Francesca Woodman at the Guggenheim

by Sarah Posted on May 8, 2012


Francesca Woodman, From Space², Providence, Rhode Island, 1975-78. All images via Marian Goodman Gallery.

While the Guggenheim rotunda currently features the ultimate in brash masculinity – the enormous contorted car metal sculptures of the late John Chamberlain – a smaller show of black and white photography, located adjacent to the spiral spectacle, represents a quiet foil. Francesca Woodman’s photos are mysterious, haunting, and elicit an aura of timelessness that makes them difficult to pin down. As much as I appreciate a good Chamberlain sculpture (and I was pleasantly surprised by the range of objects, in terms of both size and material, on display in “Choices“) they can only hold my interest for so long. In contrast, Woodman’s photos are the type that seem to physically suck you into their world, demanding attention, thought, and introspection.


Untitled, Rome, 1977-78

It is difficult to disentangle Woodman’s work from Woodman’s life. The precocious photographer was born into a family of artists and committed suicide in 1981 at age 22. The brevity of her career, much of which was spent as a student at the Rhode Island School of Design, lends an almost cliché aura of melodrama and artistic suffering to her photographs. It is impossible not to wonder how we might perceive her work differently if she were still alive today. The haunted quality of the photographed scenes is perhaps the most mesmerizing aspect of her work. Many photos were staged in an abandoned house, lending an air of decay and heavy neglect to each frame. These are spaces where you could easily imagine ghostly apparitions taking shape. Woodman’s technique only adds to this sense, as the figures are often blurred and slightly transparent, further evoking the impression of a fleeting moment or vision.


From Angel Series, Rome, 1977-78

The Woodman exhibition also represents an interesting comparison with another photography show taking place 40 blocks away at MoMA: the Cindy Sherman retrospective. Both exhibitions feature female artists who primarily use their bodies as the subject of their work. While Sherman uses elaborate costumes, make-up, and props to disguise herself and transform into a variety of characters, Woodman takes the opposite approach – often stripping down and baring herself without even the slightest shred of clothing. For this reason, Woodman’s photographs may come across as more sentimental and less slick, but both artists share in their the ability to transcend personal identity to convey something simultaneously more specific and more universal. Their works emit an enigmatic quality that makes them difficult to fully unravel or grasp in their entirety within the space of a moment. They are deep and complicated and seem to carry with them the weight of what it means to be a woman, with all the nuances, complexities, and histories that entails.


Providence, Rhode Island, 1975-78

Although I object to the space in which the exhibition is featured, a cramped series of galleries located within seeing and hearing distance of the cacophony of the cafe (surely these photographs merit a more quiet, contemplative setting), I reveled in the photographs themselves. Anyone with even a passing interest in photography should visit both the Guggenheim and MoMA to view the works of Woodman and Sherman, and see how these two artists that have pushed the conventional limits of self-portaiture in both challenging and visually compelling ways.


Providence, Rhode Island, 1975-78

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Kraftwerk – Retrospective 1 2 3 4 5 6 7 8 at MoMA

by Sarah Posted on May 2, 2012

Full disclosure: I had never heard of Kraftwerk before their hotly anticipated MoMA retrospective this past month. I only acquired one of the much coveted tickets when my friend won them online. We attended the eighth, final night at which point I had read and heard so much about the show that I felt I’d already seen it. Admittedly, however, nothing fully prepares you for the spectacle of 450 people donning cardboard 3D glasses and staring at four middle aged men in leotards stand motionless on stage pressing buttons on mysterious control-pad devices, while an enormous screen emits vitamins and other graphic forces in all their three-dimensional glory. The 3D aspect was legitimately surreal and awe inducing, and there was something quintessentially sci-fi about having “Tour de France” played against a vivid multi-dimensional backdrop of cyclists speeding along roadways. The music was likeable, if not slightly absurd, as in moments when the lead member delivered lyrics like “Elektrolyt, Co-Enzym, Carbo-Hydrat, Protein, A-B-C-D Vitamin” in a monotone, robot-like voice. The significance of the band’s historical contributions to electronic music aside, I was struck most by the clever and masterfully choreographed relationship between the catchy beats and simple yet stunning visuals – two aspects that, in concert with one another, carried the show to an unexpected level of meticulous craftsmanship and art.

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The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde at The Metropolitan Museum of Art

by Sarah Posted on April 14, 2012


Henri Matisse, Blue Nude: Memory of Biskra (1907), The Balitmore Museum of Art: The Cone Collection. Image via SFMOMA.

