zones by Tiffany Chung.

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[finding one’s shadow in ruins and rubble. Tiffany Chung, 2014. Courtesy of the artist and Tyler Rollins Fine Art]

There was also a large world map with strings representing patterns of migration, along with sound and visual elements. Not surprisingly, a great many of those lines led to the United States.

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It’s a reminder that the U.S. has always been a welcoming country for refugees and immigrants, and will hopefully remain so.


There is always more that I saw and resonated with an I can fit in such an article. Please visit us on Instagram to see more of our latest visit to the MoMA.

Wordless Wednesday: Port of Long Beach

Port of Long Beach

Geometric and texture study from the Port of Long Beach, 2014. You can read more and see more images from my visit here.

Concrete Plant Park and The Sheridan Expressway, South Bronx

The South Bronx still gets a bad rap. And I do remember what it was in the late 1970s and 1980s. But for us at CatSynth, it has become a place of great curiosity and surprising forms of beauty. A few years ago, I noticed some changes along the southern stretch of the Bronx River in Google Maps. In particular, there was a brand new park.

Concrete Plant Park and vicinity.

Concrete Plant Park is literally that, a park built around the ruins of an old concrete plant along the river’s edge. I had to see this for myself. And since 2013, I have gone to see it several times.

To get there via subway from Riverdale is a bit of a challenge. There have never been east-west subway lines traversing the borough, only north-south to and from Manhattan. So a subway trip from the western end of the Bronx to the southeast requires a trip into Manhattan and a few transfers (there is no crosstown subway in Harlem, either). Finally, one reaches the 6 IRT, which heads north into the south and east Bronx. It’s a long ride underground eventually emerging onto an elevated structure over Westchester Avenue, one of the main thoroughfares through the South Bronx. I alight at the Whitlock Avenue stop.

I-895Between the station and the park is the Sheridan Expressway (I-895). This is a strange little highway that hugs the western edge of the Bronx River from the Bruckner Expressway (I-278) north to East Tremont Avenue with connections to the Cross Bronx Expressway (I-95) and the Bronx River Parkway.

Sheridan Expressway

Sheridan Expressway northbound

It is sort of a connector from the Bronx Zoo to the Triborough Bridge, though one that isn’t really needed given the other larger freeways in the vicinity. It only has one exit between its termini: Westchester Avenue near the Whitlock station and Concrete Plant Park. One can see the entry ramps leading down to the highway while walking towards the park.

I-895 from Westchester Avenue

Another ramp leads down from the street level to the park itself. It’s a flat piece of land with grass concrete paths dotted by the refurbished structures from the former concrete plant.

Concrete Plant Park

Although it seems to be a trend to incorporate reclaimed industrial elements into public spaces, the structures are still fairly unique for an urban park, and quite photogenic. Here are just a few of the photos I have taken.

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Regular readers might recognize these visuals from a past Wordless Wednesday. We also featured some of the park’s stark boundary visuals in a past new years post.

The Bronx River itself is an important element of the park’s identity and landscape. The section south of Bronx Park has long been more industrial, and the river and its banks still bear the visuals of that past. A major effort to clean up and restore the river has been underway for a while. And it is much cleaner than it was in the 1980s, though one can still see a lot of detritus collecting along the berms.

Bronx River

Looking north alongs the river towards the 6 Elevated and Westchester Avenue is quite beautiful with filtered lighting.

6 IRT over the Bronx River

Although I visit this park for its visuals and geographical placement, it is a local park enjoyed by the local community. On a summertime visit, I saw a lot of families and individuals there, playing sports, relaxing along the river, and even barbecuing. It seems that this park is a successful one, and I wouldn’t be surprised if I visit again.

Wordless Wednesday: Concrete Plant Park, Bronx NYC

Concrete Plant Park, Bronx, NYC

For today’s photo, we went into the archives. Usually, one of the pictures will speak to me that today is its day. This was that photo. It features a scene from Concrete Plant Park in the Bronx.

LACMA: Levitated Mass, Frank Gehry, Diana Thater 

At the end of my trip to NAMM, I always try to leave time for a museum visit in Los Angeles, more often than not to LACMA. This is a somewhat belated review of this year’s visit.

Since seeing the film on the Levitated Mass, it was an absolute priority to experience the giant sculpture by Michael Heizner in person. For those unfamiliar, it is a 340-ton boulder mounted above a concrete trench. The space underneath is open and thus viewers can walk under the boulder.

Levitated Mass

It is an impressive feat of engineering (as documented in minute detail in the film), and a visually interesting conceptual piece. It is definitely one has to experience in person to understand.

Under Levitated Mass

One of the main special exhibitions at LACMA in January was a retrospective on the work of Frank Gehry. While none of his actual buildings were on display (though it would have been appropriate in the context of Levitated Mass), there were many drawings and models, group into conceptual and chronological phases of his career.

Frank Gehry installation

Many of his most famous pieces, such as Disney Hall and Guggenheim Bilbao, were on display. But also large lesser-known buildings an smaller designs, some of which were never built. In the photo above, we see a building that combines the undulating organic structures for which Gehry is famous with a more traditionally modernist linear outer structure. The model in front is quite different, and more geometric and colorful that one sees in his iconic works.

It is also fun to see the small structures and private homes. I am envious of those who could have a Gehry-designed home like this one.

Frank Gehry house design

By sheer coincidence, Frank Gehry was present that afternoon to give a talk and Q&A session. I managed to get into the overflow audience to catch part of it.

Frank Gehry

The wide-ranging discussion including a bit of his personal history, his interest in biology and particularly in fish, and his disdain for computer modeling – he agreed that it was an amazing tool, but not for visually understanding a piece of architecture. On the topic of fish, they reviewed a few purely sculptural pieces of his that were meant to represent the swimming motion of a single fish or an entire school. Though he perhaps his voice sounded a bit gruff – something which bothers me not at all – he was very much engaged with the questioners and supportive.

In the modern pavilion, it did stop to see a few familiar large installations. I enjoy walking inside of this large-scale Richard Serra sculpture and find it quite meditative. It was also interesting to contemplate its curving structure in terms of what I had just seen and heard from Frank Gehry.

Richard Serra

From the curving structure I then moved on to straight lines. This familiar light installation reflects onto the window facing Wilshire Blvd and makes for great self-portraits.

AC and light installation, LACMA

I also had a bit of fun with self portraiture in the retrospective exhibition for Diana Thater, which featured several room-sized pieces with multiple projections of moving images.

AC in Diana Thater installation

Though that was fun, the piece itself was dead serious, looking at the aftermath of war through ruined buildings.

Diana Thater

There were some pieces in the exhibition that were less dark, as in Butterflies that features both lights and video bathed in red ambient lighting.

Diana Thater, Butterfly
[Diana Thater, Untitled Videowall (Butterflies), 2008. Six video monitors, player, one fluorescent light fixture, and Lee filters . Installation Photograph, Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art. © Diana Thater]

One doesn’t always know what to expect on a on-afternoon trip whose date is not timed to a particular exhibit, but I am never disappointed with what I encounter at LACMA, and that was true again this year.