Thursday, December 10, 2009

Pills 'n' Thrills

The last artist I wanted to speak with whose work I encountered at the Armory Show was Fred Tomaselli. His work really mesmerized me at first, and the more I learned about it, the more epiphanies I had about what he's doing. It may not be immediately apparent here if you've never seen his work in person, but Tomaselli embeds photo-collage and all kinds of different psychoactive substances (mostly pills and capsules) into sheets of resin, usually in complex and beautiful patterns and images. It's really something else. Here's our conversation, for your enjoyment.

Ryan Witte: It sounds like your studio is in Williamsburg, but that you settled there long before it became a hotspot for emerging artists. How has the neighborhood evolved since you first arrived?

Fred Tomaselli: Like many longtime residents, I'm conflicted about the changes both here and in the rest of the city. I also realize that moving here in 1985 made me complicit in these changes. While it's nice to have less crime and more places to eat, it's sad that longtime residents have been priced out of the 'hood. Williamsburg's amazing diversity has been replaced by a self-selecting demographic more homogeneous than the suburbs that spawned it, and it sometimes makes me a little crazy. This has never been a pretty neighborhood, but replacing its cheap, vinyl-sided homes with flimsy, expensive glass-curtained high rises is the latest chapter in its history of architectural mistakes. Still, given the choice, I guess I'd rather walk through a sea of twenty-four-hour party people than walk down desolate streets inhabited by crack heads. Now that the building boom is dead, it would be poetic justice if the unfinished condos were re-inhabited by the very people that were booted out to build them...but I'm not holding my breath.

Doppler Effect in Blue (2002, mixed media and resin on wood panel), most images can be clicked for larger views.
--All images ©Fred Tomaselli and courtesy of the James Cohan Gallery, New York (link at bottom).

RW: I know there was this one moment in my old neighborhood, Hell's Kitchen, after the gentrification had begun. It was this in-between moment where it still had an edge, a grittiness, and some long-time locals, but we were starting to get some good bars and restaurants. That, to me, is New York City. Unfortunately, that moment only lasts for about a month before the Yuppies show up...or about seven minutes in the case of the Meat Packing District: I've never seen a neighborhood get so annoying so fast.

FT: If you've been here a while, it's easy to be cranky about the changes in Williamsburg. But while it can be annoying at times, it's not all bad. For me, the perfect moment here was in the mid-'90s, after we got our first twenty-four-hour deli, a few new restaurants, and home delivery of the New York Times. Even with these new creature comforts, it was still relatively cheap, partially because it was so toxic and ugly. It's still toxic and ugly here, but in a new way, and, of course, it's certainly not cheap anymore.

RW: I imagine your work requires a good amount of space. Is your studio relatively large?

FT: It's a bit less than 1000 square feet.

RW: I'd think the resin might be a bit tricky to work with, perhaps even toxic. Did you go through a lot of trial-and-error at the beginning as you got comfortable with how it behaves?

FT: I've been teaching myself how to use resin since I was a teen growing up in Southern California. Although I'm fairly conversant with the material, I'm still figuring out new ways to make mistakes.

RW: What's the most difficult thing about working with it?

FT: When I'm aiming for a glassy surface, it can be a real bummer to get a chemical reaction that heats up, starts bubbling, fuming, smoking, and threatening to blow up--especially after working for months on an image. When that happens, the surface gets lumpy and full of holes. The last time that occurred, I spent weeks drilling out and patching holes, but I ended up saving the work.

RW: Are disasters ever so fatal you have to just toss the piece and start over?

FT: It's been a while, but sometimes a work can't be saved. But it's mostly because the image is terrible, not because of technical issues.

RW: Your weekly record nights sound right up my alley, and I can think of a few things I might bring to one. Do you still do those?

FT: The Record Club has been together for almost ten years and meets every few months or so.

RW: Oh, "quarterly," I guess I should've said. What were the last few records you brought?

Stack (2009, photo-collage, acrylic, and resin on wood panel)
FT: My most recent selections included songs by Baby Huey, Gal Costa, F*cked Up, Grand Duchy, The Size Queens, Linda Perhacs, Battles, and Dolly Parton & Porter Wagoner. If Record Club were tomorrow, I'd probably play "Down and Out" by Chuck Wells and "Swamp Root" by Harmonica Frank Floyd, despite my current preoccupation with music made in 1972.

