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Trip to NYC:Galleries, MoMA and MADby Mitchell Kahan, Director & CEO |
Earlier this month, I returned from a quick foray to New York City where I was amazed to see how many—too many in my opinion—commercial art galleries survived the recession. Only a few things impressed me for their thoughtfulness or originality. My favorite was Barbara Kruger’s new video installation in high def and full color, a welcome development after thirty years of red-black-white texts and Photostat images. A series of compelling talking heads, the slightly fragmented portrayals are somewhat harsh, skewing the pretensions of those portrayed, and very provocative, inviting repeated viewing.
Gagosian Gallery was preparing to open a late Monet exhibition, prompting complaints of galleries having usurped museums’ roles. Well, I wouldn’t really worry about that. The few galleries like his that can mount museum-worthy displays are a highly welcome addition and deserve our applause.
At any rate, this past weekend nothing in the galleries approached the excitement of the William Kentridge survey at MoMA, perhaps the best exhibition that museum has done in 15 years, and certainly the best since their expansion, as the norm has been a diet of well-behaved art suitable for Wall Street investment bankers. Kentridge continues to explore and expand the range of references in his films and projections, adding to his well-known exploration of capitalism, industry, exploitation and war. To this viewer, music seemed to play a much more important role in the more recent work, and miniature stage sets with projections and mechanical movements reflected this interest in theater. The drawings seemed stronger than ever, and a mammoth print exemplified his broadened technical ability. Perhaps the highlight among so many thrills was the recent multi-screen projection about the 1930s show trials in Moscow, where, prior to extermination, longtime communists were humiliated as part of Stalin’s ruthless elimination of rivals. Projected images using a variety of graphic devices embracing animation, dance, music, constructivist art, text, and historical footage combined in a way that was a thrilling and terrifying meditation on absolutism and political repression.
I finally was able to visit MAD, the new Museum of Arts & Design on Columbus Circle. Allied Works Architecture’s revamping of Edward Durrell Stone’s marble lollipops prompted a big preservation battle in New York in recent years, but the excellent results remind us that even a work of architectural interest like Stone’s might be best placed into “retirement.” Part of the problem was that the tiny site and multi-story building were simply not appropriate for many functions. But this museum with its strong crafts focus is perfect. Lots of intimate spaces and multiple levels work beautifully. The craftsmanship of the building’s exterior mirrors the focus of the institution, and the use of light and translucency throughout the structure is delicately measured, successfully protecting the art while leaving a few views to the exterior. And the top floor restaurant is gorgeous both inside and as you look out to the city. So be sure to visit MAD the next time you find yourself in the Big Apple.
Gagosian Gallery was preparing to open a late Monet exhibition, prompting complaints of galleries having usurped museums’ roles. Well, I wouldn’t really worry about that. The few galleries like his that can mount museum-worthy displays are a highly welcome addition and deserve our applause.
At any rate, this past weekend nothing in the galleries approached the excitement of the William Kentridge survey at MoMA, perhaps the best exhibition that museum has done in 15 years, and certainly the best since their expansion, as the norm has been a diet of well-behaved art suitable for Wall Street investment bankers. Kentridge continues to explore and expand the range of references in his films and projections, adding to his well-known exploration of capitalism, industry, exploitation and war. To this viewer, music seemed to play a much more important role in the more recent work, and miniature stage sets with projections and mechanical movements reflected this interest in theater. The drawings seemed stronger than ever, and a mammoth print exemplified his broadened technical ability. Perhaps the highlight among so many thrills was the recent multi-screen projection about the 1930s show trials in Moscow, where, prior to extermination, longtime communists were humiliated as part of Stalin’s ruthless elimination of rivals. Projected images using a variety of graphic devices embracing animation, dance, music, constructivist art, text, and historical footage combined in a way that was a thrilling and terrifying meditation on absolutism and political repression.
I finally was able to visit MAD, the new Museum of Arts & Design on Columbus Circle. Allied Works Architecture’s revamping of Edward Durrell Stone’s marble lollipops prompted a big preservation battle in New York in recent years, but the excellent results remind us that even a work of architectural interest like Stone’s might be best placed into “retirement.” Part of the problem was that the tiny site and multi-story building were simply not appropriate for many functions. But this museum with its strong crafts focus is perfect. Lots of intimate spaces and multiple levels work beautifully. The craftsmanship of the building’s exterior mirrors the focus of the institution, and the use of light and translucency throughout the structure is delicately measured, successfully protecting the art while leaving a few views to the exterior. And the top floor restaurant is gorgeous both inside and as you look out to the city. So be sure to visit MAD the next time you find yourself in the Big Apple.
