A photo captured in SoHo, New York City, framing a metal sculpture and black-cat painting on a wall.
A photo captured in SoHo, New York City, framing a metal sculpture and black-cat painting on a wall.
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.
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.
[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.
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.
[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.
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.
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.
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.
[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.
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.
The Window Gallery at the Center For New Music in San Francisco currently features a sound sculpture installation by the artist Trimpin. We at CatSynth were on hand for the opening.
The installation called Kraut Kontrol featured several custom made guitars in resplendent purple hues and outfitted with a variety of actuators. All the elements are controlled by a computer which conducts the instruments as an ensemble. You can here a bit of installation in action in this video.
Jimi Hendrix is of course fun to hear on this automated guitars, but it really only scratches the surface of what one can do with such instruments. I hope to hear some more abstract sounds that focus on the interplay between the different guitars.
As part of the opening reception, we were treated to a Q&A session with Trimpin himself. A fascinating but humble character who shuns some of the flair of the art world, he mostly delved into the details of the installation, its original version at the Orange County Museum of Art. He also spoke extensively about the larger automated-guitar installation he created for the Experience Music Project in Seattle, including a bit of behind-the-scenes of working with Paul Allen.
Trimpin’s Kraut Kontrol will be on display in the window gallery of the Center For New Music (55 Taylor Street, San Francisco) through June 30. I strongly recommend checking it out.
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.
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.
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.
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.
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.
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.
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.
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.
Though that was fun, the piece itself was dead serious, looking at the aftermath of war through ruined buildings.
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, 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.
No visit to New York is complete without a stop to the Museum of Modern Art (MoMA). Today we look back at three exhibitions that stood out during my most recent trip.
[Jackson Pollock (American, 1912-1956). One: Number 31, 1950. 1950. Oil and enamel paint on canvas, 8′ 10″ x 17′ 5 5/8″ (269.5 x 530.8 cm). The Museum of Modern Art, New York. Sidney and Harriet Janis Collection Fund (by exchange), 1968. © 2015 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York]
Jackson Pollock: A Collection Survey, 1934–1954 is a small but powerful exhibition tracing the artists’ career and development using pieces from MoMA’s extensive collection. There were of course the massive drip paintings such as the iconic One: Number 31, 1950, but also quite of few of his earlier works from the 1930s and 1940s that while abstract made extensive and overt use of mythological and folk elements. Indeed, one can even see figures in some of the earlier pieces.
[Jackson Pollock (American, 1912-1956). Stenographic Figure. c. 1942. Oil on linen, 40 x 56” (101.6 x 142.2 cm). The Museum of Modern Art, New York. Mr. and Mrs. Walter Bareiss Fund, 1980 © 2015 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York]
One of the earliest paintings was quite reminiscent of Míro, another favorite of mine.
Seeing the works side by side in the compact two-room exhibit, it is easier to see the connections between the earlier and later works. Although the techniques and ideas are radically different, some of the shapes and other elements can be similar at times. Densely packed canvases with layered curving forms of color abound throughout his work.
One of the treats of this exhibition (which I don’t recall from the huge 1999 retrospective) were some of Pollock’s lesser-known drawings, sketches, and prints. Many of them date from the 1930s and 1940s, so have more in common with his paintings of those decades. But seeing Pollock writ small is in itself interesting given his association with paintings of monumental scale.
[Jackson Pollock (American, 1912-1956). Untitled (Animals and Figures). 1942. Gouache and ink on paper, 22 ½ x 29 7/8” (57.1 x 76 cm). The Museum of Modern Art, New York. Mr. and Mrs. Donald B. Straus Fund, 1958 © 2015 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York]
[Jackson Pollock. Untitled.1950. Ink on paper. The Joan and Lester Avnet Collection]
The exhibition was just opening at the time (indeed, we saw it as part of a members’ preview), and will remain on display through March 13, 2016.
Picasso Sculpture is a large and comprehensive survey of the artists’ sculptural works. While primarily known for his painting, Picasso was quite a prolific sculptor, and his sculptures can be seen as three-dimensional projections of his unique and instantly recognizable style of painting.
