We wanted so much to walk in Hopper’s steps around town, down to the waterfront and up to the Oak Hill Cemetery, following a map provided by the Museum, but it was so damn hot that day, we just had to give up and seek shelter. As you can see, there were only a couple of people in the streets, mad enough to brave the heat.
Nyack, N.Y.
July 17th, 2019
Where he was born and grew up, drew his first impressions and sketches, pictures that were imprinted on his memory working to make him the artist he became.
On the ground floor, an additional exhibition of works by Alastair Noble, inspired by Hopper’s boyhood fascination with yachts and other sailing boats; an installation of paper boats and poetic messages, a weightless flotilla flowing across the gallery.
Nyack, N.Y.
July 17th, 2019
Follow your heart
to Tarrytown
July 18th, 2019
So close to Manhattan, yet so far away…
Tarrytown, Tappan Zee Bridge & Sleepy Hollow Lighthouse
July 16th, 2019
Just the end of our walk in one of the largest art museums of contemporary art we’d seen so far, one that leaves breathing space for the art to expand and feel totally at home, as if it were borne to be there.
François Morellet, “No End Neon,” 1990/2017
Louise Bourgeois, Crouching Spider, 2003.
Robert Smithson, Map of Broken Glass (Atlantis), 1969
July 15th, 2019
Top:
Installation by Dan Flavin (untitled, 1970), a work that was conceived as an edition of three, but only two were produced. The other one is installed in Donald Judd Foundation, 101 Spring Street Space, in New York City, the first building Judd owned, where he worked and lived with his family. It was created specifically to illuminate the family’s bedroom, at a time that the two artists and friends were working so closely together that, for a while, they had become Flavin & Judd.
The gorgeous windows behind Flavin’s installation are part of Robert Irwin’s design for Dia: Beacon, Beacon Project (1999–2003) that conceived the museum as a work of art itself.
Bottom:
Just barriers, artfully stacked.
July 15th, 2019
July 15th, 2019
Charlotte Posenenske || Series DW Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018
”Before turning away from art production in 1968 in favor of a career in sociology, Charlotte Posenenske exhibited widely alongside peers such as Hanne Darboven, Donald Judd, and Sol LeWitt, with whom she shared an interest in seriality. However, her work is distinguished by its radically open-ended nature. Embracing reductive geometry, repetition, and industrial fabrication, she developed a form of mass-produced sculptural Minimalism that addressed the pressing socioeconomic concerns of the decade by circumventing the art market and rejecting established formal and cultural hierarchies.
Mass production and variability are also at the heart of Posenenske’s subsequent works. Series D consists of six shapes in galvanized sheet steel. While these elements resemble standard ventilation ducts, the tubes are nonetheless custom-made according to the artist’s instructions and sketches. Shortly after conceptualizing Series D, Posenenske created Series DW, a variant with only four shapes produced from lightweight corrugated cardboard. A ready-made material, cardboard nonetheless represents a departure from the aesthetics of the steel tubes, which are in effect almost indistinguishable, in form and provenance, from the functional elements that they refer to. Larger but more manageable than their sharp-edged steel counterparts, the Series DW components are also easier to manipulate.” [source]
July 15th, 2019
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