“The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde” takes an innovative approach to art history, tracing the impact of the Stein family on the dissemination and promotion of modern art at the beginning of the twentieth century. This collector focused framework provides a novel perspective that personalizes and humanizes more formal trajectories of avant-garde art history. Narrative becomes more intimate as we trace the various threads of friendships, patronage, and competition that shaped the Steins collections. The exhibition weaves between the shifting holdings of the collections of Leo, Gertrude, Michael, and Sarah (Michael’s wife)  - making note when particular works were purchased, sold, or retained in spite of personal disagreements or financial pressures.

The family, of upper-middle class background, was not immune to the monetary challenges of buying art – the collection was continuously in flux as they sold and traded art to purchase new works or raise funds for other projects. World War I had catastrophic results for Michael and Sarah Stein, who were ultimately forced to sell most of their Matisse works after they were stuck in Germany. Labels identify the last works by Picasso and Matisse that each family member purchased, an indication that the artists rising popularity created prohibitively expensive prices for the Steins. Such information serves to emphasize the fact that the Stein family was deeply committed to modern art, making sacrifices to support the artists they felt most passionate about.


Pablo Picasso, Gertrude Stein (1905-6), The Metropolitan Museum of Art. Image via MMA.

The wall labels offer interesting nuggets that go beyond mere art historical facts or formal observations. We learn that Gertrude was somewhat offended that Matisse never asked to paint her portrait – a decisions made even more inexplicable given the plethora of Gertrude portraits (some of dubious quality) painted admiringly by the next generation of artists adorning the walls of the final gallery. The paintings on display offer insight into the convivial relationship between artist and patron with familiar faces popping up repeatedly. Matisse and Allan Stein, Michael and Sarah’s son, shared a particularly amicable relationship, with the artist painting the boy on more than one occasion.

The exhibition also emphasizes the importance and popularity of the Stein hosted salon in Paris. This historical footnote has even greater resonance than normal given the appearance of this very salon in the critically acclaimed Woody Allen film, “Midnight in Paris”, which features Kathy Bates as the most famous of the Stein siblings. The exhibition opens with a mock apartment space with white walls onto which life size photographs of the Leo and Gertrude’s, and later Alice Toklas and Gertrude’s, apartment at rue de Fleurus (with all its ever changing art, sculpture, and furniture) are projected. It is an important reminder of the life these paintings lived before they came to adorn more austere museum walls, not only as decoration but as inspiration for heated intellectual debates and artistic exploration.


Henri Matisse, Femme au chapeau (Woman with a Hat) (1905), San Fransciso Museum of Modern Art. Image via SFMOMA.

Being so regularly exposed to works by Picasso and Matisse, I often become desensitized to the full impact of their revolutionary styles. In “The Steins Collect” we don’t see the full trajectory of these artist’s careers, instead we only see the pieces that pertained and were intertwined with the Stein family. The exhibition therefore restores much of the shock that these works originally held for contemporary audiences. We learn this not only from the wall labels (which provide ample documentation of the horrors and hesitations on the part of collector and friends alike) but also from their display. Women with a Hat is hung, not among a retrospective sampling of Matisse works, but alongside works by artists respected and revered by the art establishment at the time if its creation, such as Cezanne, Renoir, and Degas, therefore making its presence particularly jarring and exciting. This last point defines what I enjoyed most about this exhibition – its ability to transport us into another realm of history and see the art of that time anew.

Pablo Picasso, Head of a Sleeping Woman (Study for Nude with Drapery) (1907), The Museum of Modern Art, New York. Image via SFMOMA.

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Gerhard Richter Painting

by Sarah Posted on March 28, 2012

Gerhard Richter, long acknowledged as one of the most important artists of our time, is having a particularly bright spotlight moment these days. Jonathan Binstock, the head of Citibank’s art advisory and finance operation, recently published a four page document detailing Richter’s prominence in the art market and comparing his commerical clout to such 20th century greats as Picasso and Warhol. Felix Salmon responded with disdain, in an article that brought more subjective issues of art criticism and artistic value into the mix. Thus, an internet dialogue was born. Amidst this back and forth, Corrina Belz’s 98 minute documentary, “Gerhard Richter Painting”, stands out like an oasis of calm. This metaphor is fitting given that it is also relates to how the film presents Richter’s studio – as a foil to the hectic world of press conferences and exhibition openings that also make up his professional life.