RW: Wow, nice. I think your taste in music might actually be as diverse as mine. I'm definitely hearing the undercurrent of 1970s New York Art Rock, though. Were you raised on the likes of Roxy Music, John Cale, or any of the other things Brian Eno touched like Midas?

FT: Sure; and let's not forget Eno's buddy, David Bowie, who produced Lou Reed, Mott the Hoople, and The Stooges.

RW: Who could ever forget Bowie?!

Stack [detail]
FT: Other favorites at the time were The New York Dolls, The Stones, The Kinks, Tim Buckley, Miles Davis, T. Rex, Alice Cooper, Led Zeppelin, Captain Beefheart, and Bob Dylan. With a few notable exceptions, most of these outfits are still important to me, especially Beefheart, Dylan, and The Stooges.

[I provide no link for Dylan out of regard for Donovan.]

RW: Is Punk Rock truly dead, or is that energy now just manifested in different types of sounds?

Echo, Wow, and Flutter (2000, leaves, pills, photo-collage, acrylic, and resin on wood panel)

FT: I think Mashups were the last great revivification of the do-it-yourself Punk ethic into a new sound. I guess with the release of DJ Hero, we can bury that genre for a while. It's too bad, since I was still having fun listening to it.

RW: I'm so glad you said that, because I feel the exact same way, especially with the various different "'core"s. Have you heard Toecutter, by any chance? That guy is freaking insane.

FT: Haven't heard of him, yet, but I'll be checking him out. Punk is the gift that keeps on giving, and I think it's great that there's always some kid ready to reanimate its moldering corpse! Sometimes even the walking corpses do great work, which is why I still get every new release by Mark E. Smith.

New Jerusalem (1998, photo-collage, acrylic, and resin on wood panel)
RW: Have you studied, say, Islamic or other historical decorative patterning in a serious way, or have such things more just inspired your work in the sense of capturing a rigorous visual mood?

Daturatron (1998, leaves, photo-collage, acrylic, and resin on wood panel)

FT: I've studied them, but in a circuitous and undisciplined way.

Organism (2005, leaves, photo-collage, acrylic, gouache, and resin on wood panel)
RW: Did any drug trips influence you more profoundly than others? Would you be willing to describe one of your more memorable ones?

FT: The machine-elves prefer that I not talk about them.

RW: [LOL!] Would those be elves that live in machines or elves that are machines?

FT: They're biomechanical trickster hybrids.

RW: I see.

Glassy (2006, photo-collage, acrylic, gouache, and resin on wood panel)
Are drug hallucinations "fake" perceptions?

FT: It depends on what you mean by "fake," but the good ones are portals to parallel realities. Really.

RW: I believe you. Actually, I asked that in a vague sort of way on purpose, in case you might like to wax on the nature of artifice?

Woodpecker (2009, photo-collage, acrylic, and resin on wood panel)
FT: I've always had a hard time telling the difference between nature and artifice. I guess that all came into focus when I came across my first "real" waterfall on a hike deep in the foothills of Southern California. I couldn't believe it wasn't hooked up to plumbing and ended up searching for its conduit. For me, the unreal is the realest thing there is.

untitled (2002, photogram of marijuana leaves)

RW: Quite by coincidence, while looking into your work, I've been reading The Origin of Species. At one point, Darwin describes how a lot of creatures take on the same coloring as the foods they most often eat, selected, he suggests, because it keeps them more camouflaged from their predators. It's sort of a more scientific way of saying "you are what you eat," I suppose.

Portrait of Bill (1994, gouache and prismacolor on paper)
Do you think it's possible that, if we keep medicating ourselves the way we do for thousands of years, we might actually genetically alter the chemistry of the human body and brain?

Laura (1995, gouache and prismacolor on paper)
FT: I think it already happened a long time ago, when man began experimenting with psychoactive plants and it resulted in the invention of religion. Many of our neuro-receptors have co-evolved with the chemicals we consume, and I predict our brains will continue in that direction. In my lifetime, my perception has been inexorably and permanently hybridized by chemistry.

