Aesthetic Thursday: Poussin’s Poetic Painting "Blind Orion Searching for the Rising Sun" at the Metropolitan Museum of Art

I recently went to the Met — and I wandered the newly renovated European Paintings galleries and I fell in love with the French artist Poussin's painterly image of a wandering giant looking for the sun.

Nicolas Poussin, French Les Andelys 1594-1665 Rom — "Blind Orion Searching for the Rising Sun," 1658 (oil on canvas). The Metropolitan Museum of Art, New York City. 24.45.1 

The Metropolitan Museum of Art has recently renovated its European Paintings galleries. The skylights have been fixed and apparently more artwork has been hung on the walls. I like to wander the galleries without a goal in mind — however, I lie just a bit, here. Because I did have a goal in my wanderings — mainly to find the Met's Caravaggio's. But it's always the serendipitous finds that stick with me. And Poussin's "Blind Orion" caught my attention. I know nothing of Poussin — so my interpretation of the painting is more of a first blush. But I am a lover of myth and poetry — and this painting draws you into a mythological world. At first I thought the giant figure carrying a man on his shoulders was Saint Christopher — the legendary boatsman who carried the Christ child on his shoulder crossing a river. But that is not the subject of this painting. It's a depiction of the blind giant Orion, who carries his guide Cedalion, as they look for the rising sun. The museum placard indicates that Diana, the moon goddess, who appears a diaphanous blue, stands watching in the clouds. It's a magical story; obviously one fit for myth — but the scene resonates with me because I think of myself as somewhat of a wanderer. And Orion is also the name of one of my favorite constellations. So it is befitting. Here's to searching. For the healing sun.

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Aesthetic Thursday: Marta Minujín Reloaded at the New Museum

La Menesunda (on view at the New Museum) has several interactive features.

La Menesunda - So, Marta Minujín created an installation in the 60s in Buenos Aires - it’s been reloaded in New York at the New Museum. Of course, I shamelessly inserted myself into the television screen. The installation has several interactive features — one notable one being the recreation of a nail salon from the period — replete with a performance artist who will do your nails. I felt curious while within the experience — fully jiving with the work's conceit that I was living inside the mind of the artist.

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Museum Review: Bacchus/Silenus Statuette from the Hill Collection (at the Frick)

A review of the Frick Collection's bronze statuettes collected by Janine and J. Tomilson Hill.

Attributed to Adriaen de Vries, Bacchus/Silenus, c.1579-80, bronze, 89.5 cm, private collection, USA, photograph by Maggie Nimkin.

Visited the Frick Collection on Sunday, the last day the museum exhibited bronze statuettes collected by Janine and J. Tomilson Hill.

List of 100 Favorite Movies

I make no claim to a cinematic canon. These are my favorite movies. Subjective. No claim to objective standards of taste. Drum roll please:

1. Les Quatre Cents Coups (The Four Hundred Blows), Dir. François Truffaut (1959)

2. The Wizard of Oz, Dir. Victor Fleming (1939)

3. Billy Elliot, Dir. Stephen Daldry (2000)

4. Psycho, Dir. Alfred Hitchcock (1960)

5. Au Revoir Les Enfants, Dir. Louis Malle (1987)

6. Kes, Dir. Ken Loach (1969)

7. Eternal Sunshine of the Spotless Mind, Dir. Michel Gondry (2004)

8. Los Olvidados, Dir. Luis Buñuel (1950)

9. Vertigo, Dir. Alfred Hitchcock (1958)

10. Where the Wild Things Are, Dir. Spike Jonze (2009)

11. Nuovo Cinema Paradiso (Cinema Paradiso), Dir. Giussepe Tornatore (1988)

12. Dekalog (The Decalogue), Dir. Krzysztof Kieslowski (1988)

13. Det Sejunde Inseglet (The Seventh Seal), Dir. Ingmar Bergman (1957)

14. Rear Window, Dir. Alfred Hitchcock (1954)

15. Some Like it Hot, Dir. Billy Wilder (1959)

16. The Kid With a Bike, Dir. Jean-Pierre and Luc Dardenne (2011)

17. Welcome to the Dollhouse, Dir. Todd Soldonz (1995)

18. Citizen Kane, Dir. Orson Welles (1941)

19. The Tree of Life, Dir. Terrence Malick (2011)

20. Un Chien Andalou (The Andalusian Dog), Dir. Luis Buñuel (1929)

21. Fahrenheit 451, Dir. François Truffaut (1966)

22. The Mirror, Dir. Andrey Tarkovsky (1975)

23. The Graduate, Dir. Mike Nichols (1967)

24. Le Souffle au Coeur (Murmur of the Heart), Dir. Louis Malle (1971)

25. Jeux Interdits (Forbidden Games), Dir. René Clement (1952)

26. Salò, or the 120 Days of Sodom, Dir. Pier Paolo Pasolini (1975)

27. Orpheus, Dir. Jean Cocteau  (1950)

28. The Phantom of Liberty, Dir. Luis Buñuel (1974)

29. The Firemen’s Ball, Dir. Milos Forman (1967)

30. Midnight Cowboy, Dir. John Schlesinger (1969)

31. La Strada (The Road), Dir. Federico Fellini  (1954)

32. Mulholland Drive, Dir. David Lynch (2001)

33. Habla con Ella (Talk to Her), Dir. Pedro Almodovar (2002)

34. Stella Dallas, Dir. King Vidor (1937)

35. Olivier, Olivier, Dir. Agnieska Holland (1992)

36.  Battleship Potemkin, Dir. Sergei M. Eisenstein (1925)

37. 晩春 Banshun (Late Spring), Yasujirō Ozu (1953)

38. 2001: A Space Odyssey, Dir. Stanley Kubrick (1968)

39. My Night at Maud’s, Dir. Eric Rohmer (1969)

40. The Royal Tenenbaums, Dir. Wes Anderson (2001)

41. A Trip to the Moon, Dir. Georges Méliès (1902)

42. Close Encounters of the Third Kind, Dir. Steven Spielberg (1977)

43. Au Hasard Balthazar (Balthazar, At Random), Robert Bresson (1966)

44. Angst essen Seele auf (Ali: Fear Eats the Soul), Dir. Rainer Werner Fassbinder (1974)

45. Harold and Maude, Dir. Hal Ashby (1971)

46. E.T. the Extra-Terrestrial, Dir. Steven Spielberg (1982)

47. La Belle et la Bête (Beauty and the Beast), Dir. Jean Cocteau (1946)

48. The Squid and the Whale, Dir. Noah Baumbach (2005)

49. Spoorlos (The Vanishing), Dir. George Sluizer (1988)

50. La Cite des Enfants Perdus (The City of Lost Children), Dir. Jean-Pierre Jeunet (1995)

51. Mighty Aphrodite, Dir. Woody Allen (1995)

52. La Stanza del Figlio (The Son’s Room), Dir. Nanni Moretti (2001)

53. Y Tu Mamá También (And Your Mother Too), Dir. Alfonso Cuarón (2001)

54. 雨月物語 Ugetsu, Dir. Kenji Mizoguchi (1954)

55. 羅生門 Rashomon, Dir. Akira Kurosawa (1950)

56. The Night of the Hunter, Dir. Charles Laughton (1955)

57. Le Plaisir, Dir. Max Ophüls (1952)

58. Being John Malkovich, Dir. Spike Jonze (1999)

59. Synecdoche, NY, Dir. Charlie Kaufman (2008)

60. High Noon, Dir. Fred Zinnemann (1952)

61. Hiroshima, Mon Amour, Dir. Alain Resnais (1959)

62. The Lady Eve, Dir. Preston Sturges (1941)

63. Lost in Translation, Dir. Sofia Coppola (2003)

64. The Up Series, Dir. Michael Apted (1964 - Present)

65. Weekend, Dir. Andrew Haigh (2011)

66. Who’s Afraid of Virginia Woolf?, Dir. Mike Nichols  (1966)

67. La Mala Educación (Bad Education), Dir. Pedro Almodovar (2004)

68. Lord of the Flies, Dir. Peter Brook (1963)

69. The Dangerous Lives of Altar Boys, Dir. Peter Care (2002)

70. Andrei Rublev, Dir. Andrey Tarkovsky (1966)

71. Amour, Dir. Michael Haneke (2012)

72. Inglorious Basterds, Dir. Quentin Tarantino (2009)

73. Empire of the Sun, Dir. Steven Spielberg (1987)

74. A.I. Artificial Intelligence, Dir. Steven Spielberg (2001)

75. The White Ribbon, Dir. Michael Haneke (2009)

76. Margaret, Dir. Kenneth Lonergan  (2011)

77. Wild Tigers I Have Known, Dir. Cam Archer (2006)

78. Alice, Dir. Jan Švankmajer(1988)

79. Through a Glass Darkly, Dir. Ingmar Bergman (1961)

80. Passion of Joan of Arc, Dir. Carl Theodor Dreyer (1928)

81. Arabian Nights, Dir. Pier Paolo Pasolini (1974)

82. 千と千尋の神隠 (Spirited Away), Hayao Miyazaki (2001)

