Tag Archive | art institute

Modern Art Monday Presents: The Wedding By Jacob Lawrence

the wedding by jacob lawrence photo by gail worley
Photo By Gail

Jacob Lawrence (19172000) once wrote, “For me, the most important function of art is observation.” He was inspired by and created works based on his own experiences of everyday life in Harlem and the history of African Americans the United States. In  The Wedding (1948), Lawrence simultaneously depicted the solemnity and the joy of the marriage ceremony. Although the preacher’s face is only partially defined, he appears to look down with great seriousness at the couple as they contemplate their vows. The large, colorful urns overflowing with brilliant flowers signify the prosperity of this union

Photographed in the Art Institute, Chicago.

Modern Art Monday Presents: Isamu Noguchi, Miss Expanding Universe

miss expanding universe by noguchi photo by gail worley
All Photos By Gail

Born in the United States, Isamu Noguchi (19041988) lived in Japan until he was 13 years old, and was deeply affected by Japanese art and culture. In 1930, the artist returned to Japan to study its sculptural traditions and ceramics

miss expanding universe flying 1 photo by gail worley

Miss Expanding Universe (1932) was the first sculpture Noguchi made upon his return to the United States in 1932. In this work, he combined machine-age streamlining with characteristics of ancient Japanese funerary sculpture (haniwa).

miss expanding universe flying photo by gail worley

Later that same year, the artist transformed this flowing form into a sacklike costume for the pioneering dancer and choreographer Ruth Page and her ballet, Expanding Universe.

miss expanding universe photo by gail worley

Photographed in the Art Institute, Chicago.

Modern Art Monday Presents: Ivan Albright, Picture of Dorian Gray

picture of dorian gray by ivan albright photo by gail worley
Photo By Gail

Ivan Albright painted this lurid work for the 1945 movie adaptation of Oscar Wilde’s 1891 novel, The Picture of Dorian Gray. In Wilde’s tale, Dorian Gary commissions a portrait of himself as an attractive young man, and later trades his soul for an ever-youthful appearance.  As the still-handsome Gray leads an increasingly dissolute and evil life, his painted representation rots and decays, revealing the extent of his moral corruption. Albright’s renown as a painter of the macabre made him the ideal choice to paint the horrific image of Gray for the film. Although the movie was shot in black and white, director Albert Lewin filmed the painted portrait in color to emphasize Gray’s shocking transformation.

Photographed in the Art Institute, Chicago.

Modern Art Monday Presents: Claude Monet, Arrival of the Normandy Train, Gare Saint-Lazare

arrival of the normandy train photo by gail worley
Photo By Gail

The Gare Saint-Lazare was the largest and busiest train station in Paris. Early in 1877, with help from his friend Gustave Caillebotte, Claude Monet rented an apartment in the nearby rue Moncey and began painting the first of twelve canvases showing this icon of modernity. Monet displayed seven of them, including this one, at the third Impressionist exhibition, in April of that year. Legend has it that he arranged to have the standing locomotives stoked with extra coal, so that he could observe and paint the effects of belching steam — dull grey when trapped inside the station, but white and cloudlike when seen against the sky.

Arrival of the Normandy Train, Gare Saint-Lazare (1877) was Photographed at  the Institute, Chicago.

Modern Art Monday Presents: Juan Gris, The Checkerboard

Juan Gris The Checkerboard
Photo By Gail

Hailed as “the perfect painter” by avant-garde writer Gertrude Stein, Juan Gris developed his signature approach to Cubism beginning in 1911. Using classic café subject matter — such as the newspaper, seltzer bottle, and glass seen here — Gris made subtle adjustments to the conventions of picture making that render ordinary objects both familiar and newly intriguing. For example, in The Checkerboard (1915) and its  bird’s-eye view of a tabletop, a cunning reorganization of pictorial space places objects that should have volume into a single compressed plane. With a nod to play, Gris shows us a fragmented checkerboard, an emblem of the strategy and gamesmanship at the center of his art.

Photographed in the Art Institute Chicago

Modern Art Monday Presents: Woman With Dog By Katharina Fritsch

Woman With Dog
All Photos By Gail

Katharina Fritsch makes meticulous reproductions of everyday objects, rendering them unfamiliar through extreme shifts in scale and either alluring or repellent color choices. Indeed, saturated and non reflective collators of color lend her sculptures a stones sense of otherworldliness.

Woman With Dog
Installation View

“I always call the starting point  [for a sculpture] a vision,” she has said. “I’ll be in a tram or driving a car and suddenly I get a picture in my mind. Something completely normal turns into a miracle — something I’ve never seen before. Simple things you see every day turn into something strange, something alien.”

Woman With Dog

Woman With Dog (2004) is clearly sealed up — enormously so — from from a small figurine made of seashells, as one might find in a beachside souvenir shop.

Woman With Dog

Photographed in the Art Institute, Chicago.

Modern Art Monday Presents: Boy By Charles Ray

Boy By Charles Ray
All Photos By Gail

Having been employed as a department store janitor during his freshman year of college, Charles Ray (b. 1953) understands the unease that a mannequin — an inanimate object that one might readily mistake for a live human — can inspire.  Ray’s work is also charged with purely sculptural tensions that exist between surface and interior, armature and appendage and / or size and scale. With Boy (1992), Ray created a particularly disquieting figure.

Boy With Guard
Museum Guard With Sense of Humor Poses With Boy

The sculpture stands just shy of six feet tall, the artist’s exact height, yet maintains the softness of youth in its rounded cheeks and limbs. The boy is clad in outdated garments, hovering ‘between baby and Hitler youth,” in the words of one critic. Additionally, the boy’s pose and gesture suggest a confrontational manner at odds with his neutral expression.Boy By Charles Ray

Photographed at the Art Institute of Chicago.