Posted by the editors on Monday, 19 September 2011
Carsten Höller’s “Mirror Carousel”
The wonderful art critic Roberta Smith has written a helpful, informative and interesting article entitled “For Spectacle’s Sake, Museums Get Specific” in the Art & Design section of The New York Times in which she offers up her anticipated museum and gallery show Top Picks for the Autumn/Winter 2011 season in New York. A wonderful list it is, as well, including, of course, de Kooning at MoMA, but also Maurizio Cattalan at the Guggenheim, Carsten Höller at the New Museum, Sherrie Levine at the Whitney, Diego Rivera at MoMA and, among others, at the Studio Museum in Harlem, “The Bearden Project”, celebrating the centennial of the birth of the great American Cubo-collagist Romare Bearden. Check the dates and get your calendars in order, there’s some wonderful and inspiring art to see.
See our previous posts on de Kooning at MoMA, here and here, and our previous post on Romare Bearden, here.
image: Attilio Maranzano / The New York Times
Posted in Abstract Art, Art, Collage, Conceptual Art, Exhibitions, General, Installations, Links, Museum & Gallery Shows, Museums, Nothing Is Invisible, nothingisinvisible, painting, sculpture | Tagged: Art, Attilio Maranzano, Carsten Höller, contemporary art, Exhibitions, Fall/Winter 2011 Exhibitions, Maurizio Cattalan, Mirror Carousel, MoMA, Museum & Gallery Shows, New Museum, New York City, Nothing Is Invisible, nothingisinvisible, Roberta Smith, Romare Bearden, Sherrie Levine, Studio Museum in Harlem, The Bearden Project, The Guggenheim, The New York Times, The Whitney Museum of American Art, Willem de Kooning | Leave a Comment »
Posted by the editors on Sunday, 18 September 2011
Pink Angels, 1945, Willem de Kooning
Holland Cotter has written an inspired and inspiring article entitled “Unfurling a Life of Creative Exuberance” in the Art & Design section of The New York Times, reviewing the enormous and masterful new MoMA retrospective entitled, appropriately enough, “De Kooning: A Retrospective” (through 9 January 2012 at the Museum of Modern Art; (212) 708-9400, moma.org) which includes paintings, drawings and sculpture created over a period of 70 years. Cotter looks, with insight, knowledge and clarity, at de Kooning, his “energy-generating” work, and his methods in a way that is informative, easily accessible, and motivating. All the more reason to make MoMA’s wonderful exhibition a must-see on your fall calendar.
image: Frederick R. Weisman Art Foundation, Los Angeles; Willem de Kooning Foundation/Artists Rights Society (ARS), New York / The New York Times
Posted in Abstract Art, Art, culture, Exhibitions, General, Museum & Gallery Shows, Museums, Nothing Is Invisible, nothingisinvisible, painting, sculpture | Tagged: Abstract Expressionism, Art, drawing, Exhibitions, Holland Cotter, MoMA, moma.org, Museum & Gallery Shows, Museum of Modern Art, Nothing Is Invisible, nothingisinvisible, painting, Pink Angels, Retrospectives, sculpture, The New York Times, Unfurling a Life of Creative Exuberance, Willem de Kooning | 1 Comment »
Posted by the editors on Wednesday, 14 September 2011
Carol Vogel has written an excellent article, entitled “Still Unearthing Discoveries in de Kooning’s Brush Strokes”, in the Arts section of The New York Times, looking at the work of the brilliant Abstract Expressionist painter Willem de Kooning and the work, and fascinating discoveries, by John Elderfield, the MoMA‘s chief curator emeritus of painting and sculpture, as he immersed himself in the work of Willem de Kooning in preparation for the massive show at MoMA, “de Kooning: A Retrospective”, opening 18 September 2011. From Casper The Friendly Ghost, to stenography, to Life Magazine, and more.
image: Librado Romero/The New York Times
Posted in Abstract Art, Art, Exhibitions, General, Links, Museum & Gallery Shows, Nothing Is Invisible, nothingisinvisible, painting | Tagged: Abstract Expressionism, Arts, Carol Vogel, Casper the Friendly Ghost, de Kooning: A Retrospective, John Elderfield, Life Magazine, MoMA, Museum & Gallery Shows, Nothing Is Invisible, nothingisinvisible, painting, Stenography, Still Unearthing Discoveries in de Kooning's Brush Strokes, The New York Times, Willem de Kooning | 1 Comment »
Posted by the editors on Wednesday, 27 April 2011
Point Omega, by Don DeLillo
Point Omega (2010) (novel) by Don DeLillo (White Noise (1985), Underworld (1997), The Body Artist (2001), Falling Man (2007)). Disturbing, masterful, spare; lucid and complex.