[Pablo Picasso (Spanish, 1881–1973)
Bull. Cannes, c. 1958.
Plywood, tree branch, nails, and screws. 46 1/8 x 56 3/4 x 4 1/8″ (117.2 x 144.1 x 10.5 cm).
The Museum of Modern Art, New York. Gift of Jacqueline Picasso in honor of the Museum’s continuous
commitment to Pablo Picasso’s art.
© 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.]
In pieces like Bull, shown above, one can see the direct analogs to his cubist paintings. His figurative sculptures also often feature bulbous and exaggerated interpretations of the human body. Some of them border on caricature, with others are graceful and almost abstract.
[Installation view of Picasso Sculpture. The Museum of Modern Art, New York, September 14, 2015–February 7, 2016. © 2015 The Museum of Modern Art. Photo: Pablo Enriquez]
The curving forms in both his human and animal were quite a contrast to the linear forms of the New York City skyline.
[Pablo Picasso, Spanish, 1881–1973
Maquette for Richard J. Daley Center Sculpture
Simulated and oxidized welded steel
41 1/4 x 27 1/2 x 19″ (104.8 x 69.9 x 48.3 cm)
The Art Institute of Chicago. Gift of Pablo Picasso]
There were several pieces that I recognized from my visit to the Musée Picasso in Paris, including this absolutely darling sculpture of a cat.
The exhibition, which covers all of the fifth floor of the museum, will be on display through February 7, 2016.
The exhibition on display in the design gallery was particularly appropriate for our interests at CatSynth. Making Music Modern: Design for Ear and Eye brought together a large collection of aesthetically beautiful objects used for both the creation and enjoyment of music.
Perhaps the simplest way to stage such an exhibit would be a linear progression of designs from earlier record players to iPods, but instead this exhibit branches off in multiple directions at once. We do see several of Dieter Rams’ iconic music players and a particularly beautiful and modernist radio by Michael Rabinowitz released in 1942 – and of course an iPod.
[Dieter Rams, Hans Gugelot. Radio-Phonograph (model SK 4/10). 1956. Painted metal, wood, and plastic, 9 1/2 x 23 x 11 1/2″ (24.1 x 58.4 x 29.2 cm). Mfr.: Braun AG, Frankfurt, Germany. The Museum of Modern Art, New York. Gift of the manufacturer]
But we also see more esoteric musical instruments that blend art, design and technology, such as Joe Jones’ Mechanical Flux Orchestra, as well as the more mundane Fender Stratocaster.
[Joe Jones. Mechanical Flux Orchestra. c 1964. The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift 2266.2008]
Through the exhibit are music posters, showing distinctive designs of different eras. Brightly colored posters of the 1960s are featured along with gritty black-and-white posters for New York City punk shows in the 1970s. There are also objects that are more purely art than functional design. Among those that straddle that divide are the Chamber Works: Architectural Meditations on Themes from Heraclitus from architect Daniel Libeskind.
[Daniel Libeskind. Sheet from the folio Chamber Works: Architectural Meditations on Themes from Heraclitus. 1983. Ink on paper, 22 3/8 x 30 1/4″ (56.8 x 76.8 cm). The Museum of Modern Art, New York. Andrew Cogan and Rob Beyer Purchase Funds © 2014 Daniel Libeskind]
I would love to “play” one of these pieces some day.
One of the more perplexing objects in the exhibit was the Scopitone, a 1950s behemoth that could select, play and rewind up to 36 short films produced for songs by European and American artists. It was in essence a jukebox for the forerunners of modern music videos.
[Scopitone 1963 16mm jukebox The Museum of Modern Art, New York. Film Study Center Special Collections F2007.4]
The Scopitone, never really caught on, but perhaps it was ahead of its time, with a medium more suited to small form factors and Internet distribution, i.e., YouTube.
There was so much in this exhibit that I would love to post all of it, but I think it’s best to see it in person. It will remain on display through January 18, 2016. And for those who can’t see it, I recommend a visit to the exhibition’s
Last week I finally had a chance to see 28 Chinese at the Asian Art Museum in San Francisco. It was in many ways an inspiring exhibit and I had been hoping to write about it earlier than today – a series of unfortunate personal matters have gotten in the way of that. But it is nonetheless worth reading about, and seeing if you can this afternoon or tomorrow before it closes.
