@ Met Breuer
December 28th, 2017
Edvard Munch always makes a strong impression but, in this case, the same can be said about the host building. This is Met Breuer, built in 1966 and named after its Brutalist architect Marcel Breuer, who designed it to house the Whitney Museum – and so it did until 2015, when the Whitney moved to its current location in downtown Manhattan, and this beautiful concrete ”inverted ziggurat” was leased by the Metropolitan Museum of Art.
Cob II, 1977-80 by Nancy Grossman
Wood, leather, painted horn, lacquer, lead
13/3, 1981 by Sol LeWitt
Painted balsa wood
Beginning Study for Changes and Communication, 1978 by Alfred Jensen
Oil on canvas
Three Mirror Vortex, 1965 by Robert Smithson
Stainless steel, three mirrors
My Father Pledged Me a Sword, 1975, by Anselm Kiefer
Watercolour, gouache, coloured pencil and ballpoint pen on paper
Met Breuer, 945 Madison Avenue, Manhattan
December 28th, 2017
As intrigued as I was in discovering Munch the Photographer, I couldn’t wait to renew my acquaintance with some of the inspiring, melancholic and – at times – tormented, works of Munch the Painter; and be reminded that there’s more loneliness in Munch the Man and a deeper agony than what he let us see/hear with ”The Scream”.
Edvard Munch: Between the Clock and the Bed @ Met Breuer, November 2107 – February 2018.
December, 28th 2017
It was nearing the end of 2017 and New York was in the mood for Munch with not one, but two exhibitions running in parallel. These images are from ”The Experimental Self”, which focused on Munch’s experimentations with photography showing portraits of friends and family – but mainly of himself.
December 20th, 2017
in modern-day New York City. One year and four months later, Zaha Hadid’s only residential building in New York, completed after her death, is ready and still seeking buyers for its high-end apartments; and the Hudson Yards gigantic development project is almost complete. That neighbourhood will never be the same again.
Hudson Yards, as it looked on December 6th, 2017
If the crystal balls are not helping, there is always hope in dreamcatchers, voodoo dolls and Louise Bourgeois’ Articulated Lair (to this day I have no idea what these black objects, hanging like deflated balloons, might be).
Broken Dance, Ethnic Heritage Series, c. 1978-82
Articulated Lair, 1986
The Long Run @MoMA, December 3rd, 2017
Although in our multilateral, multifarious, multidisciplinary, multicultural world of multimedia, where fake becomes the norm and the norm is synonymous with loudly expressed – read hysterical – opinions, one would be better off checking with at least a few dozen.
Part of a four videos on custom screens, two custom benches and crystal sculpture; two wooden theater boxes with video ; fifteen ink drawings on paper; three oil stick drawings on paper, and two china marker wall drawings Soundtrack and voice: Joan Jonas Sami yoik singing: Ánde Somby Piano and additional sound effects: Jason Moran
@MoMA, December 3rd, 2017 (still on view)
Het cross-over atelier aan de (zee)slag.
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