RW: I sort of think mine has, too.

Fungi and Flowers (2002, mixed media and resin on wood panel)
You believe all (or most) of the first mystics found answers to the nature of mortality and the birth of the cosmos in mind-altered sort of vision quests?

FT: Yes.

RW: One of the many things Oscar Wilde did that shocked people is that he was the first person to allow physical beauty to connote "evil" rather than purity, goodness, and moral fortitude.

FT: He mentioned evil beauty before Baudelaire?

RW: That's what my college literature professor told us. If Baudelaire did it, then perhaps I should ask for a refund of my tuition.

FT: Fine, who am I to argue with a college literature professor?

RW: Well, this was the School of Visual Arts, so their academics might not have been quite as strong as their studio courses...

untitled (Expulsion) (2000, photo-collage, leaves, pills, insects, acrylic, and resin on wood panel)
In any case, is there something inherently dangerous about our ingrained attraction to beauty?

FT: Sure, beauty can be evil, just ask anyone who's addicted to it.

Hangover (2005, leaves, pills, acrylic, and resin on wood panel)

RW: Well, now that brings up two more interesting questions. First of all, what is it about Beauty that allows it to be addictive?

FT: A big part of beauty is the pleasure it provides, and you can't be addicted to something that isn't inherently pleasurable.

RW: Secondly, what is it about addiction that makes it inherently bad? The loss of one's self or self-control?

FT: Addiction gets really bad when you run out of what you're addicted to, which always happens.

Abductor (2006, leaves, photo-collage, acrylic, and resin on wood panel)

RW: Are works of art that strive to be beautiful above all else in some way manipulative?

Red Iris (2008, photo-collage, acrylic, and resin on wood panel)
FT: I think all artists attempt to manipulate the viewer to the artist's point of view, and they do so with a variety of seductions. Beauty is sometimes seen pejoratively, because it's confused with "prettiness." Prettiness is merely beauty without ambition. While they may both look similar, they lead to fundamentally different outcomes. I think that prettiness and beauty both start from an encoded ideal that comes out of human desire, but beauty has an added dose of pathology to rescue it from prettiness, to make it a little strange. I love it when visual balance is used to destabilize and unbalance.

RW: So would you say that "prettiness," being relatively one-dimensional, is easier for humans to agree upon, since "beauty," as you describe it, includes some elusive, mysterious ingredient?

Halo of Flies (2006, mixed media, acrylic, and resin on wood panel)
FT: My kind of beauty is a combination of sensual seduction combined with conceptual underpinnings. My strategy is to first draw the viewer into the space of my work through form. Once they're in, they can think about what it means. I'm looking for a real mind/body experience. But still, beauty and art can't be easily summed up and don't always make sense. It's precisely this lack of understanding that keeps me coming back to it.

RW: Perhaps that's been an allure for me, as well. Thank you so much for taking time to talk, Fred!

Fred Tomaselli is represented in New York by the James Cohan Gallery. Much thanks to them, as well, for use of the images.

Bouquet (2002, mixed media and resin on wood panel)

©2009, Ryan Witte

Tuesday, December 1, 2009


To finish up this series on Trump today, my birthday, I'd like to run through the structures he has planned for the next few years.

New York City
Handel Architects was another fortunate choice by Trump. It's a somewhat distinctive and interestingly, subtly detailed building.

Handel have done some extremely nice and recognizable work all around New York and should be commended for some of their recent work being LEED certified. But they've also worked in collaboration with some fantastic other architects, ones I mentioned in my opening post, in fact. They worked with UNStudio on the New Amsterdam Plein & Pavilion in Battery Park to celebrate the 400th anniversay of the Dutch robbing Native Americans of their land settling on the island of Manhattan. They worked with Herzog & de Meuron on the design of 40 Bond Street, one of the more gorgeous buildings to go up here in recent years. And they're working with Christian de Portzamparc on 400 Park Avenue South, a stunning structure due to be completed in 2012.

