G. Caillebotte's "Oarsmen Rowing on the Yerres" - Brooklyn Museum

Last weekend we spent one very busy Saturday in New York City museuming. We started in Brooklyn at the Brooklyn Museum. This time we took the 2 train from 125th St in Harlem. After 45 minutes and a bit of subway back and forth caused by track work, we emerged from the subway walking up to look straight at the new glass entrance hall of the Brooklyn Museum of Art.

Brooklyn Museum

Gustave Caillebotte: Impressionist Paintings From Paris to the Sea

We visited a number of galleries. I found the exhibition, “Gustave Caillebotte: Impressionist Paintings From Paris to the Sea” very interesting. Unlike the New York Time’s reviewer Holland Cotter,¹ I am not too bothered with issues of exactly where any particular artist fits into the taxonomy that art critics and historians use.

G. Caillebotte-"Factories in Argenteuil"

Unlike most taxonomies of the physical world, art taxonomy seems to obscure more than enlighten. At any rate I really enjoyed the industrial and street scenes. His perspectives are frequently novel.((pictures of Caillebotte’s work shown here borrowed without permission from the Brooklyn Museum website))

Judy Chicago’s “The Dinner Party”

Judy Chicago’s “The Dinner Party” is now on permanent display. I must admit that very few of the 1038 women honored in this piece were familiar to me. The “Heritage Panels” that are part of this work offer a timeline and some hints about why the women included at the dinner are there. The Brooklyn Museum has wonderful web pages on the Dinner Party, including a 360⁰ virtual tour here.

“American Identities: A New Look”

We made a return visit to the the fifth floor for the “American Identities: A New Look” permanent installation. This is proving to be worth a trot around whenever we get to this museum. The topics are great and the juxtapositions of art from different eras about similar topics provides an unusual view on artists  and topics.

The Black List Project: Timothy Greenfield-Sanders and Elvis Mitchell

We also stopped by “The Black List Project: Timothy Greenfield-Sanders and Elvis Mitchell” (web information here) on the way out the door. Large conventional portraits of notable people. This part of  “a documentary project that explores being Black in America.”. Not sure how they chose the people included, but with such a large population to pick from any selections would probably raise that question.

The Brooklyn Museum continues to be a very reliable source of good exhibitions without the crushes of the MET and MOMA. Good place to take the grandchildren.

MOMA

“Into the Sunset: Photography’s Image of the American West”

Stephen Shore 1973 photo Klamath Falls, OR in MOMA show

With that we got back on the subway and headed back to Manhattan and a visit to MOMA. Fortified by one of the wonders of urban life, a hot dog from a street vendor, we went into MOMA and first looked at “Into the Sunset: Photography’s Image of the American West”. This topically arranged visit to photographs of the American West was great fun for me. Lots of famous photographers juxtaposed with people unknown to me but shooting photos on a similar topic but perhaps from a completely different time. Leaving aside the pedagogical intent of the show, “the American West is a produced cultural artifact” – the quality of most of the images was very good. Lots to enjoy.²

“The Printed Picture”

I also returned briefly to look at an exhibition that I had stumbled on during an earlier visit. “The Printed Picture” explores the development of printing pictures, something that we take for granted. It is not so long ago that color pictures did not appear in daily newspapers. Color was reserved for the Sunday paper pullouts and magazines. On a daily basis one was used to quite grainy black and whites. Now color is ubiquitous, expected, and black and white images are the more unusual. One technology really caught my attention.  The Hewlett Packard Indigo press. This digital press prints in full four color at 120 pages per minute with variable page content on the fly. The age of on demand printing is here now. Maybe this should be obvious from the flourishing self-publication sites.

Karen has now purchased the book that accompanies this exhibition,  The Printed Picture, a book by Richard Benson that traces the changing technology of picture making from the Renaissance to the present, focusing on the vital role of images in multiple copies.

