Tag Archives: MOMA

Let Mike Kelley blow your mind


Mike Kelley at MoMA PS1 will blow your mind. I was in awe of the amount of work (over 200 pieces), his dexterity in mediums, and just how cohesive it all was. His work involves found objects, textiles, drawings, assemblage, collage, performance, sound art, video and stuffed animals.

A standout for me was his mesmerizing “paintings” that use a Canadian folk art form, “memory ware”. Memory ware is a common object, such as a bottle or ashtray that has been decorated with attractive, inexpensive, items like buttons, beads, shells, costume jewelry and “keepsakes”. The act of looking- searching to find valuable gems or mere trinkets reminded me of my thrift store shopping. The patterns of the pieces had their own rhythm that I found comforting. Lastly, the obsession element was interesting.

- Memory Ware flat 49, 2001

Memory Ware flat 49, 2001

The recent MoMA acquisition of “Deodorized Central Mass with Satellites” was on view. The stuffed-animal installation is a giant colorful hanging mobile. Surrounding the hanging “balls” are resin sculptures in geometric shapes, which have air fresheners that spray periodically.

Deodorized Central Mass with Satellites, 1991-1999 (photo by Robert Lanham)

Deodorized Central Mass with Satellites, 1991-1999 (photo by Robert Lanham)

Deodorized Central Mass with Satellites, 1991-1999

Deodorized Central Mass with Satellites, 1991-1999

Deodorized Central Mass with Satellites, 1991-1999

Deodorized Central Mass with Satellites, 1991-1999

Another collection I enjoyed was the Kandor Project. It is a series of sculptures, lightboxes, and videos related to the fictional city of Kandor, the capitol of Superman’s home planet Krypton. According to DC Comics, the city was stolen and miniaturized by the supervillain Brainiac and eventually recovered by Superman, who kept it in a bottle in the Fortress of Solitude.

me in front of a Kandor series work, 2011

me in front of a Kandor series work, 2011

Sol LeWitt: the Area between

I’ve slowly become a giant Sol LeWitt fan. It started when I saw his work on the MET rooftop and the City Hall Park installation. That led to a long weekend at MASS MoCA for his retrospective. Recently I ran into, “Photograph of Mid-Manhattan with the Area between The Plaza, Ansonia, Biltmore and Carlyle Hotels Removed” at MoMA. Swoon.

Sol LeWitt Manhattan by kateshanley
Sol LeWitt Manhattan, a photo by kateshanley on Flickr.

This is what my apartment felt like this morning

Olafur Eliasson by kateshanley
Olafur Eliasson, a photo by kateshanley on Flickr.

Olafur Eliasson: Your Waste of Time

Installation presents massive pieces of ice that broke off from Iceland’s largest glacier, Vatnajökull. The oldest ice in the glacier is estimated to have originated some 800 years ago, around AD 1200.

Presented as sculptures that visitors can walk around and contemplate, their continued presence is made possible by refrigerating the gallery space to maintain a temperature below freezing. The physical experience of centuries-old ice from the glaciers of Eliasson’s native Iceland makes tangible a history that extends beyond the human life span—time that is measured in thousands of years rather than mere decades.

MoMA | Original Copy: Photography of Sculpture, 1839 to Today

Original Copy: Photography of Sculpture, 1839 to Today
August 1–November 1, 2010

Walking through MoMA’s Original Copy: Photography of Sculpture exhibit, I sensed a little deja vu. There was a shared narrative with the Julius Shulman documentary I saw the weekend prior: the intersections between photography and sculpture, exploring how the one medium has become implicated in the understanding of the other. Looking at the ways in which photography informs and challenges our understanding of sculpture.

Some pieces that stood out for me were:
Marcel Duchamp’s Box in a valise 1935–41 (From or by Marcel Duchamp or Rrose Sélavy).
Leather valise containing miniature replicas, photographs, color reproductions of works by Duchamp, and one “original” drawing.

Brancusi’s groupes mobiles
Brancusi asked “Why write?” ~ “Why not just show the photographs?” The sculptor photographed combinations of his work in his studio as groupes mobiles (mobile groups).

Lee Friedlander’s Mount Rushmore. South Dakota. 1969

Larry Fink’s The Metropolitan Museum of Art, New York, Costume Ball. December 1995.

Ann Hamilton’s phora 8. 2005
Inkjet print, 33 3/4 x 46 1/4″

Note: All images are from moma.org

Related Event:
The Original Copy: A Panel Discussion on Photography and Sculpture
Tuesday, September 14, 2010, 6:00 p.m.
More details
This panel discussion is moderated by Roxana Marcoci, curator of the exhibition, The Original Copy: Photography of Sculpture, 1839 to Today. Panelists include George Baker, Associate Professor of Modern and Contemporary Art and Vice Chair, UCLA Department of Art History; Mark Godfrey, Curator, Tate Modern; Sarah Hamill, Assistant Professor of Modern and Contemporary Art, Oberlin College; and Rachel Harrison, artist.