For the most part, the film focuses on Richter’s art making process, featuring long, unadulterated shots of Richter dousing canvases in paint, painstakingly squeegeeing their surfaces, and nitpicking their appearance in a seemingly never-ending cycle. It is captivating to watch him handle paint and transform entire works before our eyes with one sweep of the paintbrush or pass of the squeegee. Equally riveting is Richter’s ambiguous and seemingly arbitrary (from our perspective) system of deciding when a work is done. The assistants are also unable to anticipate the whims of their boss. Humorous moments emerge when Richter returns to works previously deemed finished, and the assistants admit that offering their opinions is the worst course of action, as positive approval only quickens Richter’s decision to “destroy” the work in question. Ultimately, only the test of time can determine whether a particular painting will stand up among the others in the studio and qualify as “good”.

Belz’s directs questions to Richter relatively infrequently and again concentrates mainly on issues of production. There are, however, a few instances where she delves somewhat deeper into Richter’s psyche and his past, a history that although rich with dark material, is only briefly touched upon. One of the more poignant moments of the film comes when Richter admits to having difficulty painting with a camera watching. He calls painting “secretive business” and says it is worse than being in a hospital. Both statements provide insight into the vulnerability involved in opening up the artist’s studio to invisible prying eyes. Richter reveals himself to be a great artist who in spite of, or perhaps because of, his immense success still contends with the most human of struggles – hoping that people will overlook the mistakes and see the good (or the “truth”) in what he puts forth into the world. But the documentary will also likely add more fuel to the fire, and contribute to the already heightened, but perhaps well deserved, mythologizing of Gerhard Richter.

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Hydrodynamica: Remember the Future at Space 4 Art/Loft 9 Gallery

by Sarah Posted on March 17, 2012

Amid the more slick and attention grabbing exhibitions of the Pacific Standard Time project exists a smaller show that is intensely local in its flavor and history. “Hydodynamica:Remember the Future”, which recently ended its run at Space 4 Art/Loft 9 Gallery in San Diego’s East Village, documents the the rise of a specific surfboard design, Bob Simmon’s “hydrodynamic planing hulls”, since its creation in the 1940s. The show draws upon cultural, scientific, and design history to illustrate how a seemingly simple object, the surfboard, has absorbed these disparate threads and come to embody the identity of an entire region.

The exhibition stretches beyond surfboards to illustrate the threads connecting all design related projects of the decade. Eames chairs and leg braces illustrate how the newly developed technique of molding plywood was being exploited across all areas of design, including surfboards, and providing new possibilities for both functional and aesthetic objects. Other post-war materials, like resin – which was on ample display in MCASD’s “Phenomenal” show, had  an equally powerful impact on surfboard materials. The exhibition is further enhanced by plenty of documentary materials, photographs and films, that show the main subject, surfers and surfboards, in dynamic action. In fact, seeing the bruises and scrapes on many of the boards serves as an important reminder that even the most highly experimental designs were being tested where it matters most – on the waves.

If nothing else, the exhibition effectively traces the longstanding impact of Bob Simmons designs on surfing – the reverberations of which are still evidenced in contemporary surfboard trends. But “Hydrodynamica” also extends beyond this one historical thread to compellingly argue that surfboard design does not exist in a vacuum, but is equally a part of the cultural zeitgeist that shapes the items we use and see around us everyday. As an object that has exerted such an intense influence over the imaginative Californian allure, the surfboard falls into the whole narrative of Pacific Standard Time in a way that is both fitting and exemplary.

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January/February Gallery Goings

by Sarah Posted on March 4, 2012


Installation view of Doug Wheeler, SA MI 75 DZ NY 12 (2012). Image via David Zwirner.

“Doug Wheeler” at David Zwirner: With lines stretching down 19th Street on a daily basis, it takes nearly 2 hours (4 on weekends!) to merely enter Doug Wheeler’s “infinity environment”. I can’t help but wonder why this particular show has proven so immensely popular, but I’d guess it is likely a mixture of a feature in the New York Times, the relative rareness of seeing a Wheeler installation, and the fact that it’s truly worth all the hype.

The first few minutes after entering the installation are the best. While shuffling along in cloth booties (no shoes allowed), people keep their arms outstretched as if needing to brace themselves for some unknown invisible obstacle. Walking into the void feels like entering a seemingly endless world of indefinite white space. Imagine the Matrix or some similarly sci-fi futuristic non-space dream world. Bright white light envelopes you in a surreal embrace. At first it’s impossible to determine the shape of the room or solve the illusion of the seemingly endless whiteness. The intensity of the visual experience causes spots to appear in your vision, which only elevates the feeling of being in a mind-altering environment. Once your eyes adjust and you step back, however, the magic is essentially ruined. The illusion of the space is revealed – it is a white room with curved walls and floors, much like a skateboard ramp. Even with the curtain curled back and the chimera exposed, Wheeler’s light environment is a sight to behold and an experience to savor. With its seemingly endless space it expands the mind and the reach of our powers of perception.


