In: Contemporary Art
August 16, 2016
“Danny Lyon: Message to the Future,” the photographer’s most comprehensive retrospective is currently on view at The Whitney Museum of American Art. The show boasts an impressive 175 photographs and films as well as rarely exhibited archives and personal documents. It is divided thematically exhibiting Lyon’s most well known bodies of work, and roughly chronologically traces the start of his career in 1962 all the way to Lyon’s work in the present day. The exhibition is divided into seven sections: Civil Rights, The Bikeriders, The Destruction of Lower Manhattan, Prisons, New Mexico and the West, Films and Montages, and Ongoing Activism. From the titles alone Lyon’s broad range of interest in social issues and concern for the marginalized and disenfranchised is made apparent. His work represents a nonconventional and intimate approach where Lyon immerses himself in his subject’s world, gaining an insider perspective that moves beyond mere observation and into a wholehearted and genuine interest.
“You put a camera in my hand, I want to get close to people. Not just physically close, emotionally close, all of it.” –Danny Lyon, The Whitney Museum of American Art
Lyon began his career in 1962 when he began working with the Student Non-Violent Coordinating Committee (SNCC) as their first official photographer, documenting the civil rights movement in the South. He captured sit-ins, demonstrations, marches, funerals, and the general turbulent and violent atmosphere of the period. His photographs were used in brochures, posters, and fundraising campaigns, many of which portrayed the brutal force of the police academy, questioning their position and responsibilities to civilians. One 1962 SNCC poster of a [white] officer, arms crossed, reads “Is He Protecting You?” It is highly unsettling to see just how many of these images seem so familiar and resonate in American culture today.
Turning the corner we are met with cool, hard faced bikers in leather jackets with matching “Chicago Outlaws” insignia. This selection is based off of Lyon’s time spent riding with the Chicago Outlaws Motorcycle Club in the late 1960s. Romanticized shots of the Outlaws on the road, such as Crossing the Ohio River, Louisville (1966) and Route 12, Wisconsin (1963) indulge us in the liberating freedom such groups enjoyed, while in several close up portraits we have a rarely seen, tamer version of the bikers—surrounded by their families, girlfriends, and wives. The rebellious nature of the bikers, matched with their unapologetic pursuit of freedom attracted the photographer to the group. After spending more time with them and gaining their confidence, Lyon began recording the group speaking candidly and conducted informal yet highly personal interviews. The photographic documentation and edited transcripts would become his famous book, “The Bikers,” published in 1967.
In his extensive body of work, Prisons, encompassing photographs, interviews, recordings, and film, Lyon chronicled life behind bars. With the help of Dr. George Beto, then director of prisons within the Texas Department of Corrections, Lyon gained access over a fourteen-month period to move freely inside prison complexes and to follow prisoners around on their daily activities. We see personal belongings like photographs and calendars, games of checkers, labor time on the fields, shakedowns, security pat-downs, and officers on guard. These images are as serious and somber as they are filled with humanity and understanding of these men and their situations. The resulting photographs, film footage, and other archival documents would become the book “Conversations with the Dead” published in 1971.
“[I wanted to] make a picture of imprisonment as distressing as I knew it to be in reality.” –Danny Lyon, The Whitney Museum of American Art
Documentation, and truthful documentation, is the end goal throughout Lyon’s photographic practice. His images are transparent, direct, and charged with meaning and message. Each one serves a to bring injustice to the surface with the hope to promote social change. With this approach he has challenged the conventional “sanitized” vision of American life as presented in media, offering up an alternative that portrays the various social histories of America.
From the 1970s and onward he shifted focus as a self-proclaimed “advocacy journalist.” His activist drive took him to various Latin American countries where he captured laborers and street children, undocumented workers crossing the US-Mexico border, and the violent revolution in Haiti. More recently, between 2005-09, he traveled to China to documented communities living in polluted regions.
Regardless of subject matter, geographic location, or time period, all of Lyon’s images are linked through a common spirit: the photographer’s compassionate character and relentless ambition to be a truth teller. The result is his inherent ability to humanize his subjects while returning the dignity and character that social prejudices and ignorance have stolen from them. These are human beings worthy of a second chance and worthy of a second glance.
A single look at these photographs and we are filled with more understanding and compassion than when we entered, a comprehension that seems as relevant today as it did decades ago. If that’s not the point of art, then I don’t know what is.
Danny Lyon: Message to the Future is on display June 17-September 25, 2016 at The Whitney Museum of American Art.
August 14, 2016
Moscow’s contemporary art scene is evolving and growing every year. Still quite young, yet admirably accomplished and diverse, it presents itself in many possible manifestations: from fairly traditional mediums such as painting, to interactive multimedia art. Moscow galleries do not only seek to discover, nurture, and promote local artists, but also to introduce the public to the works of internationally established artists from all over the world. Such important objectives are amplified by diversified art education programs hosted at the galleries. These facilitate the profound international exchange of ideas. We have highlighted the top 10 venues, from large museums to smaller galleries, that you have to check out in Russia’s capital.
In a nutshell: Two years ago, contemporary art center Garage, founded in 2008 by Dasha Zhukova, finally acquired museum status. Today, it may arguably be proclaimed the most influential contemporary art venue in the country. It has basically marked a turning point in the local perception of contemporary art. Providing the opportunity for creating new works and ideas, Garage reflects and defines contemporary art thinking in Russia and ties it to the international scene. It was the first to introduce the local public to such important names as James Turrell, Yayoi Kusama, and Louise Bourgeois, to name a few. In 2014, Garage became one of the venues hosting the longest lasting ongoing global art project, “Do it Moscow”, first conceived by curator Hans Ulrich Obrist in 1993. The museum has recently moved to its permanent location in a former soviet restaurant, «Vremena Goda» (Seasons of the year”), executing an innovative and transformative preservation project.
Where: 9/32 Krymsky Val. Open daily 11 am-10 pm.
