To my surprise and delight, I like the new Whitney. And that is the consensus of the cities’ major critics. From the outside, all agree that the building is hard to take in. It looks as if a beginner at Legos piled up a variety of horizontal units and they somehow balanced. The eastern and western facades are opposites—closed on the west and wide open on the east—for reasons the architect, Renzo Piano, described in The New Yorker, On the […]
On the hit show Louie, aside from a token, comedic clip of fantasy in each episode, realism rules the roost. Louie C.K.’s dedication to portraying the struggles of a single-father and stand-up comedian in NYC in a realistic fashion leaves the show, much like real life, somewhere between a comedy and a drama.
A Tale of Two Artists’s Careers Keith Haring (1958-1990) and Jeff Koons (1955-) were born in Pennsylvania and grew up in middle-class families. Their careers as artists took off in the 1980s, at a time when contemporary art was just beginning to be looked at seriously. It was an exciting moment. The late Marcia Tucker was fired when, as a curator at the Whitney, she exhibited Minimalist artists like Richard Tuttle. One of his works consisted of a few inches […]
How do we access Beth Lipman’s phantasmagoric sculpture, Laid (Time-) Table with Cycads, with its profusion of familiar material objects and organic matter all made of clear, sparkling, crystal-like glass? We recognize immediately its alignment with the tradition of still lifes. But, look again, and notice that most of the perfectly crafted pieces are broken and spilling over the sides of a long, traditional-looking wooden table painted a stark white. Unlike paintings of still lifes, this conglomeration of objects […]
Discussion of Kiki Smith’s wax sculpture of a naked woman who has peed; streams of yellow glass beads spread on the floor behind her. The genius of the sculpture–Pee Body–is in the beads. ) This work likely was conceived as feminist art. The present essay also invokes a core idea of Surrealism: artists make visible the unconscious.
Kunsthaus Bergenz, a place for contemporary art Exhibiting contemporary art has not been a simple enterprise since about or before the 80s when the possibilities of what could be art became anything. We wait in anticipation to see if the new 422 million dollar version of the downtown Whitney will succeed in its new location at the foot of the High Line. (So far the reviews are positive.) Will the trendy meatpacking district with Hudson River view be […]
As reported in “The Spy Who Fired Me, The human costs of workplace monitoring” by Esther Kaplan, in March 2015, Harper’s, the company Cornerstone OnDemand provides software that tracks the every move of a company’s employees. Companies that use its platform can quickly assess an employee’s performance by analyzing his or her online interactions, including emails, instant messages and Web use. . . With the rise of the global workforce, the remote workforce, the smartphone and the […]
Sometime in the fall, some one or some others decorated a tree on the campus of Pratt Institute. The only sign of identification is a white piece of marble-like stone propped up on legs of wood with the words “Celebration of Life” etched in script. The dressing of patches of yarn around the tree trunk stretches up to the three major branches. Like Joseph’s coat of many colors, the fragments are of many colored threads […]
This post juxtaposes brief notes with reproductions of five women-focused works at Chicago’s Art Institute. Readers are invited to make whatever connections they will and draw whatever conclusions they might between the art works, which seem to me unified only in their focus on women, in the genius of their making (by men, by the way), and by their co-existence in one Chicago institution. I would also note that these works are not unified even in their reproducibility. Three of these works are sculptures, […]
Categories: William Eaton, ZiLL • Tags: art, Art Institute of Chicago, art museums, Balthus, Jean-Paul Sartre, Laura Mulvey, male gaze, Metropolitan Museum of Art, Mirό, Roland Barthes, Willard Van Orman Quine, women