So glad to see Edgerton's painting exhibited and appreciated. He is a North Carolina living treasure.
Great article! Good luck DAM!
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I believe one of the artists mentioned is actually Sally Van Gorder, not Gordon.
I remember when SAJ had her Tree Planting exhibit at the John Hope Franklin Center years ago. The most amazing work and the first time I ever out a piece on layaway until I could own one for myself! Still my favorite piece of art ever!
This is some of the best writing I have seen on SAJ's work, and I should know- I have been her dealer for over ten years. Bravo on the great show and beautiful review. ps don't forget to see the amazing catalog/ monograph for the show.
I really enjoyed Brian Howe's review of this important Miro show at the Nasher Museum. He offers us a wide range of impressions, many both art-historical and natural, all well relating to the singular Miro image worlds
we see, usually floating in the paintings, and playing in the sculpture.
He's writing here more as a poet; sharing impressions and impulses, rather than using the artist's history and possible meanings and object relations, as "exhibit labels" often do. I often skip the information on the "exhibit label" as it tends to drag the wonder of a work down, or save it for a quick reality check afterward.
I appreciate that Mr. Howe's words have simple let the Miro works just be themselves, and offer their joyous questions. After all, Miro is one of the premier artists of the “distant” of life, with uncertain forms and possible meanings. Only these things, these lives, whatever they are… they are precise. Their situation is not understood. (As in life, we know ourselves, but are not sure of our surroundings.)
Miro’s art, in simply being (be here now), regardless of what we think - keeps it art that seems to be in the process of becoming, as we all experience. It's very living art. And in its seeming motion, color and scale, it remains young and joyful art. An art of play, and the dance of life.
Dennis in Hillsborough
Hello, I got in-touch with Caktus Group and met this week. I believe they are looking at posibilities and are not sweeping it all under the perverbial rug. Thank you to the out pouring of support from artists, art and nature lovers. I hope to hear from them by the end of November, Em
I love that they took the sign off the top, it was originally designed not to have a sign.
Please put something back on the top of the building. It looks incomplete without something on top........maybe a rooftop bar surrounding a sphere?
So, did I miss the public meeting to be called by Caktus group? No? Did they ever intend to have one? A question for the intrepid reporters at the Indy...
So glad I saw this show at the Eno. Some of the work made my jaw drop because it was so powerful; all of it was inspirational to this artist. Far too long ago I was one of Mr. Saltzman's students. Looking back on those student years, I believe he was one of two two-dimensional art profs who deserved to be there (granted, there were a couple profs I never had), and in fact were the reason we all enrolled there. His teaching was solid and he worked closely with those who wanted extra help. Yet the clearest picture of him I have in my mind from those days is him brandishing a double-sided razor bade and free-handedly cutting a mat in one swift stroke. The angels are still singing the beauty of that.
Emily Weinstein actually does have a legal leg to stand on, as the federal VARA legislation has been called upon by numerous mural artists whose work has been destroyed under similar circumstances. And I don't particularly blame her for not wanting to participate in a meeting called by the group that destroyed her work without bothering to get in touch with her. She told me that she would rather spend her time making new work than spend time helping Caktus heal their public image. She's hurt -- her life's work is gone. And Caktus has shown alacrity by... putting a post on their blog. Time is ticking off and other than that they've done zilch, which makes me wonder how sincere the remorse and shame really is. I don't really understand why a public meeting would take time to put together, and I wonder if they're waiting until enough time passes that they feel safe enough to not call a meeting at all. I hope they get their act together very soon. And in my opinion, this is a cultural disaster for Durham. I've spent a lot of time with the mural with my kids over the years. Our family shed tears when we saw Caktus' gray wall, and I know plenty of others who can say the same. It might not be a disaster for everyone, of course. Different parts of a city become different parts of our lives. For instance, if the Durham Bulls moved away I wouldn't care at all -- the team isn't important to me. But I know friends next door who would mourn that for the rest of their lives. And I care about my friends and neighbors, so I would sympathize. I hope that you, badpoetry, could find a way to sympathize too.