In a nutshell: Previously known as the Moscow House of Photography, now MAMM is one of the most vibrant art venues in the Russian capital. Ever since 1996, it has been directed by its founder Olga Sviblova, who has over 500 exhibits of contemporary art and photography under her belt, along with curating the most important collections of Russian photography. MAMM is primarily famous for hosting two influential festivals: Photobiennale on even years, and Fashion and Style in Photography on the odd ones. The museum occupies a seven-story white cube where traditional works of art co-exists with innovative multimedia and video installations. One of MAMM’s objectives is to be open to fresh ideas and forms of visual expression in the fields of contemporary photography and new media art.
Where: Ostozhenka st., 16. Open 12 pm-9pm Tuesday-Sunday. Closed Monday.
In a nutshell: MMOMA is the first contemporary art museum in modern Russia and one of the most vital participants in the country’s contemporary culture. The museum’s collection mainly narrates the history of Russian twentieth-century avant-gardes through the works of Malevich, Chagall, Goncharova, Tatlin and Kandinsky, just to name a few, with a rich addition of works by European and American artists. MMOMA’s exhibition program, however, is focused on studying and displaying the visual culture of the twenty-first century, from debut shows of contemporary artists to international festivals and retrospectives.
Where: the museum is housed within 4 different venues: Petrovka street 25; Ermolaevka Lane, 17; Tverskoy boulevard, 9; Gogolevsky boulevard, 10. All of the above are open 12 pm-8 pm, Monday-Sunday, and 1pm-9pm on Thursday. The museum is closed every third Monday of the month.
In a nutshell:
Mars was established in 1988 in Soviet Moscow as the oldest and first non-governmental center for contemporary art. It was known for actively promoting Russian art of the late twentieth century, and for its participation in Tokyo ArtExpo in 1992. Today the venue, which resembles a labyrinth rather than a traditional white cube, focuses on interactive digital art projects. It invites its viewers to experience an interactive multimedia space with all their senses. Here you will encounter works by local media artists such as TUNDRA, ::vtol::, kbln, Pixelord, noobusdeer, and many others.
Where: Pushkarev street, 10. Open 12pm-10pm daily. Closed Monday.
In a nutshell: Laboratoria is the first and, so far, the only interdisciplinary space in Russia where artists and scientists investigate intersections within their practices under the guidance of gallerist and curator Daria Parkhomenkno. Here, artists interested in present-day scientific disputes aim to discover new ideas about their surroundings and to translate them into art. These almost magical experiments are an unavoidable interaction between art and science in today’s world.
Where: 3 Obukha per. Open Thursday-Sunday 2pm-8pm.
In a nutshell: Glaz is one of the biggest local galleries specializing in photography. Along with the majority of the leading Moscow galleries, Glaz is located at the Winzavod art center. The location makes it easy for visitors to cruise around in their art pilgrimage. The gallery’s collection consists of contemporary conceptual works as well as soviet classics, and counts over 4000 pieces. Along with the works of established artists, Glaz displays young and promising names, helping them to find their audience and collectors.
Where: Winzavod Center for Contemporary Art, 4th Syromyatnicheskiy Lane, 1, Bld. 6. Open Tuesday-Sunday 12pm-8pm.
In a nutshell: The founder of the gallery, Irina Iragui, started her career in Paris as an independent art project manager on various sites, later opening her own venue in the Marais quarter. The Moscow branch of the gallery opened in 2008 and is now known for promoting French artists, mostly born in the ’70s, within the Russian audience, as well as for helping the local artistic community to integrate itself into the international contemporary art world.
Where: Moscow, Malaya Polyanka st., 7/5. Open Tuesday-Saturday 2pm-7pm.
In a nutshell: Triangle is the youngest gallery on our list, yet it is already acutely representative of the local art dynamics. Before opening a space in Moscow in February 2015, gallerist Nadezhda Stepanova worked in the gallery business in Turin for over seven years, and she still lives between Moscow and Italy. The gallery is managed with the help of Elvira Tarnogradksaya, an art consultant, and Alisa Bogdanayte, a curator at Vladivostok contemporary art center ZARYA. Their diverse program includes displays of both Russian and foreign contemporary artists, such as artistic community VGLAZ (do not confuse with the above GLAZ gallery) and video artists such as Sasha Pirogova and Dmitry Bulyigin.
Where: Winzavod Center for Contemporary Art, 4th Syromyatnicheskiy Lane, 1, Bld. 6. Open Tuesday-Sunday 1pm-7:30 pm, or by appointment.
In a nutshell: One of the biggest local galleries. Its sleek space designed by architects Anton Nadtochia and Vera Butko is located in the city’s museum district. It is one of the leading contemporary galleries representing art today, from painting and photography to sculpture and new media installations. Ruarts has built a reputation for supporting both beginning and already established Russian artists. It has also brought to Russia’s capital names such as Ervin Olaf, Nabuko Watabiki, and Herve Ic, among others. Most of the shows at Ruarts are curatorial collaborations between local and foreign curators.
Where: 1 Zachatievskiy st., 10. Open 12pm-8 pm Tuesday-Saturday.
In a nutshell:
Earlier this year, the gallery has opened its new space in the city center, after moving from its first location in the art district near metro Baumanskaya. During the last few years, gallerist Wildrik Batjes (France), together with curators Jabagh Kaghado and Zak Kaghado (USA), has discovered and supported a number of talented Moscow-based artists with an alternative artistic vision. The majority of them have made their way into fine arts from a graffiti movement. Therefore, the gallery owns a large collection of post-graffiti art, photography, paintings and installations. In addition to promoting young Russian artists, MSK Eastside also curates shows of internationally renowned artists, and works closely with auction houses like Phillips NYC, Christie’s Paris and ArtCurial Paris.
Where: Leontyevskiy per., 5. Open Tuesday-Saturday 11am-7pm.
August 12, 2016
Japanese artist Mariko Mori’s Ring: One with Nature (2016) is a three meter wide ring overlooking a 58-meter waterfall in the middle of the Brazilian rainforest, in Véu da Noiva, Mangaratiba. The permanent installation is arranged to allow the shift of colors with the movement of the sun, changing from vibrant blue to a bright gold as it is backlighted by the sunrise. Striking in its minimalism, Mori’s sculpture is multifaceted both in its conception and effect. The artist has since stated that the idea originated as an inspiring, ethereal dream of a ring over a waterfall, which she sought to actualize in physical space. Rooted in a spiritual beginning, the installation took on an even broader range of meaning through its inherently environmental message and relation to the 2016 Rio Olympics.