83. La Pianiste (The Piano Teacher), Dir. Michael Haneke (2001)

84. George Washington, Dir. David Gordon Green (2000)

85. Niki Ardelean, colonel în rezerva (Niki and Flo), Dir. Lucian Pintille (2003)

86. Der Himmel über Berlin (Wings of Desire), Dir. Wim Wenders (1987)

87. Der Blaue Engel (The Blue Angel), Dir. Josef von Sternberg (1930)

88. Equus, Dir. Sidney Lumet (1977)

89. The Best Years of Our Lives, Dir. William Wyler (1946)

90. 4 luni, 3 săptămâni şi 2 zile (4 Months, 3 Weeks and 2 Days), Dir. Cristian Mungiu (2007)

91. Mon Oncle, Jacques Tati (1958)

92. Copie Conforme (Certified Copy), Dir. Abbas Kiarostami (2010)

93. Hedwig and the Angry Inch, John Cameron Mitchell (2001)

94. Louisiana Story, Dir. Robert J. Flaherty (1948)

95. Black Orpheus, Dir. Marcel Camus (1959)

96. The Rocky Horror Picture Show, Dir. Jim Sharman (1975)

97. Dancer in the Dark, Dir. Lars von Trier (2000)

98. Silver Linings Playbook, Dir. David O. Russell (2012)

99. Ordinary People, Dir. Robert Redford (1980)

100. The Silence of the Lambs, Dir. Jonathan Demme (1991)

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All Ready Made (Building #7), 2012-2013

View from the New Museum, The Bowery, New York City, 2013

Carrot Black
b. 2011 New York, NY

All ready-made (Building #7), 2012-2013
Brick, mortar, steel, concrete, sheetrock, living people, found objects

Art is meta. Looking out the window at the New Museum on Bowery the other day, the back wall of a building is in view affixed with a ginormous title card, the same style and font found in museums. I like how the title card makes me think of the wall it is affixed to as art - as if the card itself authorizes the wall as an art object, perhaps a swirling Rothko or a new experiment in Abstract Expressionism. Or maybe it's just a wall. Hmmmm. *scratching my chin*

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Aesthetic Thursday: Surrealist Drawing

Toyen, Tir VI / The Shooting Gallery, 1939-1940

Toyen (née Marie Cerminova) is the name of a Czech artist. This drawing is on exhibit at the Morgan Library in New York City as part of a series of surrealist drawings.

This particular piece is notable for its juxtaposition of childlike imagery against a stark pointillist dessert.

The exhibit is open from January 25 through April 21, 2013.

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Aesthetic Thursday: Eva Hesse at the Whitney Museum of Art

Eva Hesse, No Title, 1970

I like to go to the Whitney to experience one artist's work — and that is it. The Whitney does a good job of showcasing one work by one artist in a collection of works dedicated to several artists' work. Here is Eva Hesse's sculptural evocation  — I call it an evocation of a sculpture because I am not sure if it is a sculpture or something else. Rope suspended from the ceiling in what appears to be haphazard, but on closer inspection, the organization of rope is purposeful, designed. Hanging rope. Hanging garden. Hanging. The feeling I get standing, hanging, hanging around, flapping my arms, my body, in space — this is how this piece makes me feel.

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Image: Whitney Museum of Art

Aesthetic Thursday: Edvard Munch's "The Scream"

Edvard Munch "The Scream". Pastel on board, 1895.

Moma will display one of four versions of Edvard Munch's expressionist painting "The Scream". The heavily reproduced and often parodied image will be on view at the museum on October 24 - April 29. The version Moma will display is pastel on board and has been lent to the museum by a private collector. The other three versions are in museums in Norway.

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Aesthetic Thursday: Two Handsome Models Read Books Together

Two models seated side by side read books in silence. Ain't that amazing?!

Charlie France, Models Reading

The model on the left is reading a Terry Pratchett novel Pyramids but I cannot make out the title of the book the model on the right is reading, but I am positive this photograph is not intended for a public library's reading advocacy program. It's pretty boys reading. And I am totally fine with that arrangement.

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Aesthetic Thursday: Giant Head in Madison Square Park

The sculpture of a head sits in plain view in Madison Square Park in Manhattan.

