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Posts Tagged ‘Indianapolis Museum of Art’

Is this a joke?

Looks like something you could sit on if you had to.  But wait, is that a bunch of old rags?

Tejo Remy is a Dutch designer.  His 1991 Rag Chair “is created from layered clothing and discarded rags. The reused textiles are collected and shaped with black metal straps to form a large, bulky and eccentric lounge chair. The concept behind the chair is to provide a unique piece of furniture, while at the same time providing a collection of memories that can be flipped through and treasured.”* Every chair is different, of course, and can be custom made for you from your old clothes.

He also designs chests of drawers, called “You Can’t Lay Down Your Memories,” which are composed of random drawers bundled together by metal straps.

As you look at these, both the chair and the drawers, do you get the feeling that what might be operating here is irony?

In the case of the chair, if you really treasured your old clothes and the memories they associate to, you would preserve them in a more, shall we say, loving way.  You might re-tailor a jacket or a skirt for whimsical evening wear, to go to the theater, say.  You could engage a quilter to go wild with her imagination or donate your stuff to a painter friend for incorporation in a mixed medium piece.  Such re-purposing comes with a dose of irony, sure, but it would be irony cultivated out of a sense of history, melancholy and affirmation.

The bundled up drawers are even more ironic than the Rag Chair because they come with a didactic name attached:  ‘You Can’t Lay Down Your Memories.”  You’re saying I’m trying to lay down my memories?  But I can’t?!  You’re saying, memories are all a jumble and they will never fall into place in an orderly pattern that makes sense. Might as well face it and live with the randomness that is called your memories.

If your past—personal, social, historical—makes sense and was orderly, then you will have a place for everything and everything in its place. You will be offended by Remy’s pile of mismatched drawers. You will restore and treasure an antique breakfront or china cabinet. Like this, perhaps.

 

Both the Rag Chair and “You Can’t Lay Down Your Memories” are in museum collections and valued in the thousands.  These designs are freighted with, yes, irony, which means you are being challenged to think and interpret.

The Indianapolis Museum of Art has a Remy Rag Chair.  Next time I go there I’ll hover around the Rag Chair waiting to hear someone say to a spouse, Oh, honey we’ve got to have one of these, perfect for the TV room, looks cheap and the kids wouldn’t have to be careful.  That won’t happen.  People will continue to look confused and challenged by modernism.

Next, we’ll look at our contemporary need for re-purposing.

In the meantime, allow yourself to be fooled by something today, this April First.

*Quoted from Chair—500 Designs that Matter. Phaidon.

Tejo Remy, b. 1960

 

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night-windows.jpg!Large

You won’t learn anything about existentialism in this post, existentialism being the de rigueur ism to bring up when you need to sound smart in a conversation about modern art.

Instead of being smart, let’s play a game.  Let’s imagine you stumbled upon an exhibit at, say, the Indianapolis Museum of Art, where the paintings of Lionel Feininger (1871-1956) and Edward Hopper (1882-1967) were shown side by side. (That’s a game good museums actually like to play, which is what makes them so exiting to go to.  At the Art Institute of Chicago, for example, paintings are moved around frequently so that you can see a familiar painting next to new neighbors and therefore gain new insights without anyone lecturing you about anything.)

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Feininger was a prolific artist, who early in his career worked figuratively, even as a caricaturist and cartoonist,  and later tended to work with linear forms in his compositions.  In the 1920’s, when Hopper was visiting Europe, Feininger was teaching at the Bauhaus, first in Weimar and then in Dessau.  There’s no chance that they met, given Hopper’s disinterest in modern art.

No matter.  They were contemporaries, working with architectural forms in their paintings. It’s only fair to put them side by side.

The first thing you notice is the figure in the Hopper painting.  Now try to imagine the painting without the figure.

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It doesn’t hold your attention, does it?

Look at some Feininger compositions.  Do they need a human figure to grab you?  No. These compositions are engaging and absorbing as they are.

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Hopper seems to be primarily interested in geometrical patterns, but because what he comes up with is flat, hard-edged and obvious, he adds a figure to focus your attention.  The figure inevitably looks isolated and alienated, which makes for a facile match with existentialist jargon.

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new-york-office

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  HopperDrawing2

The Indianapolis Museum of Art (“Newfields’) reopened on July 17th with an exhibit about Edward Hopper.

I am glad the curators included some of his drawings because they present the most lively work in this show.

The above drawing is dated in the 1950’s.  It may have been a study for the painting “People in the Sun,” 1960.

What fascinates me is that the drawing is lively and energetic, while the painting is, well, dead.

Hopper’s mind as he contemplated a man in a lawn chair looking over a desolate landscape was nevertheless agitated. We don’t know by what–memories or necessary imminent decisions or shocking insights.  It’s an agitated drawing scribbled out in a frenzy of concentration, took maybe all of five minutes.

But the painting looks like sheer drudgery, as if he just wanted to get it done and be finished with it.

Sunning

If the artist intended to satirize the alienation of modern life,  he failed.  I think, the image fails as satire because it lacks wit.

We instantly recognize it as a Hopper because human forms are part of the geometry of the composition.

Let that be my introduction to Edward Hopper at the IMA.  You can tell that I have issues with this show and with the interpretation of this artist.

So far we have some key concepts: agitation, alienation, drudgery, modern life, geometry, human form,  satire and wit.

Stay tuned.

 

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“There were two of them, they were sisters, they were large women, they were rich, they were very different one from the other one…”—Gertrude Stein

The Cohn sisters, Claribel Cone (1864–1929) and Etta Cone (1870–1949), lived in Baltimore, traveled 13CohnMatisse1extravagantly and amassed an extensive art collection.  Claribel called her apartment in the Marlborough in Baltimore “the museum.” They knew not only Gertrude Stein but also Picasso and Matisse.  Matisse became a friend and visited them in Baltimore in the 1930’s.

The Indianapolis Museum of Art has put together a Matisse show gleaned from the Cone collection that is well worth the drive.

If you can’t make it to Indy before the show closes on January 12, you can pick up a copy of Brenda Richardson’s “Dr. Claribel and Miss Etta,” 1985, which has excellent reproductions of Matisse drawings and paintings in the collection.  I own a copy and have studied the paintings in reproduction there, but seeing the originals…Oh!

MatiseeNude

The book has all twenty-one stages of “Large Reclining Nude” that are buried under the final version, the twenty-second layer of paint.  Matisse worked on the painting from May to October 1935 and took photographs at twenty-one stages of its development.  This is fascinating enough.  You think!  But seeing the original, now in Indy for the exhibit, reveals yet another aspect of how hard he worked on this painting.  He struggled with color.  To get the color dynamic right, he pinned swatches of color paper or cloth onto the canvas.  You can see the pin holes!

This is a smart show. It stresses the work process. Matisse looks fast and loose, doesn’t he?!  Makes you feel light and freed from conventions. Go to Indy and see how hard he worked to make you feel that way.

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