Faou Foundation, Mori’s nonprofit in New York which promotes global environmental awareness, produced the sculpture and gave it as a gift to Brazil’s environmental institute, Instituto Estadual do Ambiente (INEA). The installation further actualizes its environmental message through formal symbolism. The singular ring set above the Véu da Noiva waterfalls functions as a conceptual extension of the five Olympic rings, highlighting the message of unification between countries to nature’s realm. This is a crucial message for the planet in its current state of the ecological crisis. Through her highly symbolic gesture, Mori successfully utilizes the Olympics as a platform of global synchrony with nature.
Symbolism behind the ring’s physical form also functions as a reminder of the cyclic relationship between humanity and nature, tracing back to prehistoric times. The artist’s choice of the circle also correlates to organic, archetypal forms found within natural landscapes, further strengthening the timelessness of the piece through its minimalistic expression. The sixth Olympic ring was unveiled on August 2 with a ritual-like ceremony including music and performance by participants dressed in all white. The white color further amplified the artist’s statement of universal oneness and reinforced thematic connections to ancestry and tradition.
Mariko Mori’s recent sculpture recalls her previous work in terms of its synthesis of ancient traditions and belief systems with modern technology. The result is a truly present object that is not only relevant to modern times but also introduces a sense of deeper archetypal connection in its audience. This element is also present in Transcircle 1.1 (2004), where Mori composes a modernized version of the ancient Stonehenge with a constantly shifting scenery of lights. The structure integrates elements of both prehistoric Japanese and Celtic traditions, introducing a personalized synthesis of cross-cultural mythology that is also present in Ring: One with Nature. Mori uses live data taken from a neutrino physics laboratory in Japan to monitor the play of lights in Transcircle 1.1, achieving a startling, distinguished presence that echoes throughout her body of work.
Through integrating technological advances with an artistically spiritual vision, Mori achieves a rich spectacle in Ring: One with Nature and makes a profound statement about humanity’s potential for unity. Her sculpture is a reminder that mankind is capable of creating structures that are environmentally friendly, culturally unifying and profitable all at once. In context of Mori’s previous works, the sixth Olympic ring becomes a part of the artist’s overarching vision that places vital importance on human presence and agency in our global landscape. Her message is both simple and profound. It deeply resonates at this time, calling for unity between nations as well as between mankind and the earth.
August 10, 2016
Here is our list of top 5 exhibitions to see in London this August and how to spend culturally your time indoors if it rains (and we’re talking London here):
Ragnar Kjartansson at The Barbican
This is the first UK survey of the Icelandic artist Ragnar Kjartansson, internationally known for his multi-channel film installation “The Visitors” (2012), also present in the exhibition. The artist channels a “bad boy” image, while drinking beer, playing guitar and signing in Icelandic in the first piece in the Barbican show. Such notions as comedy, irony, and tragedy are all merged together in Kjartansson’s work. Both controversial and deeply amusing, Ragnar’s works sympathize every visitor.
On view at The Barbican through September 4. £12
Jake Wood-Evans at Unit London
Unit London, the young but well-established contemporary art gallery in Soho, presents its largest project to date, the first solo show of the UK-based artist Jake Wood-Evans titled Subjection& Discipline. Inspired by Old Masters’ paintings, the artist showcases a unique approach to canvas with figurative but rather unconventional technique. Get ready to be awed and mesmerized by Jake Wood-Evans’s unique style.
On view at Unit London August 19- September 11. FREE
Unseen at The Ben Uri Gallery
Unseen London, Paris, New York, 1930s-60s: Photographs by Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert is a group exhibition bringing together such masters of photography as Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert. The exhibition tends to present artistic responses to three great cities throughout three disturbing decades. The photographers try to present not only the greatness of the cities in a political and social arena, but also capture the beauty of them. If you’re into black-and-white photography this exhibition is not to be missed.
On view at The Ben Uri Gallery through August 27. FREE
Terence Donovan: Speed of Light at The Photographers’ Gallery
This is the first major retrospective of a well-known English photographer, Terence Donovan (1936-1996). Donovan was a pioneer in the new fashion, and later advertising and portrait photography in the post-war period. He was famous for capturing actors and well-known people in the scene. A mix of vintage prints is on view, together with previously unpublished works, artist’s cameras, sketches and diaries.
On view at The Photographers’ Gallery through September 25. FREE before 12pm; £3
Under The Same Sun: Art From Latin America Today at SLG Galleries & Fire Station
The exhibition, curated by Pablo León de la Barra, Guggenheim UBS MAP Curator, highlights the new acquisitions by the Guggenheim Museum of 15 contemporary Latin American artists. The show features 40 works with mediums including painting, installation, video, sculpture and photography. The exhibition strives to showcase the artists’ responses to contemporary realities influenced by colonial and modern histories, economic and social instabilities and regional economic developments.
On view at The South London Gallery through September 4. FREE
August 7, 2016
Bernardí Roig (Palma de Mallorca, 1965) is one of the most important exponents of the current Spanish art scene. I discovered his work in 2013, while visiting the Spanish National Sculpture Museum. Roig’s disturbing white men were placed among Renaissance and Baroque saints and virgins, surprising visitors with their unexpected presence. It was not the first time that the artist had shown his works among those in museums dedicated to other artistic periods. He has even exhibited them inside iconic religious buildings, such as the Cathedral of Burgos.
This enigmatic intrusion into one of my favourite museums was unforgettable. Therefore, I was very excited to encounter Roig’s works again this summer. In this case the location was Sala Alcalá 31, a very singular exhibition room in the heart of Madrid. This wide, vaulted space built in the 1930s, allows artists and curators to create very interesting and often bold displays. Its unconventional architectural structure, which resembles that of a church, has hosted memorable exhibitions. For instance, Brian Eno presented his 77 Million Paintings there in 2014.
