Art and symbols | Hew Locke

Artist Hew Locke has an interesting work called Gilt on the facade of Met Museum. In a panel discussion at the Met this week he said the work, four pieces in the shape of trophies, was inspired by several artefacts in the Met’s collection. The designs re-purpose some of the cultural symbols from these works to consider how symbols are used to communicate power and write history. The Gilt works are made of fiberglass, coated in gold paint (below left).

I was interested in his investigative process: thinking about what facades are for, here facing facades (on 5th avenue), and he ends up with a trophy which is also a facade, looking solid gold from the front but only 2 dimensional, deliberately unfinished from the side.

I first came across his work in 2015 at the Kochi Biennale. This was a piece called Sea Power, about the Portuguese ships arriving on the Malabar coast in the fifteenth century (above right). More recently I saw his work Procession, shown in Tate Britain. In this video about the Tate work he talks about his use of symbols and his interest in boats which can represent containers for people getting to a new life, colonial conquest, and even the journey of life itself.

New York art in the 60s

The Jewish Museum has an exhibit of New York art between 1962 and 1964. It straddles painting sculpture music and dance, and the politics of these years which included the I have a Dream speech by Martin Luther King, and the Kennedy assassination. It recreates the atmosphere of turbulence, experimentation, and the blurring of lines across art genres. Works that particulary stood out were (in order of the images):

  • a sculpture called untitled (hungblock) 1962, by Mark di Suvero about the massive amount of building and demolition going on in NYC (nothing changes!).

  • Butterworth Box II (1963) by Carolee Schneeman - moving painting beyond the canvas.

  • Warhol’s Empire (1965) film - an extremely still film, projected tidily from above.

  • Noguchi’s Shrine of Aphrodite (1962) made for the set in a Martha Graham dance.

  • A bunch of Rauschenberg screenprint paintings.

  • Several works relating New York’s role in the slave trade, including one by Robert Indiana called The Rebecca (1962) relating to a slave trading ship. He used some brass stencils he found in his lower Manhattan neighborhood.

William Klein exhibition

A downtown exhibition introduces the artist’s breadth - from painting to fashion and social realism photography, documentaries, and book design/writing/edit. The most striking work was the New York photography and overall the energy across his oeuvre. A nice welcome back to NYC after many months away.

And the view from the door of the gallery (International Center of Photography) which I loved!

Ludlow Street, Manhattan

Modern art in the manuscript tradition

Pakistani artist Shahzia Sikander makes intriguing and ironic modern feminist paintings and installations using classical Indian/Persian manuscript traditions. The classical manuscripts were often a kind of PR (like staged presidential photos) and a method of projecting power and legitimacy as dynasties toppled each other.

Being with beautiful things

This image is from a promo “collecting” video but the art is exquisitely presented. Curator, collector, gallerist Axel Vervoordt takes us on a tour of his house filled with art. I’ve seen first hand how he mixes old and new, contrasts textures and light, and celebrates the beauty of imperfection in curated exhibits at Palazzo Fortuny in Venice.

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Ego

I saw a kinetic sculpture called Ego. It was paired with characterless ambient music that deadened the experience of the installation. But this sculpture - on display in a New York art gallery - was originally made by DRIFT for an opera and dance production of L’Orfeo by Monterverdi. In this video we see the sculpture being used during dance rehearsals for the opera. It’s wonderful how the dancers bring the sculpture to life. Also interesting, an interview with Studio DRIFT on their mission to use technology to connect people to nature.

Presence in emptiness

Jananne Al-Ani who lived in Iraq until just before the Iran-Iraq war makes striking art with moving and still images. A specialty has been aerial archeology. Photos from a height can reveal the imprint of human presence over the ages, in landscapes that superficially look empty and devoid of life. Apparently her interest was triggered by images of the US military in the Iraqi and Kuwait desert, suggesting no-one is there, no-one owns it - an “orientalist view.” It’s easy to think of other landscapes which were taken over under the guise that they were “empty”. She introduces her work in this MOMA video.

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Digital theater that works

The Public Theater in New York recently screened a spectacularly innovative piece of digital theater accompanied by a live Instagram feed. The work is called Rich kids: A History of Shopping Malls in Tehran.

It’s a narrated story about events leading up to a fatal car accident in Tehran. The audience also follows this story as it unfolded on the victim’s Instagram feed. On the surface it’s about the rich kids’ lifestyle, and inequality, but subtly crosses over into story about consumerism and the unsustainable economic exploitation of the planet. It’s not didactic though. The director Jaavad Alipoor says he likes to write about topical things that audiences are already thinking about. But he hits them on emotional level. He originally wrote it as a play, but COVID stopped live shows, so he recreated it in digital format. It’s very intense to watch, switching between the narration on screen and the live Instagram feed. It keeps you absorbed and mirrors today’s bombardment of images and info.

Rich Kids screen shot of narrators

Rich Kids screen shot of narrators

Fresh lens

I enjoy the fresh originality and female sensibility in the visual language of Pipilotti Rist. I first encountered her work at MOMA with the 2-screen video installation Ever is Over All (1997), which shows a playful woman moving down a Zurich street smashing car windows with a flower. Lush colors and lovely soundscape. When so much public discourse is technology related, it’s refreshing to have a lens on life that is so organic. Here a profile of the artist on the Lousianna Museum of Modern Art Channel (the Bloomberg profile is even better though dogged by ads).

Untelling stories

Fascinated by the ideas and work of John Akomfreh. In an online conversation today with Olafur Eliasson, hosted by the Hirshhorn Museum, he talked about his multi-panel video and photographic installations. He likes to configure images to converse with each other. The viewer has to choose in each moment which panel to look at so sees a unique version of the story.

The 3-channel hypnotic installation Vertigo Sea focuses on the impact of humans on the oceans, and in particular the whaling industry. Thinking about this industry at its peak, he associates it with the trans-Atlantic slave trade, going on at the same time. His work also seeks meaning in the “unseen elephants in the room at the beginning of my life.” His example is growing up in London in a neighborhood dominated by a huge power station. He wonders why no-one ever talked about the pervasive carbon dioxide poisoning going on. He is “telling a story and un-telling story at the same time.”

Image overload

I liked this installation by Sarah Sze, combining sculpture, photography, and video. It’s especially resonant in the age of the pandemic: the feeling of being boxed in, of living life through a screen, and the counteracting solace of nature.

Sarah Sze, Crescent (Timekeeper), Tanya Bonakdar Gallery

Sarah Sze, Crescent (Timekeeper), Tanya Bonakdar Gallery