Showing posts with label Reading/Seeing/Hearing. Show all posts
Showing posts with label Reading/Seeing/Hearing. Show all posts

Seeing: at the Smart Museum



A few nice things from a fall visit to the Smart Museum:

1. Kenzo Okada's "Solstice Number 1" (detail)//Yeeksookyung's "Translated Vases"
2. Beautiful 1920s teapots//cup & saucer set
3. Bernardino Fungai's "Madonna in a Mandorla Surrounded by Angels" (detail)//Pierre-Henri de Valenciennes' "Cloud Study"
4. Standing inside Bruce Nauman’s “Yellow Room (Triangular)"//Couldn't resist rolling down this hill

Seeing: Kader Attia

From a visit to Kader Attia's show "Repair. 5 Acts" at Kunst-Werke, which was really good and thought-provoking.
Attia is French-Algerian and a lot of the work in the show dealt with themes of colonialism and European/African history.



African masks presented out of context (i.e., in a gallery setting), and two different portrayals of a monkey: European (taxidermy), and African (mask)



Injuries sustained by soldiers fighting in WWI, some of whom were European, and some of whom were recruited from colonies. Their faces before and after their scars healed.
Source: Universes in Universe



This is from a previous show that I think included some of the same pieces. Sculptures of the scarred faces from WWI photographs which were made on commission by African wood sculptors.
Source: Blindbild


Scars that might be considered deformities in one culture can be considered beautiful in another. These sculptures were based on source photos of body modification and commissioned to marble sculptors in Italy.
Source: Berlin Art Parasites

I looked up some of Attia's previous work, also great--


Holy Land, 2007
Source: Galerie Nagel Draxler


Ghost, 2007
Source: Galerie Nagel Draxler


Tsunami, 2006
Source: Galerie Nagel Draxler

Seeing: at the MCA Chicago

The latest iteration of the MCA Chicago's plaza project features Amanda Ross-Ho's "The Character and Shape of Illuminated Things". Sitting in the plaza are large-scale models of a woman's head, a cube, and a sphere. The configuration replicates an image that illustrated lighting in a 1980 photography book (the title of the project is also adapted from that book). The models are consciously portrayed as photographic objects. Each is painted a flat grey, the color used to calibrate photos, and a color grid rests in front of the woman's head.



Inside, Jose Lerma:



and some posh ping-pong

A Year in Provence

One genre I enjoy reading (with a bit of guilt) is travel writing.  I really like discovering the details of daily life in a place from the point of view of someone who is new or newish to that place.  Details that are striking and interesting to a stranger or visitor might feel obvious or not-worthy-of-notice to someone living in a place their whole life.  It's interesting to compare daily rituals and habits, where and when people socialize, the markers of different parts of the day, how time is spent, and how people interact with their surroundings.

A year in Provence, by Peter Mayle, chronicles a British couple's first year in Provence, living in and trying to restore an old stone farmhouse set on the edge of a large national forest.

"At one end of the market, a van from the wine cooperative was surrounded by men rinsing their teeth thoughtfully in the new rosé.  Next to them, a woman was selling free-range eggs and live rabbits, and beyond her the tables were piled high with vegetables, small and fragrant bushes of basil, tubs of lavender honey, great green bottles of first pressing olive oil, trays of hot-house peaches, pots of black tapenade, flowers and herbs, jams and cheeses--everything looked so delicious in the early morning sun.
We bought red peppers to roast and big brown eggs and basil and peaches and goat's cheese and lettuce and pink-streaked onions.  And, when the basket could hold no more, we went across the road to buy half a yard of bread--the gros pain that makes such a tasty mop for any olive oil or vinaigrette sauce that is left on the plate. The bakery was crowded and noisy, and smelled of warm dough and the almonds that had gone into the morning's cakes."


The copy I have was previously in the library of Ann Hershey Byerly, as indicated by the large personalized embossed stamp.



The book is divided into chapters based on the months of the year with illustrations for each one. So far, I'm up to September.