Art

The Museum Workout, Monica Bill Barnes & Company, at the Metropolitan Museum of Art

Monica Bill Barnes troupe exercised their way through the Met's armor court, the author front and center.

I saw Monica Bill Barnes & Company a few years ago when the troupe performed Three Acts, Two Dancers, One Radio Host which I found very entertaining. This experience was just as engaging but in a very different way. About fifteen women gathered before the museum opened and were ushered to the Education Area to put away coats and anything else we’d brought. We were told to wait “and stretch if you like.” After a brief introduction from Robbie Saenz de Viteri, the company’s Creative Producing Director, we were led to the foot of the great stairs where Monica Bill Barnes and her longtime dance partner, Anna Bass, both in sequined gowns and sneakers, greeted us.

Bill Viola: The Moving Portrait: Smithsonian: National Portrait Gallery, Washington DC, November 18, 2016 – May 7, 2017.

Dolorosa, 2000. Video diptych © Bill Viola. Photo The J. Paul Getty Museum, Malibu.

Bill Viola, one of the most sought-after artists internationally, early selected a contemporary medium to address broad humanistic questions. Embracing global perspectives that include Christian theology, Zen Buddhism, and Islamic Sufi mysticism, his videos address our hybrid existence as matter and thought, our memories, empathy with others, and transitions through birth, death and aging. Organized by Asma Naeem, curator of prints, drawings and media art, in consultation with Viola’s creative partner, Kira Perov and the Bill Viola Studio, the exhibition displays eleven works that span the artist’s early career to the present. Kim Sajet, director of the National Portrait Gallery, expressed his delight in inviting “visitors to enter the museum’s newly created media galleries to experience portraiture in its most telling and current form: moving revelations of the human body and spirit that befit our digital age.” In the accompanying 20-page brochure, Naeern provides a contextualizing overview; the artist comments simply on the action in each piece. The viewer is encouraged to make associations, a direction Viola advocated in an earlier interview: “images have their life because they’re untethered and free floating” (video: Bill Viola and the making of Emergence by Mark Kidel, 2003).

B. F. Kiefrich, Spam Artist, Remembered

You may wonder about my interest in this traditional American delicacy. It comes not from the interests I share with Sgr. Rossini, but from my experiences as a curator in the Cleveland Museum of Art. As my colleagues and I pushed papers and watched western civilization melt into Lake Erie, a remarkable artist from Akron came to our attention. This artist, who worked under the name B. F. Kiefrich, produced sculptures from Spam®, among them an exquisite gilt miniature Book of Hours, known as the Codex Spambergensis and a porcine version of Nefertiti’s lips.

Artist’s Books by Dan Rose; Arbitrary Pleasures-Plaisir Arbitraire, Photon Ecstasy (HD 7924) at the Van Pelt Library, University of Pennsylvania

Dan Rose in the gallery

Arbitrary Pleasures-Plaisir Arbitraire is the most recent exhibition of artist’s books by Dan Rose with a performance by New York Composer-Performers l’Artiste ordinaire (Melissa Grey & David Moneau).

Through Dan Rose’s initiative, the Kislak Center has now acquired the collected papers of Harry Matthews the first American member of Ouvroir de Littérature Potentielle, or Oulipo, a group of mostly French avant-garde novelists and poets who invented or revived techniques that influenced the trajectory of 20th and 21st century literature.

Patrick Dougherty’s Stickworks Augments the Experience of Fall in Massachusetts

Patrick Dougherty, The Wild Rumpus, Tower Hill Botanical Garden in Boylston, Massachusetts. Photo Virginia Raguin.

Patrick Dougherty has been making popular installations over a 30-year career in the tradition of Earthworks. Raised and educated in North Carolina (he resides in Chapel Hill), he began with a hand-crafted house in the 1970’s and a decade later was showing human stick figures positioned or standing in chairs. His first works were displayed in art galleries and at art centers before he became engaged with architectural follies that are often massive structures that leap from tree to tree, cover facades of buildings, or stand as independent houses or similarly monumental forms. His output in the past decade numbers nine to ten installations a year—each occupying about three weeks of uninterrupted effort. As well as the hundreds of sculptures in the United States, his work has been enthusiastically received internationally in almost every country in Western Europe as well as Japan and South Korea.

The Life Ecstatic: Judith Schaechter at Claire Oliver Gallery, 513 West 26th Street. New York, Sept 9 – October 22.

Judith Schaechter, The Life Ecstatic, at the Claire Oliver Gallery, New York. Photo Virginia Raguin.

All artists strive to depict the human condition; Judith Schaechter does this in a series of extraordinary narratives in stained glass that address life, consciousness, and the unending richness of created form. A recipient of several National Endowment for the Arts awards as well as a Guggenheim Fellowship, Schaechter teaches in the Craft and Material Studies department at the University of the Arts, Philadelphia. Her recent show at Claire Oliver Gallery focuses on flight and space, actual or imagined in new and brilliant ways. Birds rule throughout! Schaechter admits that she has recently become a bird watcher although she always enjoyed animals, even as a teenager. She confides that a bird’s shape is appealing—a living form but without the complex appendages of arms and legs (hard to draw).

Experiments of the Ordinary: Giorgio Morandi at the Center for Italian Modern Art

Giorgio Morandi, Natura morta, 1963

All accounts suggest that the Italian painter Giorgio Morandi (1890-1964) enjoyed a life of uninterrupted calm and isolation. Introverted by nature, Morandi spent his entire lifetime in Bologna, in the same apartment no less, and was dubbed il Monaco due to his almost monastic reclusiveness. He tended to paint at home, either in his bedroom or an adjoining studio, committing himself almost exclusively to the natura morta, or still life.

Danish Solitudes: Vilhelm Hammershøi at Scandinavia House, closes March 26, 2016

Vilhelm Hammershøi, The Buildings of the Asiatic Company, Seen from St. Annæ Street, Copenhagen, 1902. Oil on canvas, 57 5/8 x 55 1/3 in. (146.5 x 140.5 cm). Statens Museum for Kunst, smk.dk

Widely recognized in Europe during his lifetime and engulfed by obscurity for decades thereafter, today the Danish painter Vilhelm Hammershøi (1864-1916) is primarily considered to be a “painter of tranquil rooms.” “Interior in Strandgade, Sunlight on the Floor,” one of twenty-four paintings displayed in an intimate recent exhibit at New York’s Scandinavia House, is an archetypal Hammershøi work. A solitary woman hunches over a table with her back to the viewer, her identity and activity unclear. Daylight pours through a large central window, leaving a slanted, luminous grid ghosted on the floor. While the subject matter is characteristic of the period—paintings of bourgeois women and interiors were both immensely popular in 19th century Denmark—the approach is defiantly atypical.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.