They also did four buildings for Millennium Partners with which I'm very familiar, since they're all around the neighborhood where I work: Lincoln West, the building that used to house the Tower Records; Lincoln Triangle, which has the Barnes & Noble on the first few floors; Lincoln Square where the big Sony Cineplex is; and the renovation of the Philips Club, the building just north of the Juilliard building which used to have a Balducci's on the ground floor (it's now some other upscale food market).

Closer to where I live, they designed the Aquatic Center in Flushing Meadows-Corona Park, which I discussed before. In Long Island City, they're responsible for one of the big new apartment buildings creating a blight on the riverfront, The View at Queens West, which overlooks this:
--Photo ©2009, Ryan Witte.
I'm well aware that this exact same photo has been taken around four million different times, but I thought it came out remarkably nice, so I used this excuse to include it.

Trump Parc (2010)
Stamford, Connecticut
Costas Kondylis Design/ Lessard Group
This one is also not too awful, although a little bit on the bland side. Adding to the pressure for this to be a stunning work of architecture is that, at 350 feet, it's the tallest building in Stamford. But one might use words more like "restrained" or "reserved," which is certainly better and more appropriate for Connecticut than overblown and tacky, if it had to be one or the other extreme. One forum seems to indicate that the apartments are ridiculously overpriced for a part of the country that has impeccably tasteful traditional, vernacular residential architecture. They're allegedly having a lot of trouble selling them and have been forced to steadily lowering the prices.

This is actually one of the more successful towers Preston Partnership has done. They're based in Atlanta and have done quite a bit of work in that part of the Southeast. They've been particularly successful with smaller shopping plazas where a quaint, traditionalist style is either zoned or requested. Their work in this vein, while occasionally a little bit awkward in its detailing, is for the most part visually dynamic and has a great, personable scale.

Ironically, though these Atlanta towers are quite interesting, they seem to have a bit more trouble with their higher-rise work. They seem to have some difficulty reconciling between a pedestrian, human scale of street presence with the linear majesty required by a tower. In some cases, the buildings look like they built a tower and then just stuck a bunch of much smaller, completely unrelated buildings around the base of it. In this case, they appear to have foregone any attempt at a friendly connection to the street, and I actually think it worked in their favor here.

New Orleans
This might have been a mildly interesting building, were it not more or less a rip-off of SOM's tower for Trump in Chicago. Perhaps we should be grateful it's on hold. The latter is an infinitely superior building.

Adache's work is mostly concentrated around Florida, where they're based, with a few projects in the Caribbean. It's a lot of big hotels and resorts with the trappings of an expectedly clichéed, unimaginative sort of luxuriousness. Their massing tends toward the squat and unsophisticated. Their detailing--when not in a more studied, hence "safe" false traditionalism--is often overwrought and occasionally just downright bizarre. From the limited amount shown on their website, HSBA's best work would appear to have been in the 1970s. In recent years, it's gone from boring to unattractive to just plain ugly.

And that's all of it, as of now. In defense of Trump, in really exploring his developments, I've been surprised to have liked more of them than I initially expected. The point remains, however, that the sheer size of his projects demands a higher caliber of artistry. He should be patronizing world-class architects at every opportunity, nurturing their creative spirits, and pushing the envelope of sustainable design. All in all, it has been very interesting looking into his projects, I hope you've thought so, too.

©2009, Ryan Witte

Tuesday, November 24, 2009

Weird Science

Although the purpose of this blog was always intended to be personal reflections on the arts, I wouldn't normally go so far as this, to the point of it sounding like a journal. But the day I went to see the Kandinsky show at the Guggenheim, I had to check to make sure there wasn't a full moon (there wasn't). The entire experience was just so bizarre, I had to describe it.

First of all, on my short walk down from the Cooper-Hewitt to the Guggenheim, I pass by this woman whose front driver's side tire had dislodged a faulty manhole cover. So her white mini-van or whatever had literally dropped down into the manhole as she pulled out of her parking spot. She didn't seem all that upset about it talking on her cellphone, but definitely an irritating thing to happen. I'm so annoyed that I'd forgotten my camera that day, because it really was one of those just-when-you-think-you've-seen-everything-in-New-York kind of moments. I hope the city reimburses her for the damage to her vehicle, because they should be grateful she was moving slowly and the accident wasn't worse.