Paul Graham, “a shimmer of possibility”

Paul Graham. New Orleans (Woman Eating). 2004

Paul Graham. New Orleans (Woman Eating). 2004

I also went back to look again at a series of photos by Paul Graham, “a shimmer of possibility”. Working predominantly in series format, these photos are really compelling. I found myself spending more than my usual 10 seconds studying these series. “New Orleans (Woman Eating) is a wonderful series which is occupied with a woman sitting in a bus stop eating chicken. But, the series seems also to be about accidental art found in the rubbish at her feet.³

In another series, “Texas 2005″,  8 pictures taken around sunset. Only on close examination of the first, taken at a low angle through trees between two houses looking towards a setting sun, do you realize that there are two figures, very faint figures, playing basketball. Later photos in the series show this play up close. In none is there any connection displayed between the photographer and the basketball players. We seem to be an unseen observer. But, as the title of this show suggests, these events are just “a shimmer of possibility”. What in fact are we observing?

Martin Kippenberger: The Problem Perspective

We also rode the escalators to the top floor to look at “Martin Kippenberger: The Problem Perspective”. This strange fellow made an enormous amount of “art” in his short life. Most of this seems to fit into the genre of art which MFA and PhD students will worry about. Not much for me to say about this except for repeating my distain for this genere of self-indulgent silli-business masquerading contemporary art. Nevertheless,  I did take a few shots of the exhibition.

Here is a shot from above of Kippenberger large installation on the second floor.

Martin Kippenberger. Installation view of The Happy End of Franz Kafka’s “Amerika”. Mixed media, dimensions variable

I got more interested in some strange reflections as I was taking a few photos from the sixth floor balcony.

reflection-kippenberger-moma

MET

Pierre Bonnard: The Late Interiors

After a brief bus ride, we trooped in to the MET. By this time I was pretty museumed out. Reinforced by a stop in the cafeteria (I can get there blind folded), we did look at the exhbition,    
“Pierre Bonnard: The Late Interiors”. Could be the end of the day or my general lack of interest in Impressionist flowers, but, I was underwhelmed and glad to board the M2 for Harlem.

1. see his review March 27, 2009 “The Reluctant Impressionist here
2. Stephen Shore photo borrowed without permission from NYTimes
3. The picture here of the series was taken by me. The second is borrowed without permission from MOMA’s website

For many years I have been taking pictures of these ubiquitous features of our urban environment. I remain unsure about what this little mania is about???

October 2,  2001 – January 21, 2002 at the Museum of Fine Arts, Boston, MA

Karen and I saw a few of Ms. Ristelhueber’s photographs a couple of years ago at the Museum of Modern Art (New York). They were part of MOMA’s annual New Photography selections. We were struck then by the power of her work.

The current exhibit, Sophie Ristelhueber: Details of the World, at the MFA includes “Fait”, 71 approximately 4 ft x 4 ft photographs taken in the deserts of Kuwait shortly after the end of the “Desert Storm” war. Some are taken from a helicopter and others are at ground level. All are intensely detailed but in some strange way quite abstract in their impact. This is accentuated in the exhibition by the juxtaposition of aerial and close-ups so that at first glance one can not be sure which is which. This is the scene of modern warfare.

Another series of photographs entitled” Beirut” are 31 small black and white photographs of a streetscape in war torn Beirut. Another confrontation with the results of war.

There is more here in this extensive exhibit. We highly recommend it.

Every One, #3, 1994 Black and white photograph mounted on fiberboard 106 x 71 inches, unique installation at the Centraal Museum, Utrecht. (Picture to left and text description above borrowed from MFA web site 01/15/02)

During one of our whirlwind weekends in New York, Karen and I went to the New York Historical Society (2 West 77th Street New York, NY 10024 http://www.nyhistory.org) to catch the last day of the exhibit, REMEMBERING THE FORGOTTEN ONES: THE PHOTOGRAPHS OF MILTON ROGOVIN.

At the heart of the experience was a roomful of triptychs, photos taken of the same family, if not always the same family members spanning three decades. Rogovin combined brief texts by one or more of those pictured and some included audio versions with the authors of the text speaking.

Here are a few images:

Eva and Daughter 1972, 1985, and 1992 (image borrowed without permission from The Getty Museum (http://www.getty.edu/art/collections/objects/o112420.html)

Grandparents and Baptism Boy 1974, 1985, 1992 (image borrowed without permission from The Getty Museum http://www.getty.edu/art/collections/objects/oz112421.html)

And an updated “quartet” extending the one above:

Here are a couple of other pictures gleaned from various web sites:

(from the Working People series)

There is a Milton Rogovin website.