It is truly sad when the Indy does not present the whole story and presents only biased news coverage based on an artist's feelings. One cannot passively stand by and expect any community to protect what you see as your identity - if it's that important you should actively be protecting it and restoring it and educating others as to what it is about. Additionally, the artist actualy has no legal leg to stand on, if researched further this would become evident to the author. And Caktus has shown considerable alacrity in addressing this by offering to have a public forum (that once again the artist passively bows out of) and expressing remorse and shame which is something most companies would not do. And finally, NO, this is not "a disaster." Tsunamis, earthquakes, hurricanes, homeless people needing food those are all disasters. This is a spun biased piece of news, which isn't news at all.
Mr. Saltzman was my favorite professor at Carolina. He told me I was an artist, and even pointed me out to colleagues of his and said the same thing. That meant more to my incredibly awkward and self conscious 19-year-old self than I can describe here. A hard ass, yes, but still a dear, dear man.
What next? Continuing the automotive theme, The Blue Ridge Parkway: Grace in Motion (Landscape design and art.)
I’d always thought it was the beautiful scenery... until I learned about the engineering system, called ‘the line of grace’ - a road-design technique not used today.
Read more, here: http://isites.harvard.edu/fs/docs/icb.topi…
Finding evidence that Porsche by Design is more than simply the best produced car show ever.
Some wonder whether Porsche by Design is a art museum exhibition or a car show. Their confusion has not been addressed in the exhibit, its accompanying materials and events, or its catalogue. While an adequate job is done to show the connections of the exhibit with other works of art, the same cannot be said of the Porsche automobile as art itself.
Why the problem is important:
The NCMA, whether in the classical tradition or in exploring the edges of art, is, above all, serious about the experience of viewing art. Before arranging an exhibition or accessing an object, its director and curators must be convinced that the subject is significant as art.
Too little of this effort is apparent with Porsche by Design. Apologists point to an earlier MOMA exhibition and seek justification by slight reference to the Bauhaus movement, industrial design, and sculpture. Yet nothing in the exhibition itself and accompanying materials and lectures do anything specific about artistic elements. The contributions to the exhibition catalogue - from auto racers, collectors, photographers and film makers, historians, columnists, journalist and two industrial designers - re-inforce the idea that we are talking car show here.
The typical "forward" to an exhibit explains what you can expect to find in it. An "afterward", calls attention in retrospect to what you find in yourself during and after experiencing the exhibit. It would include observations from each of the museum's curators about their professional and academic view of the artistic merit of the exhibit, the Director's understanding of how the exhibit fits into the purpose of the collection and the mission of the museum and presents a subject for the traditional, accepted ways of experiencing art and for expanding and developing new ones.
The educational program offers a starting place. Evolution of Form and Ahead of Its Time offer a connection with items in the Museum's own collection which could be a foundation for a critical reflection upon the Porsche to see how it achieves artistic legitimacy ... and how it falls short. The Porsche Story gives a comprehensive overview of the political, psychological, engineering, and business context of the automobile which could serve as a foundation for consideration of its more specific artistic and design context.
How about it, Mr. Wheeler?
The Porsche exhibit is, without question, an outstanding car show. In an art museum it must be more. An "afterward" can help us to understand why, answer critics, and see what the museum has accomplished with Porsche by Design, a brilliant departure from convention with a legitimate place, as art, in an art museum.
I did finally see the exhibit, and I think the review is just plain wrong.
I took the time to visit the video room, around the corner from the cars. (Much of this is online at the NCMA website as well so you can check it out any time.) If you haven't had the opportunity to watch these clips of designing, racing, family participation, and other aspects of Porsche, I highly recommend it. The passion expressed by the designers and drivers enhances the experience when one then sees the cars.
By way of further introduction, from his LinkedIn page:
Art Handler at North Carolina Museum of Art"
Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
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