In the case of Roig’s recent solo show, Mind Your Head [Cuidado con la cabeza], light was a crucial element. It created the perfect setting for the sculptures, installations, photographs, objects, videos, and drawings on show. All of them were made during the last two decades, and touched upon many aspects of Roig’s artistic vision.
The mysterious atmosphere of the rooms was striking. It was mainly due to the harsh lighting coming from the fluorescent tubes of some of the artworks. In addition, the building’s theatrical character and the overwhelming presence of white also contributed to create the impression of walking into a sinister alternative reality. Or a place taken from someone’s troubled imagination.
The first artwork that I encountered was ‘Fauno in love’. It introduced one of the main themes of the exhibition: the limits between human and animal. The idea of the metamorphosis is one of Roig’s recurrent themes, and he has explored it in many of his works. An example can be found in ‘Diana and Actaeon’, a twisted rendition of the classical myth featured in Ovid’s Metamorphoses.
One of my favorite pieces was an installation inspired by Thomas Bernhard’s short story Der Italiener. A life-sized sculpture of a dead ox hanging from the ceiling was its main component. In Roig’s interpretation of this subject, which Rembrandt depicted centuries ago, the animal’s insides are transformed into artificial light. Nearby, a tv monitor showing a clip from an 1971 experimental film based on Bernhard’s work completed the display.
Besides the spectacular installations, which definitely make an impression, I was particularly drawn to the series ‘POETS‘. In these drawings, Roig portrays different figures from the Spanish artistic sphere. They all appear dressed in the same austere white robe, with the word “poet” written on it. Their faces, barely recognisable, are distorted by the artist’s strokes. Last year, Galería Max Estrella exhibited the photographs that preceded this series within the framework of the PHotoEspaña festival.
As curator Fernando Castro Flórez pointed out, the exhibition Mind Your Head acted as a warning: be careful when entering your own mind, as what you see may be difficult to recount. After such an intense and unique experience, I cannot wait to submerge myself again into the fascinating visions that constitute Roig’s obsessions.
A virtual tour of Bernardí Roig’s exhibition Mind Your Head is available here. You have been warned!
August 3, 2016
“I am full of a sense of promise, like I often have, the feeling of always being at the beginning.” — Diane Arbus, July 1957
With more than 100 never-before-seen photographs, the Met Breuer’s Diane Arbus: In the Beginning explores the early work of a photographer considered by many to be one of the most influential and provocative artists of the 20th century. The exhibit focuses on the first seven years of the artist’s prolific career, from 1956 to 1962, the period in which she developed the idiosyncratic style for which she is now known. The majority of the photographs included in the exhibition are part of the museum’s vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist’s daughters, Doon Arbus and Amy Arbus. The works are intentionally presented neither in sequential nor thematic order, allowing the viewer to wander through the maze-like exhibit any way they choose. That is to say, with no beginning and no end.
Born to an affluent New York family in 1923, Diane Arbus was fascinated by photography even before she received her first professional camera in 1941 at the age of 18, a present from her husband, actor and photographer Allan Arbus. She photographed intermittently for the next 15 years while working with him as a stylist in their fashion photography company, which gained such notable clients as Vogue, Harper’s Bazaar, and Glamour. In 1956, however, she quit the commercial photography business, and began taking classes at the New School under photographer Lisette Model, the artist’s mentor and lifelong friend. That same year, Arbus numbered a roll of 35mm film #1, as if to claim to herself that this moment would be her definitive beginning.
In addition to Arbus’s photographs, also on view are works by her two biggest influencers, Lisette Model and portraitist August Sander, as well as some of Arbus’s contemporaries. The exhibit also presents photographs from the artist’s only portfolio, A box of ten photographs. Among these images are some of Arbus’s most iconic works, such as Identical Twins, Roselle, New Jersey, 1967; Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970; and A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966. Like so many artists, Arbus only achieved real fame after her death in 1971 at the age of 48 when she took her own life. She did exhibit in major venues during her lifetime, but even then, her work was often polarizing. Young Man in Curlers was notably spat on during a group exhibition at MoMA in 1967. A print of this work sold at auction in 2004 for $198,400.
In her work Arbus explores the fine line between fact and fiction, the candid and the posed, revealing something fundamental to human nature. We behave differently when we are being observed—we tend to perform for one another. In fact, many of Arbus’s subjects were performers, from “female impersonators” to circus acts and cartoon characters who straddle that oh-so familiar line between real and imaginary.
While reading the gallery copy of the exhibition catalogue, I happened to sit down next to Patricia Bosworth, journalist and author of a 1984 biography on Arbus. Mrs. Bosworth was having a lively conversation with her husband about the show. They lamented over a lack of “honesty” in the show, as well as the absence of her biography and Arthur Lubow’s recent biography in the museum’s pop-up bookstore, which only sells books published by Phaidon. As for the lack of “honesty,” I believe Mrs. Bosworth was referring to the fact that the museum glossed over some of the most interesting and controversial aspects of the artist’s life, from her open marriage and active libido to her lifelong struggle with clinical depression, details which both Lubow and Bosworth include in their biographies. It is no coincidence that Arbus quit commercial photography during the rise of counterculture in the 1950s and 60s–she documented this culture as much as she was a part of it.
Arbus once said “Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.” A photograph only represents a split second in time, but in these small moments Arbus was able to capture the humanity in her subjects in a way that many others cannot. You stand in front of them and they return your gaze, asking you to consider the reality of their lives. Whatever conclusions you may draw about these subjects or the intentions of the photographer, it does not take away from one simple truth. At least you know they exist.
Diane Arbus: In the Beginning is on view at the Met Breuer through November 27, 2016.
