Tagged: brooklyn museum

Calendar. 04.10.14.

Swoon (American, born 1978), The Swimming Cities of Serenissima, Adriatic Sea, 2009. © Tod Seelie
The Swimming Cities of Serenissima on the Adriatic Sea. On view in Swoon: Submerged Motherlands, at the Brooklyn Museum of Art. Opens Friday. (Photo by Tod Seelie.)

Calendar. 04.10.13.

Michael Ballou at the Brooklyn Museum
A work in progress by Michael Ballou. Part of the artist’s solo exhibit Raw/Cooked: Michael Ballou, at the Brooklyn Museum. Opens Friday. (Photo by Pierce Jackson.)

Miscellany. 03.24.13.

Gravity and Grace, 2010, by El Anatsui
Gravity and Grace, 2010, by El Anatsui. Currently on view as part of the artist’s solo exhibit Gravity and Grace: Monumental Works by El Anatsui, at the Brooklyn Museum through August 4. (Image courtesy of the artist and Jack Shainman Gallery. Photo by Andrew McAllister.)

Happy Turkeys Day + a coupla linkages.

I’ll be spending the holidays looking pensive and smoldering while waiting for the turkey to emerge for the oven — like my girlfriend Susan Sontag, above. If you’re doing the same, here are a coupla things you can read while the little butterball cooks up: my weekly picks over at Gallerina (those Sarah Braman sculptures look fierce) and four reasons to go see HIDE/SEEK at the Brooklyn Museum. Seriously, if you live in new York, get on it.

Happy Stuffing!


Credit: Photo of Susan Sontag by Peter Hujar, 1975 — currently on view as part of Hide/Seek at the Brooklyn Museum. National Portrait Gallery, Smithsonian Institution, Washington, D.C. © The Peter Hujar Archive LLC, courtesy Mathew Marks Gallery, New York.

The Figure in Contemporary Art: Brooklyn Museum.

Fred Wilson, Grey Area (Brown Version), 1993. (Photographs taken by Ben Valentine at the Brooklyn Museum last December.)

Recently, while browsing an art history book, I began thinking about how much the portrayal of the human figure has evolved since the Paleolithic era (think Venus of Willendorf), through the Renaissance (Michelangelo’s David), to today — when contemporary artists seem to portray humans conceptually and aesthetically in radically different manners. This has inspired me to begin collecting contemporary representations of the human form. I thought I’d begin the series at the Brooklyn Museum, which features a wide range of artists and aesthetics (all walking distance from my apartment). Hopefully this photo series will begin to give us an idea of the many facets of identity today. It could help us see how far we have come, or simply show how psychotic we all happen to be…

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Seduced by Subversion at the Brooklyn Museum.

A detail from Rosalyn Drexler’s Home Movies. (Photos by C-M.)

There are paintings with balls. And there are paintings with tubes. You’ll find the latter at the Brooklyn Museum’s show Seductive Subversion: Women Pop Artists 1958-1968. And thank goodness. This ably assembled little show makes you realise just how much the art world is dominated by sausage, because there’s no other explanation for why I haven’t seen more of these talented ladies, some of whom have some wildly acerbic views on men, the art world and their own bodies. (No earnest vag art here.) There’s been some debate among the critical set about how ‘pop’ many of the works in the show truly are. But, honestly, who cares? The exhibit contains some underseen, underappreciated, totally twisted gems. If you’ve OD’d on ’60s go-tos like Warhol, Lichtenstein and Oldenburg, then hit the Brooklyn Museum for fresh kick-you-in-the-ass perspective.

Seductive Subversion is on through Jan. 9. Check it out.

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Photos: Andy Warhol, The Last Decade, at the Brooklyn Museum.

I spent a better part of Saturday afternoon wandering around Andy Warhol: The Last Decade at the Brooklyn Museum. I’ve long felt ambivalent about Warhol as an artist. I love the ways in which he innovated the use of commercial imagery, but get worn out by the relentless rich-people portraits cranked out factory-style. I like the way he could play the media, but the hijinks can grow tiresome. Some pieces are clever, others too self-aware. But the gathering of silkscreens and paintings at the Brooklyn Museum, all produced during the last ten years of the artist’s life, contained a number of works that genuinely moved me — from the whoa-nelly-this-shit-is massive Last Supper (the middle shot above) to the maligned collaborations with Jean-Michel Basquiat (there’s a hopefulness and a darkness to Sin More that I find really compelling). I was totally absorbed — primarily by the works on the fifth floor portion of the exhibit.

But above all, I learned one important lesson: It might occasionally behoove me to clean the lens on my camera.

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