I cannot believe that even the most devout American fascist has not danced or punched their fist in the air to a song created by African American musicians; at a prom, at a frat party or a wedding. "1999" by Prince, "Rock n Roll" by Chuck Berry, "Nutbush City Limits" by Ike and Tina Turner. Black music is an ever-present treatise on American life.
Fallen empires, lost peoples, ancient cultures and what they once produced -- like fallen leaves and dead trees -- comprise the very ground we walk upon. What has passed before, what Tony Moore refers to as “the relationship of humanity and nature," that magnificent mix of man and mother earth is at the core of his content. There is that sense of monumentality, that massiveness of told and untold history that we might feel, what Moore gathers in through direct experience, cognitive or corporeal, as he builds up and cuts away with and within his earthen clay is his expression. He remains connected, as we all should, to the past as there is an endless life energy that both stirs and cleanses Moore’s thoughts and imaginings. To Moore, all cultures, all systems and societies past and present are part of a continuous need to feel connected and complete. It is also vital that we have hope and that we stand up for unity and understanding so good can triumph over evil intent and oppression.
Saints, Sinners, and the Collective Unconscious is riveting. Mr. Lombardi is an artist with an intimate understanding of history in regard to religion and popular culture. After careful viewing of the 30 works in the exhibition, I was compelled to research the titles of the works because they seemed to hold the key to unlocking Lombardi’s intentions. I focused on the works in the Saints section of the exhibition because I found their cryptic iconography most intriguing. The research of the saints depicted in Lombardi’s work opened up a new route for me to access the works’ meaning.
If there is a thread that unites the varied bodies of work that the protean painter Brenda Goodman has produced over her five-decade career, it is the sense of urgency -- in the need of the artist to articulate her thoughts and emotions onto the painted surface, but also a feeling of immediacy in the directness of expression, the painterly "hand" manifest in the work. Even in the Ingre-esque drawings of her work in the 1970s, one senses Goodman's need to capture a moment, a relationship between her psychological characters, and then move on, leaving a generous space unfinished for the viewer to move around in. This restlessness pervades her work, in fact defines it, as she jumps from style to style, figure to abstraction, throughout different periods.
An older creative man who finds energy in their work from having a new young love in his life can represent a wonderful coda. In 1857 when Dickens was 45 years old, he fell in love with the 18-year old actresses Ellen Ternan, a passion that lasted the rest of his life. In 1917 the composer Janacek met Kamila Stösslová, 38 years his junior, who inspired a host of new works. A young woman's sexual ecstasy is the central theme of a suite of new pieces by Anselm Kiefer at Gagosian on 21st Street in Chelsea, up until September 1st.
Upon entering we were informed that this was a world class exhibit. Not certain what exactly that was meant to imply, the term stuck in my head as I began my journey... by the end of my time there I had my answer.
Presently on display at the Pacific Science Center in Seattle, "Terracotta Warrior Exhibit of the First Emperor" offers a rare opportunity to view a large collection of the famed Terracotta Warriors of the the Qin Dynasty. Along with the legendary statues themselves, interactive displays help bridge the gap between a professionally curated instillation and a hands-on approach utilized elsewhere at the Pacific Science Center to engage school children. This touring showcase succeeds in being child friendly without being childish, inviting people of all ages to approach the exploration of these artifacts with the kind of beaming excitement often reserved for children.
Beginning with a dramatic and somewhat cinematic introduction, projected images and a looming voice-over prepare audiences for the ancient wonders just on the other side of a pair of closed doors. This presentation induces a fitting amount of anticipation for this momentous opportunity as the Terracotta Warriors aren't often on displayed outside of their home in the province of Shaanxi. Unless you're planning a trip to China some time in the future this may be your only opportunity to witness in person such an extensive collection of these haunting figures.
The concept of walls and borders has been tossed around with such frequency of late, and with such politically charged implications, it seems almost anticlimactic that artists would address this notion within a primarily aesthetic context. Counterpoints to the Narrative curated by D. Dominick Lombardi, features a group of artists exploring ideas that are simple, yet provocative, visuals of this complex subject matter. Sparky Campanella, Mark Sharp, and Martin Weinstein, two painters, one photographer, whose work, seen in combination is much more than a contrast in method and style; rather, it is a meditation on visuality and viewership. These artists are creating work that explores some of the ideas Rudolf Arnheim has put forth regarding the contrast between "seeing into" a work of art, and "seeing as."
The exhibition, A Breeze Comes from ‘Meng Bana Xi,' displays recent oil on canvas works whose quirkiness and individuality are rare in an era of globalization, when standardized ideas take on a generic identity that reveals few personal hints about the artist who creates them. The twenty-four paintings on view provide a glimpse of purity undiluted by outside contemporary influences. Ting works in a small isolated village in South China, near the Myanmar (Burmese) border, separate from the hip and the trendy burgeoning yet government “guided” art centers of Shanghai and Beijing. These works are rife with messages and feelings that seem on the brink of exploding. Her demonstrative approach, which harks to the era when both the German Expressionists and Edvard Munch gave voice to their dark feelings of foreboding and anxiety, is viewed by local Chinese authorities with suspicion. Ting fails to follow the official lines whose boundaries determine acceptable styles and content for contemporary art in China.
Looking at the career of the artist Robert Longo can be a philosophical meditation on style. Style, as opposed to stylization, is a key to understanding Longo’s importance as an artist, both at the beginning of his career with the Men in Cities drawings, through his large charcoal drawings of guns, to his blue-chip Abstract Expressionist paintings, and into this recent, powerful exhibition at Metro Pictures.