A week ago, I found it nearly impossibly to look away from C-SPAN’s coverage of the Republican National Convention. The rowdy fanfare of the RNC appears more like a circus than a political conference. No matter how one aligns themselves politically, most people can agree that the upcoming election has been prime material for art and entertainment. Throughout history, politics have seeped their way into the art world. Often artists sneak subtle political statements into their work, or will directly address contentious political issues in very explicit ways. In the world of contemporary art, Swedish artist Johan Wahlstrom is continuing this tradition of politically themed artwork with his harrowing and provocative acrylic and ink paintings. Although Wahlstrom started out as a musician, he always painted as a hobby and after touring with a rock band for many years, he moved from Stockholm to a small village in France to pursue painting full time.
Today, Wahlstrom is based in Spain and continues to paint pieces that explore the dark underbelly of modern society and politics. Wahlstrom paints in a neo-expressionist style and cites a diverse range of artists that include Paul Klee, Jean Michel Basquiat, and Jackson Pollack as his influences. His dark inky colors and thick brushwork create portraits of modern life that are simultaneously hazy and abstract and frighteningly realistic. As a former rock musician, Wahlstrom is not afraid to provoke and rile up his audience. His paintings are dark, confrontational, and frighteningly resonant. Upon viewing his painting “Heil Trump,” I was reminded of a similar politically themed work by the German Dadaist John Heartfield, entitled “Adolf the Super Man: Swallows Gold and Spits Tin,” which is an explicit critique of Adolf Hitler. Wahlstrom’s “Vote for Me,” another portrait of Donald Trump, features the presidential candidate’s head surrounded by terrifying abstract figures, representing his loyal followers. “Punch them Hard,” an acrylic work by Wahlstrom is equally disturbing and shows Trump giving a thumbs up while chaos ensues in the background. This is a visual representation of Trump’s verbal encouragement of his followers to attack protesters. This series of Trump portraits evokes the mob mentality and frenzy of Trump’s rallies. Wahlstrom attacks other issues such as immigration in his “Aliens with Extraordinary Abilities” series, which poignantly captures the plight of immigrants and refugees.
As a former rock musician, Johan Wahlstrom is not afraid to provoke and rile up his audience. His paintings are dark, confrontational, and frighteningly resonant. His piece “Too Much Trump” in particular is an apt depiction of Trump’s pervasive presence in the media, his angry scowl taunting the viewer. Wahlstrom’s favorite piece from his body of work is “You Can’t Trust” from 2011, which he refuses to sell and hangs in his living room. Wahlstrom was so satisfied with the piece, that he took a 2 month hiatus from painting. This particular painting is his favorite because he associates it with the catharsis and satisfaction he experienced while working on it. The experience was “magical” for Wahlstrom, he felt like he was inside of his own work and not slaving away in a studio.
Despite Wahlstrom’s sinister aesthetic and disturbing subject matter, he paints with a profound passion and love for his craft. His favorite part of the creative process is conceiving the title or theme behind his work, which eventually determines what will end up on the canvas. For Wahlstrom technique is not the most crucial aspect of great art, but rather “the feeling and messages” behind the work in question.
Wahlstrom’s artist’s’ statement reads:
“I paint to keep myself insane.
I paint anxiety to be calm.
I paint war to have peace.
I paint sadness to be happy.
I paint the dark to be in the light.
I paint death to be alive.
I paint a story so that I don’t have to tell a story.”
In the future, Wahlstrom hopes “to be able to do stronger paintings with political statements, social criticism, to be part of making the world a better place for future generations.”
July 21, 2016
Making my way up 22nd Street in Long Island City towards UOVO Fine Art Storage, the midday sun soaked the pavement in shimmering heat which wrapped around my ankles in heavy tendrils. The vast, 280,000 square foot minimalist building loomed closer, its front dosed in cobalt blue with Queensboro Bridge stretching beyond, disappearing into the city—I imagined the stifling streets of Manhattan, choked by humidity. Half of a song later, I was standing before UOVO’s glass entrance. After two attempts at tugging open the door, I realized the small doorbell to my right. Pausing for a moment, and hearing nothing, I gave another wholehearted tug, and almost tripped backwards as the door happily obliged, swinging open effortlessly and breathing a sigh of cool air.
The reception area is reminiscent of the lobby of a chic, boutique hotel one may find in Chelsea or SoHo, sleek and minimalist while remaining warm and hospitable. However, the space also retained a certain sense of a gallery setting: absolutely pristine, from the perfectly buffed concrete floors to the polite, hushed greeting from the two, well-dressed receptionists. The walls play host to artworks from UOVO’s founder, art collector Steve Guttman’s personal collection. A few guests relax on the mid-century modern furniture, sipping cold brew out of blue, UOVO marked glasses and chatting quietly. I suddenly found myself wondering if I had somehow stumbled into the wrong place.
It’s safe to say that already my experience of UOVO is not what one expects, nor what one normally finds, when they visit a storage facility. From my observations alone, storage facilities, even ones used by gallerists or collectors to safeguard artworks, are usually dark and dingy. They consist of a gruff guard behind thick glass who shoves a clipboard under your nose, and grumpily takes you up a grated industrial elevator to a cold and damp floor where they leave you to wander until you find your unit. This, of course, doesn’t take into consideration the fact that you must then attempt to remember the exact location of the piece you need, which usually ends in having to pull out half of the unit’s contents to access the art, and then—Tetris style—putting everything back. One can extrapolate that Guttman had an experience similar to the one I have described above, for UOVO’s facility boasts something of quite the opposite nature.
My musings were interrupted by the introduction of my tour-guide, UOVO’s Marketing and Communications Associate, Hannah Schmidt. After a short exchange and the light touch of a keycard, I was brought into a wide, curving hallway that bent out of site. Upon inquiring about the card access system, Hannah informed me that the keycard is the kernel of UOVO’s custom-designed, UL rated security system. It is programmed with specific electronic pathways for individual holders, and tracks a person’s movements throughout the facility. During my time at UOVO, she would use her card to access all of the public spaces in the building, including the elevators.
