September 8, 2018
We take a break now from our finger gazing to talk about Jorge Palacios, a sculptor in wood who is now being shown at the Noguchi Museum, a favorite spot of mine. I read about his big piece, Link, in the Flatiron Plaza, and went to see it.
When I got there on a beautiful day like the one in the images above, there was a man scrubbing the piece clean.
I talked to him a bit in halting English and my halting Spanish. He remarked that the piece gets lots of scuff marks from people’s shoes! I asked him if it is hollow, it is, and if I could bang on it, I did. When I got home, I did some reading about the artist and the exhibit at the Noguchi and it seemed to me that the guy looked a little like the artist, didn’t he? He was a lot more friendly than his picture makes him seem!
Yesterday, I went to the Noguchi to see the exhibit of his work, including this one:
Wandering about the exhibit, examining the installations and putting in more lights, was the same “workman” I’d seen cleaning the piece in Manhattan. It dawned on me that this unassuming man was the artist, and I had a pleasant chat with him – I reminded him of our previous encounter. An amusing bit of serendipity, and I had him sign a copy of a monograph that I bought in the museum shop. 🙂
When I was leaving the museum, I chatted with the admissions person about my encounters, and he chuckled: “Yes, he’s a very hands-on type of guy.”
March 31, 2014
Enough said about him…
And about this capital, down below, I like the way the corner is turned with one beast that has two bodies, maybe a good side and a bad side, depending on where you stand.
A bit of Nature/Nurture.
January 22, 2014
Her 2 and 1/2 minute blurb on Durer’s masterwork is great! Check it out, and the other quick takes by curators on 100 works at the Metropolitan Museum of Art. It’s a marvelous series.
January 26, 2013
The Grolier Club in Manhattan is an old society of bibliophiles that occupies a remodeled townhouse in midtown. I don’t know what their daily business is, but they put on some wonderful free exhibits, including one on Wunderkammers that closes soon.
These ‘rooms of wonder’ were the forerunners of our museums, particularly museums of natural history, and the exhibit documents their place in the Europe of the Enlightenment. It also includes two color volumes from the catalog of Albertus Seba’s collection, perhaps the most magnificent such publication. I have a copy of the one-volume Taschen full-size facsimile of the book, and it is a favorite of mine: I never tire of paging through it. The alligator below is from the facsimile; the original is on display at the Grolier. Always wonderful to see the real thing.
By chance, a second, upstairs exhibit began the day I was there, and it illustrated the history of microscopy, mostly with printed matter, but a few antique microscopes were also on display. There was a beautiful copy of Robert Hooke’s seminal publication on display, opened to his most famous illustration, a large-scale drawing of a flea. I have a copy of the book as a high quality Adobe PDF which has the advantage of letting me page through it in its entirety. What a shock of recognition and revelation this book must have been to the fortunate few who read it in the 17th century!
January 3, 2013
The exhibit of paintings by Sakai Hōitsu, Korin, the earlier master who inspired him, and his student, Suzuki Kiitsu, ends tomorrow at the Japan Society. I caught it the other day, and saw a related exhibit, also on the Rimpa style, at the Met earlier this summer.
It’s not easy to isolate the elements of the Rimpa style, other than to say it is deeply involved with nature, uses highly stylized and abstract patterns, and is very sumptuous and beautiful, employing expensive materials such as gold and silver leaf. In fact, one blurb I read said that the style has become practically synonymous with Japanese art, so deeply embedded is its aesthetic approach in the nation’s culture. On the other hand, as the exhibit points out, Hōitsu began his career working in the style of Ukiyo, a popular form that focused on the ‘Floating World’ of Japanese urban pleasure districts, well known to us through wood block prints.
The images below are of a dragon rising before the faint, abstract, silhouette of Mount Fuji, by the student, Suzuki Kiitsu. The images hardly do justice (click to enlarge them) to the wet on wet technique that creates the swirling dark cloud emanating from the skin of the dragon.