Then inside the museum, about a third of the way through the show, I get distracted by this lost little four- or five-year old blonde girl with pigtails down on the ground floor SCREAMING bloody murder, "MOM!!! MOOOM!!! MOOOM!!!" up into the atrium for about fifteen minutes straight. There was a woman or two--other mothers, presumably--trying to talk to her to calm her down unsuccessfully. Strangely, there was no security guard anywhere near the little girl, just this woman and a bunch of museum visitors standing around staring at her. Why an employee of the museum wasn't coming to this little girl's rescue, I have no idea. What's even more bizarre is that any parent could possibly lose a screaming child in the middle of the atrium of the Guggenheim, where she can be clearly seen from every other part of the museum, practically.

Then this weird alarm starts going off from around the fourth floor. It was somewhat intermittent and didn't sound like a fire alarm. I don't know if that's the museum's Lost Child Alarm or what, but no one seemed to be responding to it or attempting to turn it off. All this chaos was enough that about half the museum visitors--including myself--had gathered around the inside of the spiral to see what the hell was going on. It didn't appear that the child had been reunited with her parent, but she eventually stopped screaming. I assume she's in an orphanage or something now.

It was very busy that day, on top of it all. Since, as I said, every part of the museum is basically open to the entire space, when it's busy there, there really is no way to get away from all the noise. And with the screaming child and the alarm, I decided to ask this museum attendant when the quietest time of the week is there. He said Tuesday and Wednesday afternoons, which isn't a surprise, probably the best time to go to any New York museum. But the Met says first thing in the morning, so I was like, "really? the afternoon?" He reminded me that the big school groups come in the mornings.

He was very nice and said he noticed I was looking at the paintings relatively closely. He asked if there were anything I wanted to discuss about the pieces. I couldn't really think of anything but just said the show was fantastic, and I've long been a fan of Kandinsky. It's really true. One of the things that initiated my love of architecture was learning everything I possibly could about the Bauhaus when I was, like, fourteen--a long, looong time ago. I mentioned reading of the suspicion that Wright very much had these works in mind when he designed the building, since the Guggenheim's Kandinsky collection is so extensive. We both agreed that the paintings look really fantastic there.

I do look closely, as closely as I can. I mean, I get my eyeballs right up in there. The brushstrokes of a painting, the thinness and thickness of the paint, the textures, all those things absolutely tell the story of how the work was created. It's indispensable to understanding a painting, in my opinion. It's bad enough that the museum is set up in such a way that you can't get closer than about three feet from some of the paintings. But I just don't get these people. I was constantly walking in front of people to look more closely, always keeping etiquette in mind, of course; I don't block anyone's view. But these people are looking at these paintings from like twenty-five feet away. How can you possibly even see anything from that distance? Weird. And there are certain important things Kandinsky was doing that you could not even fathom if you don't look very closely for them.

Then, as I was waiting on a bench by the park to catch the bus to come home, a woman passed by me with her dog. Something had happened to the dog's back legs, so they were mostly lame. It was able to walk on its front legs and kind of put the back ones one in front of the other, but they were mostly dragging. It had to have booties on its back paws so they wouldn't get all scratched up on the pavement. The dog had a harness on its hind-quarters with a handle the woman was holding up to help it walk. It did look like the kind of physical therapy for the dog that would eventually allow it to walk perfectly after some time. Still, I'm an animal lover, and my heart just completely broke seeing that. It made me so sad.

Finally, in the 59th Street N & R subway station, I almost smacked right into this ex-coworker of mine from Rockefeller Center, this great guy Don. Coincidentally, he also worked at Lincoln Center before me, so he knows all of these same people that I do. He's this totally hilarious, like, eighty-year old male hustler who's always hanging out with these Park Avenue billionairesses who take him to Paris or Tokyo for the weekend or out on their yachts. I'm kidding about the hustler part, but the stinking rich old ladies just seem to adore him. I think it's because he's always telling dirty jokes, so they think he's a bad boy or something. He's just a plain old riot. It was great to bump into him.

But see what I mean? The whole day was just weird.