As we walked down the hall deeper into the building, the gradient of the wall slowly deepened into a royal blue, beckoning the viewer forward. After commenting, Hannah informs me that it is a site-specific installation by Belgian artist Pieter Vermeersch. Drawing my attention away from the artwork, she points to a large, closed overhead door on the opposite wall. With enthusiasm, she tells me that recently, the space, one of six large viewing rooms on site, was used by a client to host a month-long public exhibition of their collection. Continuing on, we encountered two extremely fashionable women hurriedly pushing a rack of beautiful garments, their hands encased in short, wrist-length silk gloves, skirts flitting around their ankles. Before I could further investigate their outfits, they disappeared into another of the viewing rooms, the large, bright space enveloped in billowing fabrics and haute couture. The scene dissipated, swallowed by the curving wall.
Before exploring the upper floors of the facility, Hannah led me to the loading docks, nine in total. Passing through an airlock door, we entered the loading docks. The hangar-like space reminded me of something out of a sci-fi movie, and despite the sterility of the docks, fully enclosed for climate control, it was bright and airy. When entering the facility, artworks pass through two covered loading docks and an airlock chamber to provide the proper protection against environmental factors. While surveying the space, she described UOVO’s electronic barcoding system. Artwork is scanned into the facility using an iPhone integrated digital barcode system. As the art is moved, it is scanned into its new location, providing for convenient retrieval of a work.
Exiting the loading docks, I was informed that I was stepping into a separate building, passing over the 8-inch seismic gap that ensures the structure can move relatively free from the ground should an earthquake occur, preventing damage. She also noted that the building is a post-Hurricane Sandy structure, comprised of concrete and steel, and resting 16 feet above sea level, whereas FEMA only recommends structures to be 7 feet above sea level to be out of the flood zone. It seems that the $200 million worth of artwork destroyed by Sandy has not been forgotten by art dealers and collectors alike.
In the elevator on our way upstairs, Hannah informed me that the airflow throughout the building was designed by William Lull, who has worked with both MoMA and The Met in the past. Stepping out of the elevator, white storage units, or rather, private rooms, sprawl out across the expansive space. Like the loading docks, the area doesn’t feel stifling but rather very spacious. Some clients have their doors open, exposing rooms that blend together the luxury of a private office with the functionality of storage—a man, deep in concentration, bends over a desk placed in the center of the space surrounded by racks of paintings. Noticing my curiosity, Hannah comments that clients frequently use their storage rooms as workspaces. A few units down, a UOVO employee gives a tour to a potential client. As I pass the pair, I overhear the employee describe UOVO’s ability to customize a private room to each client’s specific needs with the help of the in-house spatial planners.
However, as Hannah tells me, not all clients need frequent, active access to their art, nor do they require substantial storage space—this is where UOVO’s concierge storage comes into play. Artwork is stored in a large, co-mingled space only accessible to UOVO’s art technicians while still affording the client all of UOVO’s core services, such as collection management, packing and crating, and transportation. Also, a shared work space and a private room for collection-related services is available to those with works in concierge storage.
Making our way up to the 8th floor, Hannah quickly checks to see if any meeting rooms are available: “you have to see the view,” she tells me. Luckily, the conference room was open. Like other common areas throughout UOVO, artworks and furniture from Guttman’s collection decorated the room. A large wooden screen with mirrors by Phillip Powell complements the dark wood table and Vilhelm Lauritzen chairs. However, the room’s best feature is the large window that provides a spectacular view of Manhattan, with Midtown East seeming to be only a stone’s throw away. The prospect was a reminder of how close Long Island City is to the city, easily accessible by car, as well as the multitude of trains that converge in the area.
Pulling myself away from the view and surveying the conference room, I concluded that the convenience provided by UOVO’s facility would be difficult to ignore. A client can host viewings and showcase work, hold meetings, and store their artwork all in the same location, without needing to schlep works back and forth between a storage unit and a viewing space. Also, no more inexperienced interns lugging poorly packaged pieces down 10th Avenue, everything is handled by the UOVO technicians.
On our way back to the reception area, Hannah took a circuitous route, pausing to show me what could be described as the epicenter of UOVO’s cultural community, the client café. As UOVO’s clientele is comprised of individuals from all different sectors of the art world, the café is a place for clients to converge over coffee or lunch. Moreover, the communal area contributes to UOVO’s all-in-one, community and culturally-oriented space.
UOVO’s Long Island City facility is akin to a members-only collective—they are extremely protective of their clients’ privacy—paired with the hospitality of a 5-star hotel. With elements of today’s shared workspaces, UOVO is defined by its versatility and its promotion of innovation; beyond simply storage, the facility provides collectors, dealers, and advisors with the opportunity to interact with their art in new and creative ways, hassle-free. As my tour ended, I realized that at the heart of UOVO is a desire, a need, to care for and preserve our shared cultural legacy.
On my way out, I stop to enjoy a cold brew in the reception area—they even know how to do coffee right.
China’s recent history is one full of social and political chaos. Chairman Mao Zedong resided as the country’s communist leader for nearly thirty years, responsible for the founding the People’s Republic of China, sending China into a deep economic crisis, and infamously inciting the riotous Cultural Revolution. Chairman Mao had set out to purge the country of what he called “impure elements.” The youth of China backed Mao as they flooded across the country murdering teachers, closing schools, denouncing family members, burning books, and destroying China’s history. Artist were cast out of society and only those who attended nationalized art schools and produced works in a factory-like manner with politically expedient content, were permitted. Today, we see how Chinese artists critique the Cultural Revolution and the Communist Party, shedding light on China’s societal issues, through their creative individuality.
Hung Liu was born shortly after the Chinese Civil War in 1948. She was a prolific student and studied at the best private schools China had to offer. As the Cultural Revolution began, Liu was sent to be “re-educated” in a rural village. Before leaving Beijing, she borrowed a camera from a friend. She used this camera to take photos of villagers, their families, and their day to day struggles. At this point in time, the Cultural Revolution was in full bloom and Chinese culture was being threatened to extinction. Hung Liu’s photographs of those villagers served as a preservation of those individuals and to their culture.
After the Revolution, Liu went on to study fine arts and earned a her graduate degree in Muralist Painting. For three years she painted political propaganda in the Soviet Realist style, all the while secretly painting landscapes with miniature tools and paints she herself had made. Hung Liu desperately wanted artistic freedom and was granted just that when she was given permission to attend the University of California San Diego in 1983.
