All Photo By Gail
Artist Aria Dean (b. 1993) began Little Island (2022) by putting a digital model of a monolith through a collision simulation and then rendering the impact as a physical sculptural form.
Continue reading Modern Art Monday Presents: Little Island/Gut Punch By Aria Dean
Photo by Gail
This Crystal Chandelier was one of three acquired by artist Danh Vo during the restoration of the former Hotel Majestic in Paris. It came from the hotel’s grand ballroom, which served as a meeting site for numerous political gatherings from World War II through the hotel’s closure in the first decade of the 2000s. For instance, on January 27, 1973, the hotel was host to the signing ceremony for the Paris Peace Accords, nine-point planned aimed at guaranteeing lasting peace in Vietnam. Each chandelier’s title notes the time and date when the artist removed it from the ballroom’s ceiling — in this case,16:32, 26.05.2009 coincides with 4:32 PM on May 26th, 2009. By divorcing the opulent chandelier from its function and historical setting, this object, designed to convey elegance and celebration, holds within it the memory of the difficult moments in global history it has witnessed.
Photographed in the Whitney Museum in NYC.
Photo By Gail
It takes expert reflexes to snap a random spy pic before your target, er, subject, moves out of frame and the moment is lost to time. I captured this lady wearing a vibrant Pink Raincoat while viewing the Jasper Johns exhibit, Mind Mirror, at the Whitney Museum.
Story and All Photos By Gail
Jasper Johns’ Field Painting (1963 – 64) is one of many works the artist has made throughout his career that suggest tactile as well as visual interactions. Sometimes, as in the case of the hinged letters in this canvas and the dangling strings of his later Catenary series, the appended objects actually marked the painted surface.
Continue reading Modern Art Monday Presents: Jasper Johns, Field Painting
Photo By Gail
Louis Guglielmi (1906 – 1956) described Terror In Brooklyn (1941), one of his best known works, as “a premonition of war and tragedy.” On a desolate Brooklyn street, three nuns are shown entrapped by life-size bell jar; they seem to cower in the presence of a bandaged pelvis that hangs, like a crucifix or relic, from a nearby building. Continue reading Modern Art Monday Presents: Louis Guglielmi, Terror In Brooklyn