GRIFFIN GALLERY THE MCCANN FAMILY – PHOTOGRAPHS BY KAREN DAVIS Sept. 11 – Nov. 2, 2008 Karen Davis photograph Mother Dreams – Image © Karen Davis  When Karen Davis was small, her younger sister, Cheryl, had a set of four mechanical dolls she called the McCann Family. After Cheryl died a few years ago, Davis inherited the dolls and made them the subject of a series of photographs.

The McCann Family is featured in the Griffin Gallery of the Griffin Museum September 11 through November 2.

The photographs are part of a visual memoir by Davis that is a work in progress. The mechanical dolls, she says, were “a thinly disguised version of the Davis family. There was a boy doll, girl doll, man and woman doll.” The Davis family had a mother and father and two girls, so Cheryl decided she was the boy doll, Tom McCann. Karen Davis was the girl doll, Mary Ann McCann.

When Cheryl, who was born with spina bifida, died, the McCann Family and all their possessions went to Davis. “It has taken most of my lifetime to appreciate the courage and imagination of my sister,” Davis says. “Placing the McCanns on stage – directing their actions, brings me back to our childhood and to memories of an extraordinary woman.”

“The McCann Family is a poignant visual tribute to the Davis family,” says Paula Tognarelli executive director of the Griffin Museum of Photography. “Karen Davis spins her familial tale through the poetic capacity of her photographs. Her images move and charm the viewer all at the same time.”

Davis, of Cambridge, MA, is a photographer, book artist, and educator. Her work is featured at the Massachusetts Museum of Contemporary Art (MASS MoCA);] Houghton Rare Books Library, Harvard University; Boston Drawing Project at Bernard Toale Gallery; and in corporate and private collections.

Her work can be seen on her website, www.YesThatKarenDavis.com.

Davis teaches photo-based and word-image courses for Lesley Seminars at Lesley University in Cambridge, MA. She is also a principal in artistmarketing.biz, which specializes in websites and other marketing services for artists.

An opening reception with the artist is Sept. 11, 7-8:30 p.m. It is open to all. The reception is preceded by a members-only talk with Davis at 6:15 p.m. Please RSVP by September 4.

Sept. 11 – Nov. 2, 2008

(borrowed from press release by Griffin Museum)

When Karen Davis was small, her younger sister, Cheryl, had a set of four mechanical dolls she called the McCann Family. After Cheryl died a few years ago, Davis inherited the dolls and made them the subject of a series of photographs. The McCann Family is featured in the Griffin Gallery of the Griffin Museum September 11 through November 2. The photographs are part of a visual memoir by Davis that is a work in progress. The mechanical dolls, she says, were “a thinly disguised version of the Davis family. There was a boy doll, girl doll, man and woman doll.” The Davis family had a mother and father and two girls, so Cheryl decided she was the boy doll, Tom McCann. Karen Davis was the girl doll, Mary Ann McCann.  When Cheryl, who was born with spina bifida, died, the McCann Family and all their possessions went to Davis. “It has taken most of my lifetime to appreciate the courage and imagination of my sister,” Davis says. “Placing the McCanns on stage – directing their actions, brings me back to our childhood and to memories of an extraordinary woman.” “The McCann Family is a poignant visual tribute to the Davis family,” says Paula Tognarelli executive director of the Griffin Museum of Photography. “Karen Davis spins her familial tale through the poetic capacity of her photographs. Her images move and charm the viewer all at the same time.” Davis, of Cambridge, MA, is a photographer, book artist, and educator. Her work is featured at the Massachusetts

Museum of Contemporary Art (MASS MoCA); Houghton Rare Books Library, Harvard University; Boston Drawing Project at Bernard Toale Gallery; and in corporate and private collections. Her work can be seen on her website, www.YesThatKarenDavis.com. Davis teaches photo-based and word-image courses for Lesley Seminars at Lesley University in Cambridge, MA. She is also a principal in artistmarketing.biz, which specializes in websites and other marketing services for artists. An opening reception with the artist is Sept. 11, 7-8:30 p.m. It is open to all. The reception is preceded by a members-only talk with Davis at 6:15 p.m. Please RSVP by September 4.

Here is the whole article in the In Brief section