And into this mix falls the amazing Kandinsky show. On to the paintings...

Wassily Kandinsky was born just three days after me (in an earlier year), so perhaps there's some astrological reason I've always been a huge fan of his work. It's interesting that the show starts in 1901, when the artist was already thirty-four years old. It's fairly obvious his work wasn't particularly striking or perhaps important until he was forty or forty-one. But I'm still tempted to wonder about his early years as a painter, to the point of what his work was like when he was still a student, for instance. In any case, I prefer his later works by far, so I'm going to pass over a few of the earlier ones.

Riding Couple (1907, all works oil on canvas except where otherwise noted). Most can be clicked for larger views.
--This and following image courtesy Wassily Kandinsky.
I'm really not all that crazy about his representational works. Maybe I'm a Modernism Snob, I don't know. They do make him a fascinating link between the Impressionists and the Expressionists. But more than that, his later work makes infinitely more sense when you look at how he got there. Suddenly, his precise, geometric explorations become landscapes and objects and people in them.

Improvisation Gorge (1914, oil and tempera on canvas)
At center foreground is one of the only things one might grasp onto in seeing this as a landscape, aside from the title. It's a bit difficult to see in this small file, but it's fairly easily identified as a couple walking arm-in-arm along a sort of boardwalk or sidewalk. It's quite subtle in this one, but I think what I dislike about the inclusion of this is that it takes me outside the realm of the painting itself, distracts me. When I think of abstraction, I think of a personal expression, a dialogue about the nature of the medium, the nature of what it means to paint. After photography and especially film, it was no longer necessary for painting to concern itself with either recording ways of seeing or with narrative.

In Gray (1919)
--This and following image courtesy About.
This was one of the first truly abstract pieces in the show that I really liked. It's hinting at landscape, and isn't all that far off from Gorge, but without distractions. Still, Kandinsky hadn't really found his voice. I don't think it's too big of a stretch to say this could have been Gorky. He hadn't yet found the precision to fully describe his formal understanding of the canvas.

Red Spot II (1921)
Here's where it all starts to happen. As with most paintings, this looks far better in person. But he's started to break apart all the disparate elements that can and do make up a work of art: proportion, weight, composition, line, color, texture, and he's begun to treat each one individually. He has so much less ambiguity than O'Keeffe. Everything is clearly marked out.

Composition 8 (1923)
--Image courtesy Beacon Hill Academy.
It's this period in Kandinsky's career that I love most. So precise, so diagrammatic, so beautifully geometric. It comes out quite prominently in the Bauhaus show (which will need its own separate post) that much of his work during this time, and Paul Klee's also, is so intimately connected to their studies and experiments for educational purposes. Kandinsky wasn't just creating a painting, but fully plotting out the nature of composition. It's also a moment where we are suddenly catapulted eyes first into an exuberant celebration of the Machine Age.

Yellow, Red, Blue (1925)
--Image courtesy UCLA Genetics.
Although his work and László Moholy-Nagy's had some things in common, Moholy-Nagy was a bit more focused on how the perception of an imagined three-dimensional environment would affect the "objectness" of his forms. With Kandinsky, it remains a bit more difficult to pin down because his forms aren't trying to be three dimensional. It's the way that a number of adjacent fields of color are arranged in such a way as to suggest two objects overlapping one another. But is the one on top of the other or vice versa? Furthermore, what space in depth does this relationship occupy?

Moholy-Nagy's work seems to abide by a more formal logic: one object overlaps another to lighten its tone, an object of one color overlapping one of another color affects the intersection in a predictable way. Kandinsky's color choices, on the other hand, are more arbitrary, drawing even further contrast with the viewer's desire to "objectify" the forms. And maybe this is the point. The desire, perhaps even the necessity, to interpret cues in our field of vision as objects in space is so very primary to human vision and visual cognition in general. By getting so close to this phenomena and yet adeptly thwarting it all the while, Kandinsky was exploring the very notion of how seeing operates.