The Artist is Present

Marina Abramović: The Artist Is Present
March 14–May 31, 2010
This performance retrospective traces the prolific career of Marina Abramović (Yugoslav, b. 1946) with approximately fifty works spanning over four decades of her early interventions and sound pieces, video works, installations, photographs, solo performances, and collaborative performances made with Ulay (Uwe Laysiepen).

Visitor Viewpoint: MoMA’s Mystery Man
Interview with Marina devotee Paco Blancas

Marina Abramović: The Artist Is Present Flickr gallery

PopRally Presents: The Art of Dissent

This panel discussion looked at how dissent is more than a momentary impulse for artists; how politics are an essential component of both art and their interactions with community and commerce. In this panel, artists and musicians discuss how politics and art mix in their work and working processes.

The most notable panelist was artist and JustSeeds editor Josh MacPhee. Im a big fan of MacPhee- he began with describing the Celebrate People’s History poster series and finished with the announcement of his latest book, Reproduce and Revolt. It is a great resource of illustrations and graphics for use on flyers, posters, t-shirts, buttons, brochures, and other visual aspects of political campaigns. The graphics are easy to reproduce, and all are available for use without permission.

Glossolalia: Languages of Drawing

This morning I was making a beeline to the Olafur Eliasson pieces through a crowded MoMA when my efforts and attentions were diverted to two other exhibits- Glossolalia: Languages of Drawing and Projects 87: Sigalit Landau.

Glossolalia: Languages of Drawing

Glossolalia means speaking in tongues and the exhibit reflects how each artist while exploring their own path, created their own visual language. The show includes 100 works by self-taught outsider artists and conventionally trained professionals including – Öyvind Fahlström, Henry Darger, Basquiat , Jim Nutt, Raymond Pettibon, Russell Crotty, Yayoi Kusama, Richard Prince, Patti Smith, and the forever irresistible Tom of Finland. I went through the rooms about 5 times before i started to feel the guards observation – and decided to move on. but what a welcomed surprise- it closes 07 july- so don’t miss it!

Projects 87: Sigalit Landau

In DeadSee (2005), Israeli artist Landau floats in a spiral of 500 green watermelons creating a 19-foot spiral on the salt-saturated waters of the Dead Sea until the coil slowly unravels. In Barbed Salt Lamps (2007), objects made of barbed wire have been submerged in the salt-saturated Dead Sea and dried in the sun, forming a crystallized surface. really beautiful.

Color and Conceptualism MOMA lecture 03.13.08


Speakers: John Baldessari, Daniel Buren and Bernard Marcadé
Topic: Color and Conceptualism
Sponsor: MOMA
A conversation to explore the ways in which artists use color, whether by chance, through systems, or in the context of everyday life. With artists John Baldessari and Daniel Buren, andBernard Marcadé, art critic, freelance curator, and professor of art history and aesthetics at the École nationale supérieure des beaux-arts of Paris-Cergy. Moderated by Ann Temkin, curator, Department of Painting and Sculpture. In conjunction with the exhibit Color Chart: Reinventing Color, 1950 to Today

Rating: This event posed more questions then it provided answers. Good thing, but it fell short of defining color and conceptualism within art. It allowed these two great artists to present their work and discuss how they use color but it did not address or expand on the evening’s topic.

“In the past if you were using black, white and grey you were considered a serious painter but in using color you were considered a decorative painter.” -JB

“We had to escape our own good taste” -JB

“If you make up rules before you paint then that is conceptual- If you make up rules after you paint then that is aesthetic” -JB

“You can not describe color. The words fail and are meaningless. Color is pure thought. No words or description can replace color. There are very few things this world like that.” -DB

“I have a tendency towards color so I find an artificial way to choose and associate colors. For example using the color wheel will dictate a sequence of colors within a piece.” -DB

I’m curious how the idea of color conceptualism relates to my process as a web designer. In web design there is a practice of “grey boxing” when you create a layout that is absent of color – just black white and grey. The thought is that you do not want, as a designer or a client, to be persuaded by color. The main objective is to communicate the content/message/brand in
the most efficient and effective way and you want to avoid color “getting in
the way”. This process seems more akin to a reductive/minimalist movement then a conceptual approach to color within design. So should web designers think of color in a conceptual way or does our medium prohibit this kind of exploration?
I can only think of shaun inman approaching color within web design in a conceptual manner.

Any others?

nice contemporary work relating to color:
finch and yuskavage