According to DeLillo, the novel considers an idea from “…the writing of the Jesuit thinker and paleontologist Pierre Teilhard de Chardin.” The ‘Omega Point’ of the title “…[is] the possible idea that human consciousness is reaching a point of exhaustion and that what comes next may be either a paroxysm or something enormously sublime and unenvisionable.” (According to Wikipedia, Teilhard makes sense of the universe by its evolutionary process. He interprets complexity as the axis of evolution of matter into a geosphere, a biosphere, into consciousness (in man), and then to supreme consciousness (the Omega Point). The Omega Point is said to denote the state of maximum organized complexity (complexity combined with centricity), towards which the universe is evolving.)
As on knows, omega (the last letter of the Greek alphabet) is often used to denote the last, the end, or the ultimate limit of a set, in contrast to alpha, the first letter of the Greek alphabet. In the New Testament, God is declared to be the “alpha and omega, the beginning and the end, the first and the last”. (Wikipedia)
Omega can equally be thought of as the end of death or even time, or as the name of the end; in linguistics, as the phonological word; in textual criticism, as the archetype of a manuscript tradition
At the end of Point Omega, DeLillo, in his “Acknowledgment”, writes: “24 Hour Psycho, a videowork by Douglas Gordon, was first screened in 1993 in Glasgow and Berlin. It was installed at the Museum of Modern Art in New York in the summer of 2006.” 24 Hour Psycho is the showing of Alfred Hitchcock‘s classic film thriller Psycho (1960) slowed down from its usual 24 frames per second, 109 minute running time, so that it runs 1440 minutes, or 24 hours, at approximately 2 frames per second. In Point Omega, the first and last sections of the DeLillo’s novel take place during a showing of 24 Hour Psycho.
24 Hour Psycho, as an artistic creation, deals with themes common to Gordon’s work, such as “recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light”, as one can learn in an piece in The Guardian. Moreover, the slideshow and text accompanying it, as highly relevant as they are to DeLillo’s work, are fascinating in their own right.
With respect to the first edition cover of Point Omega, one could wonder at the presence of the sign for infinity, given the accepted literal and symbolic understanding of “omega” as, truly, the end. Conscious choice and interesting implications of infinite endings, or even, the end of infinity? Amusing joke? Artist’s choice? Coincidence? (PR)
We recommend that you buy your books. Have a wonderful personal library.
Posted in Art, Book Reviews, Conceptual Art, culture, Exhibitions, film, General, Installations, Language, Links, Literature, Museum & Gallery Shows, Nothing Is Invisible, nothingisinvisible, Slide Shows | Tagged: 2010, 24 Hour Psycho, Alfred Hitchcock, Art, Book Reviews, books, Conceptual Art, contemporary art, Don DeLillo, Douglas Gordon, Falling Man, fiction, film, Infinity, Literature, MoMA, movies, Museum of Modern Art, New Testament, Nothing Is Invisible, nothingisinvisible, Novels, Omega Point, Organised Complexity, Pierre Teilhard de Chardin, Point Omega, PR, Psycho, Slideshows, The Body Artist, The Guardian, Underworld, White Noise, Wikipedia, writing | 1 Comment »
Posted by the editors on Saturday, 26 March 2011
Erich Heckel’s “Franzi Reclining”, 1910. Part of MoMA’s extraordinary collection of German Expressionism prints.
image: Museum of Modern Art, New York
Roberta Smith has written a wonderful, lively and informative article entitled “Bleak Visions From Early-20th-Century Rebels” in the Art & Design section of The New York Times looking at the highly colorful and intensely graphic exhibition “German Expressionism: The Graphic Impulse” at the Museum of Moder Art (open to the public Sunday 27 March – 11 July, 2011, (212) 708-9400, moma.org). Smith describes the show as, among other things, “infused with an urgent, crackling energy, by turns joyful, satiric, grim and tragic”, easily motivation enough for one to see it.
However, for those of us who, for some reason, won’t be in New York between tomorrow and 11 July, MoMA has announced that as of Sunday all 3,380 German Expressionist works on paper in its collection will become available for online viewing at moma.org/germanexpressionism. Amazing, and excellent.
In the meantime, great slideshow, here.
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Posted in Art, culture, Exhibitions, General, Internet, Links, Museum & Gallery Shows, Museums, Nothing Is Invisible, nothingisinvisible, Slide Shows, Websites | Tagged: Art & Design, Artists' Prints, Erich Heckel, Exhibitions, Franzi Reclining, German Expressionism, German Expressionism: The Graphic Impulse, MoMA, moma.org, Museum & Gallery Shows, Museum of Modern Art, museums, Museums Online, New York, Online Art, Printmaking, prints, Roberta Smith, Slideshows, The New York Times | Leave a Comment »