Light (1930, oil on cardboard)
--Image courtesy Princess Rada.
This was one of my favorite pieces in the show. It's relatively small compared to most of the others, but it's really beautiful. I actually suspect that its diminutive size helps it to be a very interesting transitional work. He couldn't work at his usual scale and fit quite as much into this comparatively small area. He'd been heading in this direction, already, gathering his compositional elements together into discreet, organized bundles. But here we get just this one singular and isolated object dominating the scene. The darker blue lines and red spots I read as either auxiliary, orbiting bodies intimately related to the larger one or, extrapolating perhaps too far, the remnants of its motion. The darker red rectangle we may understand later to be a kind of key, placard, caption, or sidebar, which effectively nullifies its participation in the greater image.

All of this becomes suddenly more fine-tuned and developed when he moves to Paris and starts interacting with the surrealists there, namely Arp, Ernst, Klee, and Miró. [And since clearly nobody heard me the first time: somebody really needs to do an Arp show.]

Blue World (1934, oil with sand on canvas)
--Image courtesy Centre Pompidou.
The use of the sand is especially interesting for him, because it's not used as an isolated bit of texture to highlight one area against a smooth background. Rather, he's used it uniformly throughout the entire piece. It gives the work a textural, three-dimensional presence, but then negates that quality at the same time by offering nothing else in comparison. The objects in the scene have become fully realized, discreet surrealist objects. His surrealism is far tighter and clinical than his Parisian contemporaries, and decidedly more scientific as well. It almost looks like a twisted rendering of a biology laboratory as seen from above.

Succession (1935)
--Image courtesy C-Monster.
This goes even further, in presenting a very rigid cataloguing of various forms. These are types, however, not tokens. In other words, these are no more the "real" versions of these objects than would be a drawing of a seagull in a biology textbook. It isn't an actual seagull, it's an example of a possible, hypothetical seagull, a type of bird. The fact that what Kandinsky is cataloguing are types of things that have no tokens makes this piece about the cataloguing process itself. There's also something hieroglyphic about the treatment, another thread that begins to run through his work.

Dominant Curve (1936)
--This and all following images courtesy About.
This is one of my favorite pieces of his. Here at top left is another one of those "keys" or "captions." But captioning this as what? Is it a landscape, an object, or a landscape filled with objects? And just as the quality of being a key nullifies the presence of that rectangle from the depicted scene, it also casts a shadow of clinical doubt over the rest of the canvas. Does this depict an actual (imaginary) something or merely a type of something?

Grouping (1939)
A "grouping" of squiggly Martian biological things.

Various Parts (1940)
This is performing many of the same functions but goes even further. The field of brown at left is particularly striking since it's so different in tone from the rest of the piece. There's something ancient, almost anthropological about it, like something found on the wall of some forgotten temple. But then two of the spikes from the object in it cross over into what is clearly a different realm: the distinction is not absolute. The white strip above the blue bar at center also has a kind of hieroglyphic quality. But the forms, "objects," throughout are not all that different in character from one another. One might be inclined to suggest that this depicts actual (surreal) things, two-dimensional renderings (as in line drawings) of those things, and descriptions of them, that is, generalized symbols representing those types of things. Once again, it all fits together into a sort of diagram as if from a science textbook. This chapter, I suspect, is about the nature of symbolic painting and how it communicates with the viewer.

Sky Blue (1940)
More weird creaturey things swimming around.

I suspect most everyone has seen this by now, but the show goes on until January 13th, 2010.

©2009, Ryan Witte

Monday, November 23, 2009


A couple of quick news items: the incredibly influential photographer Irving Penn passed away last month.

--Photo courtesy Julien Ranjard.
A great loss, I hope he rests in peace.

The Great Sir Norman Foster has designed a new art gallery to be built on an impossibly narrow lot on the Bowery.

Its most distinctive feature is an enormous, gallery-sized elevator that cuts up through the center of the building, the movement of which will be visible from the outside. I really hope the Sperone Westwater Gallery commissions works specifically for this space. The possibilities for installation art, as the elevator gallery interacts with the adjacent floors, could be incredible.

I also learned one of the reasons why the Gowanus Canal is such a mess, and probably will remain so for quite some time. It's because every time it rains too much, the canal is flooded with human excrement. Lovely. I can't imagine a worse fly in the ointment of trying to develop it as a residential boardwalk.