Jaume Plensa, Echo, Madison Square Park

image source: Benjamin Sutton

It's an apparition out of a dream. I am walking in Madison Square Park. And I see a head. Jutting out of the ground. The head of a woman. Her eyes are closed. And she does not awake. But it is not a dream. It is real. A public art installation this Summer. And I thought I was dreaming!

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Why I Write Better When I am Homeless

Writing is probably good for you.
Even with a due date.

When homeless I am uprooted. But I have money in my pocket.
Why do I write better? Because it is something to do to fill in the emptiness. When Maslow's needs are met I think we are less prone to be creative. It is the pang of hunger and thirst that spurs us on to aesthetic heights.

The hungry artist is the short-lived artist but his art is intense. I think Arthur Rimbaud was such an artist. He wrote until he exhausted himself. He wrote first then ate later. Even then it was not so much as a need but visceral. A part of creativity. His eating became his aesthetic.

I cannot be an Arthur Rimbaud. I enjoy creature comforts. Take-out. Lunch on a subway bench. A gin and tonic after work.
They do not make me more creative. I could say something pretentious like the life of the middle class intellectual deadens my creative sense. But that sounds wrong. I am a creator because I am a middle class intellectual. And I am not even sure if that label fits me. A lost boy is perhaps a better descriptor. A stranger in a strange land. A man who happens to have a degree who happens to teach Plato, Aristotle, Virginia Woolf and Camus to community college students in Brooklyn, New York.

I am a man who loves the color of apples. But I like stiletto heels as well. I like the religious ritual of going to the movie theater on a Thursday evening after work. I eat lightly buttered popcorn with the same laconic motivation of receiving the holy eucharist on my tongue. The darkened theater and the womb-like cavity of stadium seating — where there is always less people and more space feels like an experience of daily Mass.

Aesthetic Thursday: Max Beckmann, Beginning

"Beginning" Max Beckmann, 1949, oil on canvas, The Metropolitan Museum of Art

Triptychs
The piece "Beginning" is a triptych which means it is a single work composed of three panels. Triptychs were originally intended for religious art. Since the work is composed of three separate panels, once installed in a church or home, the priest could open or close the panel depending on the day of observance. Beckmann chooses the traditional triptych style, not for religious purposes but to depict pivotal events in a boy's adolescent development.

The Central Panel
The central panel depicts a boy on a white horse, a woman wearing blue stockings lying on a divan (smoking a hookah?), a cat hangs on the ceiling (reminds me of Puss in Boots).

Left Panel
An organ grinder, an angel, a boy with a crown.

Right Panel
Boys with laconic gazes, a teacher disciplines a pupil, a boy displays his pornographic magazine to other students.

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Aesthetic Thursday: Alexander McQueen at the Metropolitan Museum of Art

In this blog post, I write about the newest fashion exhibition at the Metropolitan Museum of Art - Alexander McQueen - Savage Beauty. 

The Dialectic of Beauty, Alexander McQueen Struggles with Deconstructive Aesthetics

    If you are in New York City between now and August 7, 2011, check out the "Alexander McQueen: Savage Beauty Exhibit."

    The exhibit boasts an ample retrospective on the deceased fashion designer's life works, dating back from his seminal graduate student collection inspired by Jack the Ripper to his most recent posthumous collection.

    Jellyfish designs, a macabre mixture of duck feathers and leather masks, spray-on dresses, and kinky "bumster" design pants, the McQueen exhibit is a touching tribute to a man who certainly obsessed over dichotomies, divergences, and the question of the beautiful.

Aesthetic Thursday: Donatello's Bronze David

Donatello's Bronze David is on display in Museo Nazionale del Bargello in Florence.

Donatello, "Bronze David," circa 1440  

Florence's Two Davids
Florence claims two famous David's: the one above is Donatello's bronze rendition, while Michelangelo's David is carved from marble. This "David" is remarkably younger in appearance and less muscular than Michelangelo; he displays an insouciance characteristic of a boy who has just brazenly done a misdeed and is gloating. He leans forward on his sword, pleased with knocking down the Philistine Goliath with a mere stone, then lopping off his head. I am sure the adrenaline seething through his body after such an act was powerful indeed.
Donatello's David is Presented "After the Act"
It is interesting that Donatello has chosen to depict his David post coitus. His stance is certainly not the preliminary "taking stock" embodied in Michelangelo's David nor is it the intense focus of a David in action with the slingshot; it seems obvious his victory is more akin to losing one's virginity or the discovery of masturbation. Donatello's David is a piece that glorifies the esteem begotten in accomplishing a deed rather than the energy and labor that go into completing one.
Pure Youth Energy
Not just any deed. But a deed done quickly and with fierce attention, and brazen courage, against all odds. Who would guess that a boy could topple a giant? Who would guess that after having made love for the first time that it would be so good? The trope evident here is of the victorious boy. He is a boy fully clad in the remnant clothing of a warrior, the helmet and the battle sandals. The rest is pure youth.