Liu often paints from photographs of Chinese social outcasts: prostitutes, laborers, and prisoners. The realistic nature and size of her characters reflect her practice in Soviet Realism and Muralism. However, she manipulates the image by running paint down the canvas, which gives the effect of a photograph faded by time. The characters in each piece look as though they are disintegrating right before our eyes; a possible commentary on the lives lost and forgotten during the Cultural Revolution.
Hung Liu recently retired from her position as a professor at Mills College, but she continues to paint and has worldwide exhibitions.
Ma Desheng was a self taught artist, mainly because he was deemed unfit to be trained in fine arts at the Central Academy of Fine Arts in Beijing. Desheng worked as an industrial draftsman and woodblock print artist, using traditional Chinese ink.
Desheng produced a series of images of rock-like figures and portrayals of China’s working class. These images were stark contradictions to the suppressive propaganda that Mao and the Chinese Communist Party were feeding the people.
His early productions were un-romanticized images that displayed the realities of what was happening to China. The dark rigid lines evoke a sense of inner turmoil, similar to that of the artwork of the German artists, Käthe Kollwitz or Edvard Munch.
In 1970, Ma Desheng was influential in the founding of Star Group ( or Xing Xing). This group consisted of self taught, Western-influenced artists who fought for individualism and liberation against the Cultural Revolution. Ma Desheng and the Star Group bravely defied the government when they put on an exhibition of their own work across the street from the National Art Museum in Beijing. It was, of course, shut down by authorities and Ma was arrested for his involvement in organizing such an exhibit.The Star Group went on to lead a rally against the authorities and were successful in opening a second show; some say it was this rally that helped Chinese society become more culturally open.
Not long after Star Group’s second show, Ma Desheng moved to Europe, as did many of the other members. He continues to live and work in Paris, but there is no doubt that his passionate commitment to freedom of expression helped pave the way for future Chinese artists.
One of China’s most well known and successful artists, Zhang Xiaogang, was also a witness to China’s Cultural Revolution. His parents were government officials but were sent away to be “re-educated” at the height of the Revolution—an event that greatly affects his work.
He studied at the Sichuan Academy of Fine Arts after the Cultural Revolution ended, but his professors were persistent in teaching the style of Soviet Realism. Zhang resisted this style and any philosophy that had to do with collectiveness in society. He founded a group focused on the importance of individualism in philosophy and art called the Southwest Art Group. Though somewhat successful with nearly eighty artists in the group, the Tiananmen Square incident happened not long after and the era of liberal reform ceased completely.
It wasn’t until 1992 when Zhang returned from Germany after 3 months that he knew exactly what he wanted to paint. He stated that he “could see a way to paint the contradictions between the individual and the collective.” His portrayals of those contradictions are what make his paintings so eerily captivating. Most of his work is themed after family photographs but there is always some sort of strange mark or difference in color that makes them unique to one another. The child, who is typically centered, is the most defined. This can be taken as Zhang’s commentary on the youth of the Cultural Revolution and their willingness to disown their families and personal histories.
Zhang Xiaogang’s artwork has shown world wide and he is easily one of the most prominent Chinese contemporary artist of today.
Beijing-based artist, Yue Minjun, also captures that theme of contradiction that Zhang Xiaogang displays. Yue Minjun was born in 1962 and studied oil painting at the Hebei Normal University in 1985. His work is done in a style that has been coined as “Cynical Realism,” and they are iconically uncomfortable. Most of the paintings are self-portraits of the artist with pink skin, laughing maniacally in surreal backgrounds while bent over in an attempt to cover an exposed body, vulnerable in only underwear.
These cartoon like images are politically pointed at the Cultural Revolution and China today. Minjun states that “…laughter is a representation of a state of helplessness, lack of strength and participation, with the absence of our rights that society has imposed on us.” This laughter evokes a strange feeling to the viewer. You feel as if you were looking at someone that had just gone through a mental breakdown and had experienced an intense amount of pain, dehumanized, but has an odd instinct to laugh. It wouldn’t be too far of a stretch to say that, this is how Minjun see’s the China today; as society that has been through so much within recent years but does not know how to deal appropriately with the pain.
The now world renowned artist, Xu Bing, was in high school when the Cultural Revolution broke out. Determined to stay in Beijing and continue his studies, he agreed to use his talents in calligraphy to create political propaganda. After he graduated, he was sent to the countryside to work in the fields and was not able to return until the death of Chairman Mao in 1976. Xu was accepted into Beijing’s Central Academy of Fine Arts the following year to study printmaking.
The relationship between words and interpretation seems to be the core theme in Xu Bing’s work. In his grandiose installation, “Book from the Sky,” large scrolls hang from the ceiling and traditionally bound books and newspapers line the floor and walls, all stamped with woodblocks carved with made-up, nonsensical Chinese characters. The fact that nothing is literally being said in this piece results in many different interpretations. Is the installation a focus on Chinese tradition versus modern art? Is it a questioning of how different cultures perceive one another? Is it a commentary on the manipulation of words to achieve power, like in Mao’s case? Or is it a meaningless study of form and repetition? There are grounds for each of these questions within the piece and its intriguing quality is one of the reasons “Book from Sky” is such an international hit within the art world.
Cai Guo-Qiang is probably best known around the world for his firework show at the 2008 Olympics in Beijing, but Cai’s artistry goes far beyond his pyrotechnic displays. He studied stage design at the Shanghai Theatre Academy from 1981 through 1985, which is evident in the spatial rendering seen in his large installations, paintings and performance pieces.
One of his most famous pieces was an installation he was commissioned to do for the 48th Venice Biennale, entitled, “Venice’s Rent Collection Courtyard.” The installation consisted of 114 clay sculptures of peasants and laborers interspersed within the gallery’s setting.The piece created quite the stir amongst the art world as it closely resembled the famous Social Realist sculpture “Rent Collection Courtyard”: a highly political series of sculptures created during the Cultural Revolution. The stir wasn’t only because of Cai’s replica of the Chinese classic, but because he choose a material that would cause the sculptures to disintegrate as the show went on; a possible statement on Mao’s promises to the Chinese people and the ephemerality of their political and social structures.