Installation view of “Damien Hirst: The Complete Spot Paintings 1986-2011″. Image via Gagosian Gallery.

“Damien Hirst: The Complete Spot Paintings 1986-2011″ at Gagosian Gallery (West 24th St.): My favorite part about the Gagosian/Damien Hirst spot painting extravaganza is the ART THOUGHTZ video created by Hennessy Youngman. No review I’ve seen has hit the nail on the head more aptly and succinctly than his description of the series of shows as “the perfect storm of banality”. I must admit I found the installation on 24th St. more interesting than anticipated, if only due to the sheer quantity and scale of the works. But at the end of my visit it was the gift shop that piqued my interest most. It offers the opportunity to purchase clocks, mugs, and other spotted paraphanelia at expectantly high prices and walk away with merchandise tucked into a paper bag emblazoned with the words, “Free Art”.  At the end of the day, this show is more spectacle and buzz than anything of meatier substance. I’m content to rest easy on only seeing one of the eleven (!) spot exhibitions currently spread across the globe.


Installation view of “Ai Weiwei: Sunflower Seeds”. Image via Mary Boone Gallery.

“Ai Weiwei: Sunflower Seeds” at Mary Boone Gallery: Ai Weiwei seems to have garnered an almost mythical status over the past year, which has seen him detained, incarcerated, and finally released by Chinese authorities. One million of his tiny, porcelain, hand painted sunflower seeds originally carpeted the turbine hall of the Tate Modern last spring. Mary Boone Gallery presents these seeds on a much smaller scale, with an almost militantly precise rectangle of seeds set in the center of the gallery floor. It’s easy to marvel at the painstaking process required to craft such tiny, individualized yet repetitive objects, while also thinking of the broader significance of porcelain and labor intensive craftsmanship in relation to Chinese history and culture.


Joel Sternfeld, Washington D.C., August 1974 (1974). Image via Luhring Augustine.

“Joel Sterneld: First Pictures” at Luhring Augustine: Sternfeld is credited with elevating color photography at a time when black and white was still the stronghold of fine art photography. Seeing the saturated sunny beaches, tanned skin, and neon bathing suits in his Virginia Beach series makes it easy to see how color only served to enhance Sternfeld’s work. His photos never feel voyeuristic or exploitative, and they emit a level of warmth that is often combined with gentle humor. Although the photographs seek to capture the sensibility of a particular moments in history (1970s America), they also, perhaps inadvertently, illustrate similarities across time. Hairstyles change and fashion trends immediately date a photograph, but themes of youth, age, isolation, commercialization, idealism, and loneliness all share an essence of universality.


Installation view of “Happenings: New York, 1958-1963″. Image via Pace Gallery.

Happenings: New York, 1958-1963 at Pace Gallery: This ambitious show aims to trace the history of Happenings via ample documentary objects – props, costumes, notes, invitations, videos, photographs, and other ephemera. The sheer volume and density of materials makes the exhibition somewhat difficult to navigate without becoming bogged down in detail, something that might be detrimental for people entering the gallery without any pre-existing knowledge of  the “Happenings” movement of the late 1950s and early 60s. Nevertheless, Pace offers an exhibition of historical importance for this brief, yet captivating, slice of modern art. The show effectively captures the sense of innovation and experimental spirit that artists like Jim Dine, Claes Oldenburg, and Lucas Samaras, brought to the New York art scene during this influential period.


Mary Corse, Untitled (2011). Image via Lehmann Maupin.

Mary Corse: New Work at Lehmann Maupin: With the recent spotlight on Southern Californian artists (as a result of Pacific Standard Times extensive programming) the moment is ripe for Lehmann Maupin’s inaugural exhibition of this Californian artist’s work. On display are five new works crafted from glass microspheres on acrylic on canvas, an unconventional mix of materials that creates extraordinarily luminous and ever changing surfaces. The paintings comes alive with a sensual and shifting appearance that suggests a more complex, almost three-dimensional presence. This dynamic quality lends itself to discussions of light, perception, our experience of reality. Corse’s work takes these complex themes and distills them into the most intangible and radiant of the painted visual experience.

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