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photo credit: timelines

On Thinking About Creativity: Are We Artists Or Not?

Creators come in different
shapes, colors, and sizes!

If you think you may be a writer, an illustrator, a photographer, a graphic designer, a sculptor, a songwriter, or a dancer, a filmmaker, a novelist, a poet, a dreamer, a baker, whatever, know a few things. Your art will fail you. The words will not come. The images will not appear. The lens will not capture a perfect reality. The story will not form. The movement will falter. The notes will not pluck. The cake will collapse.

Aesthetic Thursdays: Perseus with the Head of Medusa

Perseus with the Head of the Medusa, Antonio Canova, The Metropolitan Museum of Art 

The Face of Perseus

Detail - The Head of Medusa, Metropolitan Museum

For several Fridays in a row, I've been dedicating at least an hour to the Metropolitan Museum of Art galleries. Proffering my student ID I pay as little as ten dollars to view a vast collection of priceless art. One more reason why I love New York City. I do not stay longer than an hour and I stick to one section, sometimes only one room. For my visit today I scurried over to the European Sculpture Court and sat with the sculptures. The Perseus statue with the head of the Medusa struck me because of the narrative embedded in the presentation. Perseus is stylistically graceful in this replica of Canova's Perseus which is now in the Vatican museums. The Met's profile on the piece mentions that Perseus's stance is modeled off the Apollo Belvedere. This seems right to me. It is as if Canova imagined what Apollo would have been holding if he were Perseus! The result is a stunning sculpture that projects grace in victory rather than priapic destruction. The medusa head in the Canova is hardly horrifying. The nest of vipers seems stilled and her face is cast in a dull mourning. Contrasted with Carravagio's Medusa's Head, which I mentioned on these pages, Canova has placed only a slight reference to snakes: two opposite facing serpents adorn the brow of the Medusa. Where Caravaggio favors priapism and glorious horror, Canova goes for subtle beauty and quiescent victory.

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Aesthetic Thursdays: Dionysos Holds a Theater Mask

Terra-Cotta Mixing Bowl, Dionysos and Young Pan, 410-390 B.C., Metropolitan Museum of Art

The mixing bowl depicted above was probably made in Greek occupied southern Italy in the 5th century B.C. The bowl was used to mix wine for the celebration of the feast of Dionysos, the god of the theater. Dionysos stands opposite a young Pan who pours water into a mixing bowl. 

Dionysos holds a mask. Masks were used by actors on stage to personate the roles they played. In this piece, Dionysos appears to hold a mask of himself. The mask he holds is identical to the artistic representation of his face. Dionysos wears the person of the character he personates. His mask is his person. To personate means to wear the person of someone. Person derives from the Greek word for "mask." To personate is to wear a mask. Personation is the act of personating. In an obsolete usage, a personation is also the mask itself. So we could say that Dionysos holds his own personation.

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Stanley Cavell on the Aesthetic Autonomy of the Photographic Image

"Photography overcame subjectivity in a way undreamed of by painting, a way that could not satisfy painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the task of reproduction."

Stanley Cavell, The World Viewed

Source: Cavell, Stanley. The World Viewed : Reflections on the Ontology of Film. New York: Viking Press, 1971. Print.

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Aesthetic Thursdays: Tony Feher

Art is fixated on its medium. Tony Feher has draped the walls and floor of the Pace Gallery in Chelsea with vinyl tubes filled with food coloring. Typical of contemporary art, Feher eschews traditional media and instead uses cheaply bought vinyl tubing and dye. Is it art? Well, if art is what is deemed sacred: no one stepped on the tubes during my recent visit. The Next On Line Exhibit runs till February 12th.

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Aesthetic Thursdays: Paul Chan at the Whitney Museum

1st Light

Paul Chan, 1st Light, 2005. Digital video projection. 14 minutes, edition of 5. Courtesy Greene Naftali Gallery, New York. Photo: Jean

At the Whitney Museum in New York City, there is currently, as of this post, a video installation made in 2005 by the American artist, Paul Chan.

Upon walking into an open room in the museum's "Singular Visions" collection on the fifth floor, devoted to single pieces of individual artist's art, there on the floor, like a cut into another reality, emanates Chan's video imagery.