Many of Cai Guo-Qiang works seem to embody a theme of unforeseen fate. In many of his paintings, he will scatter gunpowder on an already painted canvas, and ignite it. The result displays a combination of the controlled color of the actual paint, and the sporadic, random markings of the burnt gunpowder. This theme is also evident in his installation “Head On” where sculptures of wolves take off running and soaring through the air. The momentum of the piece is brutally interrupted as the wolves run, “head on,” into a wall a plexi glass and fall gracelessly to the floor.
It is often said that an artist’s role in society is to be instrument of the time; to reflect society back to itself, to be a catalyst of change, and to articulate culture. It is fair to say that these artists, and many other Chinese artists, are doing just that.
July 14, 2016
The groundbreaking exhibition of Degas’s monotypes, “Edgar Degas: A Strange New Beauty,” which is currently on view at the Museum of Modern Art, presents Edgar Degas to the public in a new light. This incredible exhibition, the first comprehensive show of Degas monotypes in over half a century, characterizes one of the most well known artists in the history of art as an innovator and experimenter.
In two short periods from the mid-1870s through the mid-1880s, Degas produced over 300 of these exceptional works on paper. Hundreds more are thought to have existed but were destroyed by Degas’s brother after his death. Although these works are numerous, the majority of them were never exhibited during the artist’s lifetime. Therefore, these unique works are somewhat shrouded in mystery. Perhaps deemed too personal, scandalous, or experimental to be viewed by a 19th century audience, two centuries later they still retain their ability to both shock and intrigue viewers. The subjects explored by Degas in this experimental medium are wide ranging, from singers at café-concerts to prostitutes and smoke stacks; however, like his more famous paintings and pastels, the subjects which attracted Degas the most are those which capture elements of modern life in Paris.
While some of the subjects are scandalous, the medium Degas employs, monotype, is equally surprising. Although Degas himself explained the process of monotype simply as “drawing made with greasy ink and put through a press,” monotype is in fact a complex and contradictory medium.1 Essentially, a monotype is a print. However, the fact that it is mono, or singular, inherently defies the supposed purpose of printmaking, which is to make many copies to be distributed or reproduced. The process of creating a monotype is also very different from other printmaking processes in that the image transferred from the plate to the page is not carved into a woodblock or etched into a copper plate, but simply painted on the surface using ink, or in some of Degas’s later monotypes, oil paint, allowing the image to be changed up until it is fed into the press. This aspect of the monotype process lends the medium to more spontaneous production, perfectly in sync with the spontaneity that Degas hoped to capture in his images.
Most of the works in the exhibition are the first version, however, some are “cognates,” rare second prints made from the original plate. These second images are much lighter than the first, since most of the ink went into the first image. While the cognates are essentially the same image, Degas edited them using pastel, gouache, or event sometimes oil paint to make them entirely new compositions.
This dynamic between originality and reproduction that defines Degas monotypes can be best seen in a pair of works from the exhibition, which, taken from the same plate, depict the same subject and composition; however, they have almost nothing in common. Both plates show a singer at a café-concert, the first in black and white, characterized by this juxtaposition of light and shadow, emphasized by the five bright orbs of electric lights behind the singer. These lights, which illuminate the scene, also distort it, rendering the singer’s face almost in caricature as her arm bends unnaturally into the hazy, incomprehensible space of the café-concert. In the second version, which Degas has altered using pastel, both the figures and forms of the composition are much more solidly defined. Here, both women are clearly rendered in much more detail than in the hazy original. The five light orbs have been traded in for one fancy electric light on the back wall, immediately elevating the level of the establishment from the mysterious original. When looking at these works side by side in the gallery one would never suspect that they are in fact the same work; however, that paradox between originality and reproduction seems to be at the heart of what Degas is trying to achieve with his monotypes.
The brothel monotypes have become infamous within Degas’s oeuvre amongst scholars and, now that they have again been exhibited to the public, they have become a controversial highlight of the exhibition. They present the viewer with a true conundrum as to how to approach the style and subject matter. Some argue that they provide a sympathetic look into the realities of 19th century prostitution, a widespread industry in Paris at the time, while others have seen these works as voyeuristic and “creepy.” Of the dozen or so of the brothel monotypes on view in this exhibition, one of the most striking is The Name day of the Madam (La fête de la patronne). This work shows a group of prostitutes celebrating the birthday of the madam. The women, who are shown in various states of undress, present the madam with flowers. It is these moments that depict the behind the scenes lives of such women, rather than the ones which illustrate them at work, which make them something truly unique.
Like many of his contemporaries, as well as many artists working today, one of Degas main aims was to create works which engaged with and reflected the society in which he lived. His monotypes clearly reflect modernity not only in the subjects, but also the medium of monotype itself, and the techniques he used to achieve such varied and incredible effects relate directly to the larger idea of capturing modern life in 19th century Paris. “His loose brushwork turned out to be the perfect vehicle for capturing both ballerinas in motion and the bustle of city life—and the relaxed linearity was well-suited for his foray into caricature, including suggesting the financial exchange at the heart of prostitution. Degas’s method of incising into the greasy pigment offered a way to render the artificial lighting that was not only illuminating Paris in new and exciting ways but changing vision itself.”2
These haunting works present the often romanticized, but gritty reality of life in 19th century Paris and paint Degas as a technical innovator and experimenter in the art of printmaking.
“Edgar Degas: A Strange New Beauty” is on view at the Museum of Modern Art through July 24th.
- Buchberg, Karl, and Laura Neufeld, “Indelible Ink: Degas’s Methods and Materials,” Edgar Degas: A Strange New Beauty. Ed. Jodi Hauptman. Museum of Modern Art, New York. 2016. Print. P. 47.
- Hauptman, Jodi, “Introduction,” Edgar Degas: A Strange New Beauty. Ed. Jodi Hauptman. P. 17. Museum of Modern Art, New York. 2016. Print.