@MoMA
Umberto Boccioni
Unique Forms of Continuity in Space, 1913
(cast 1931 or 1934)
(you can’t get a more fitting title than that)
March 25th, 2018
Tag: nyc
Being: Tarsila & Henri & Joanna & Sofia
Getting acquainted with the work of Tarsila do Amaral, whose art is as stunning as the artist herself; capturing the minimal geometry of New York’s temple of modern art; feeling the urge to stop by ”The Piano Lesson”, one of Matisse’s most interesting compositions (a few more times and I might even begin to like it); leaping from modern art to ”New Photography” and its 2018 edition examining how photography can capture ”what it means to be human”.
Tarsila do Amaral, Estudo (Academia no. 2), 1923, oil on canvas
Tarsila do Amaral, A Gare, 1925, oil on canvas
Tarsila do Amaral, O touro, 1928, oil on canvas
Tarsila do Amaral, O sono, c. 1928, oil on canvas
Tarsila do Amaral, Urutu, 1928, oil on canvas
Tarsila do Amaral, Operários, 1933, oil on canvas
Henri Matisse, The Piano Lesson, 1916, oil on canvas
Joanna Piotrowska, XXIII Frowst, 2013-2014, silver gelatin hand print
Sofia Borges. Theatre, or Cave, 2014. UV-printed wallpaper, printed 2018
Sofia Borges, Yellow Chalk, 2017, pigmented inkjet print
MoMA, March 25th, 2018
MoMA PS1 ++ (The Art of covering up)
@TurrellMeeting
March 24th, 2018
MoMA PS1 + 1 (The Art is in the details)
The Art is in the stairwells, meeting face-to-face with Abigail Lazkoz’s agonizing Cameramen; walking In the Woods, deep into Ernesto Caivano’s dark, magical forest; bathed in nature’s ephemeral reflections, outside in the courtyard.
Stairwell art:
Abigail Lazkoz: Cameraman
Abigail Lazkoz created the series Cameramen in 2002 and displayed it for the first time in MoMA PS1’s exhibition Greater New York 2005. The work consists of three large-scale drawings that reinterpret Jose Guadaulpe Posada’s 1914 engraving Se Aproxima el Fin del Mundo Las Profecias Se Cumplen Temblores, Erupciones, Guerras, Pestes, Hambres E Incendios. La Celebre Madre Matiana (The end of the World is Near, Prophecies Come True, Earthquakes, Eruptions, Wars Diseases, Famine, and Fires).
**
Ernesto Caivano: In the Woods
For MoMA PS1’s stairwell A, Ernesto Caivano created a wall mural based on an ongoing story he developed over three years called After the Woods. While After the Woods consists of drawings and paper sculptures, In the Woods is composed of black latex paint and gouache to create a dense visual web of images composing Caivano’s larger-than-life sized environment. The exaggerated scale of the piece creates a total experience for the viewer, allowing an escape into this imaginary world. Naked and gnarled tree branches wind around the walls and sprout up and out onto the ceiling, entangling the viewer in their dark and magical embrace.
March 24th, 2018
MoMA PS1 || Part I (The Building as a work of Art)
MoMA PS1, one of the oldest and largest nonprofit contemporary art institutions in the United States, was founded in 1971 by Alanna Heiss as the Institute for Art and Urban Resources Inc., an organization devoted to organizing exhibitions in underutilized and abandoned spaces across New York City.
In 1976, Heiss opened the P.S. 1 Contemporary Art Center in a deserted Romanesque Revival public school building, exponentially increased the organization’s exhibition and studio capacity. This building, dating from 1892, served as the first school in Long Island City until 1963, when the First Ward school it housed was closed due to low attendance and the building was turned into a warehouse.
Site-specific art includes James Turrell’s Meeting, one of his famous Skyspaces.
Staircase art by:
William Kentridge || Stair Procession
Ernesto Caivano || In the Woods
March 24th, 2018
Subway entertainment
Me (excitedly taking photos, loving the routine) vs Real Newyawkers (varying levels of ”not amused”, just look at that lady’s face).
March 18th, 2018
His haloed ho[/t\]liness
The BBB dog
March 18th, 2018
It’s kinda lonely at the top
I’m not talking about me, oh no, even though with this view I often feel like a princess in her tower. It’s that rooftop looking down between the buildings that looks like a public parking but is usually empty, save for a car or two. It’s not often one can find an empty spot of this size in the heart of Manhattan, where every available inch is too valuable to be left unused.
20180320 – 6:55 AM
Broadway by Light (1958), a film directed by William Klein
”I did this book on New York: black-and-white, grungy photographs. People said, “What a put-down–New York is not like that. New York is a million things, and you just see the seamy side.” So I thought I would do a film showing how seamy New York was, but intellectually, by doing a thing on electric-light signs. How beautiful they are, and what an obsessive, brainwashing message they carry. And everybody is so thankful for this super spectacle. Anyway, I think it’s the first Pop film.” – William Klein (source)
It’s been almost three years since we came to live next to Times Square – just off, still ”too close for comfort”. I’ve been crisscrossing Broadway every working day of the week, at least twice; sometimes during the weekends too. I have seen it by day and by night, sweating in the sizzling summer heat and glimmering after the rain, covered in snow and confetti, flooded with crowds and quasi-empty (yes, it does happen – rarely, but it does). But seeing it through Mr. Klein’s lens adds a whole new poetic dimension to the reality of Broadway, as we know it today.
It begins with these words:
”Les américaines ont inventé le jazz pour se consoler de la mort, la star pour se consoler de la femme.
Pour se consoler de la nuit, ils ont inventé Broadway…”
Click on the stills gallery for a larger view or, better yet, bedazzle yourself by watching this beautiful short film (only about 10′ long), here:
March 8th, 2018
The Humble Fabulist 