Monday, November 9, 2009

"What was sundered and undone..."

In my ongoing fascination with Spanish designer, Jaime Hayon, I was pleased to discover he's created a line of crystal pieces for Baccarat. Much like Swarovski, a name that's practically impossible to stop hearing these days--or perhaps because of them--Baccarat is also doing some really innovative, conceptual, and wholly contemporary work. Hence, their choice of Hayon for these exclusive pieces. They're limited to editions of twenty-five pieces each, and range in price from around $7000 to $25,000. Evidently they were very difficult to make because Hayon was doing somewhat experimental things, and it's often hard to know how the crystal will react--and because Baccarat has such stringently high quality standards.

There was really only one I didn't like, I thought it was a bit too much, a bit too messy and unfocused. Oddly enough, my second least favorite is the one that's already sold out, Jelly Copper:

Clear crystal and copper ceramic. Click images for larger.
Likely it went first because it's the smallest and therefore I'd imagine the least expensive of the bunch. Don't get me wrong, it's beautiful, but just a little squat and not as dramatic as some of the others. It looks a little too much like a dressed-up Citronella candle, to be honest.

Probably the most traditional of them all, outside perhaps the delicious color of the top, is this one:

Blackberry Freeze, clear and amethyst crystal
For the most part, I think this could easily have been made as long ago as maybe the 1940s, but it still has a wonderful use of texture.

Slightly more obviously contemporary, paired with a sense of the classical, is this one:

Piña Passion Vase, clear crystal and white copper ceramic
The copper is on the inside of the bottom section. Sitting in a stream of bright sunlight (etc.), this would give off the most magical kind of coppery toned reflections that would likely bleed up into the clear crystal above.

Something similar happens in this one, and now I think we're starting to get into the seriously contemporary pieces:

Lucky Green, green crystal and copper ceramic

I start really falling in love when I get to these two:
Red Passion Golf, clear and red crystal
Noticing that it looks like a golf ball and just coming right out and saying so is truly brilliant.
After Nine, clear, amethyst, and olive green crystal
I also love how this looks a little bit like a glass of red wine, but then...not really, either. Both of these pieces are fantastic. There's no way you could look at them and not be immediately aware these are the most valuable pieces of the highest quality crystal. There's again the sense of the classical stylistic tradition of this company that's about to celebrate a quarter-millennium in the business. Lastly, they are without any question a product of our times and beyond, and yet, in such a simple and subtle way. They aren't screaming Modernity at you, or Deconstructivism or even Postmodernism. But the refined combinations of different, strangely familiar, and almost incongruous formal moments produce something truly new.

The cutest and funniest one in the group is definitely this one:
Harcourt Lolly, clear crystal
I adore this so very much. I think there is one person on the planet, Jaime Hayon, who would take a stunning and exclusive piece of ridiculously expensive crystal, and put ears on it. And not just ears, but lopsided, goofy cartoon ears. It's just so wonderful. It puts a smile on my face, but the ignorance of the monetary value of the piece, the way its playful whimsy contrasts the seriousness of the material and its quality, is so dynamic. The Harcourts are a royal family that trace back over 1000 years in Normandy, but it's also, of course, the name of the Baccarat goblet that inspired its base.

My favorite piece of all of them, though, is this one:
Nuclear Pomegranate, red crystal and white copper ceramic
This one just has everything. It really is all the best parts of the ones above, combined into one piece. The inside of the top section is copper again, and this piece with its carefully carved openings at the top, more than any other, would produce the most mysterious and incredible plays of light. As with all of Hayon's best work, there's something oddly familiar going on, but yet it appears to be a decorative object from outer space, some alternate reality, or the future. Wherever in Hayon's imagination this came from, it's clearly not a part of our universe.

This is also the perfect opportunity to mention the pieces he designed for the Turkish company Gaia & Gino, which I've discussed before:

These were unveiled a while back. You can see some similarities, but they work more with G&G's style and palette of materials, which Hayon seems to be able to do quite effortlessly. In case you can't fork over the price of a compact car for a decorative object, G&G's offerings are a bit more reasonably priced.

©2009, Ryan Witte