28 Chinese presents the work of 28 contemporary Chinese artists working in a variety of media. It ” is the culmination of more than a decade’s worth of exploration and research by art collectors Don and Mera Rubell,” who met with 100 artists in China between 2001 and 2012 to learn about them and assemble works from their collection. The exhibition features famous artists like Ai Weiwei, but also up-and-coming artists such as Lu Wei, whose large-scale oil-on-canvas work Liberation No. 1 was among my favorites in the show.
[Liberation No. 1, 2013, by Liu Wei (Chinese, b. 1972). Oil on canvas. Courtesy of Rubell Family Collection, Miami. © Liu Wei.]
It depicts a colorful and unfathomably dense urban landscape, even beyond what I experienced in Shanghai in 2009. It might be disquieting to some, but I find it welcoming. Lu Wei used computer software to generate the patterns which we then rendered as oil on canvas. Another work that made use of mathematical processes to direct traditional painting practice was Shang Yixin’s acrylic work 1061.
[1061, by Shang Yixini (Chinese, b. 1980). Acrylic on canvas. Courtesy of Rubell Family Collection, Miami. © Shang Yixin. Photo by CatSynth (Instagram)]
The artist uses the the square as the fundamental building block in all of his paintings. He uses precise rules to generate the patterns of colored squares, which result in different images each time. It seems he must be using stencils or edges to get such precise shapes and textures from acrylic.
An equally modernist but very different type of painting could be found in Zhu Jinshi’s Black and White Summer Palace – Black. The paint was applied using trowels to create a thick and presumably quite heavy topographical structure. It brought to mind the incredibly heavy painting The Rose by Jay DeFao.
[Black and White Summer Palace – Black by Zhu Jinshi (Chinese, b. 1954). Image from The Asian Art Museum’s Tumblr.]
There were quite a few interesting sculptural and conceptual works in the exhibition. One of the highlights was Zhu Jinshi’s monumental installation, Boat. It composed entirely of layered calligraphy paper and bamboo rods suspended from the ceiling. It was over 40 feet long, and visitors could walk inside of it.
[Boat, 2012, by Zhu Jinshi (Chinese, b. 1954). Xuan paper, bamboo, and cotton thread. Courtesy of Rubell Family Collection, Miami. © Zhu Jinshi. Photo by CatSynth (Instagram)]
Not as large in size, but also quite monumental in its weight was Ai Weiwei’s conceptual sculpture A Ton of Tea, which literally was a ton of tea compressed into a cube.
[A Ton of Tea, by Ai Weiwei (Chinese, b. 1957). Courtesy of Rubell Family Collection, Miami. © Ai Weiwei. Photo by CatSynth (Instagram)]
The setting for this piece and many others was inventive juxtaposition by the museum of works in the exhibition with the more traditional pieces from their permanent collection. The contemporary works stood quite a part from the traditional, but was interesting to see a few thousand years of Chinese artist practice all together.
One more surprising and intense conceptual work was He Xiangyu’s installation Cola Project, in which he boiled down 127 tons of Coca Cola to create a highly corrosive black residue. He used this as an ink to create traditional Chinese ink-on-paper drawings. In addition to the drawings, the installation featured a case of the rather disturbing substance, and the even more disturbing photos and videos from the worksite where large industrial cauldrons were creating it. The scene suggested a poorly regulated industrial site, and the room was filled with an odor of burnt caramel (probably emitted from the drawings). It was a rather intense work. And fortunately I am not fond of cola.
Like any good exhibition, this one inspired me in my own artist ideas – especially the two-dimension works. It also made me reminisce about my adventures at galleries and art districts in urban China, such as Shanghai’s Moganshan Road, which I’m sure has changed in the 6 years since I was last there.
28 Chinese is on display at the Asian Art Museum in San Francisco through tomorrow, Sunday, August 16. If you are in the area I recommend checking it out.