Bianca's Arts in NYC

Jose Rivera’s, References to Salvador Dali Make Me Hot was an extremely thought-provoking play, examining the similarities between nature and human relationships. It tells the story of Gabby, a dreamer, living in Barstow, California, where her soldier husband has been stationed after the Persian Gulf War. From the first scene in which they’re together, it can be noticed that the couple faces a dilemma-their rocky relationship. In Gabriella’s dream-like fantasy world, the cat and coyote both speak, giving importance to the content of dreams, and both animals mirror Gabby and Benito’s relationship, represented by the longing and erotic passion amidst the first scene. Only at the end, does the symbolic relationship of the cat and coyote give meaning to the play- the importance of dreams.

The set was more elaborate than most plays I have seen, as it contained many levels used by the actors- in the first scene, “the moon” is situated on top of a fridge with his violin, Gabby on the desert floor, and the cat on the ground. The set switches between the backyard of the couple’s house, and inside their house-this allowed for the audience members to be engaged and the closeness of the stage also allowed for the actors to interact with the audience. The drama embodies a metaphor of earthliness, represented by the arid desert floor and yearning, characterized by the beckoning night sky

The moon, depicted by a mysterious violin player, represents a magical realism- absent in Gabby’s real life. The fierceness of the writing transforms the very mundane dilemma facing the couple, in to a heated dialogue between the two, where the artist’s intent is exemplified by Gabby’s dreams- the surreal nature of life. Salvador Dali’s Melting Clocks represents this concept of surrealism present in Rivera’s work.

I was one of about 200 audience members and noticing other people’s reactions definitely impacted my experience of the play, as the occasional gasps and sighs influenced my understanding of the play.

Artist: Jose Rivera

Title of Work: References to Salvador Dali Make Me Hot

Date of Work: Published in 2000

Materials/medium: Play/Visual Performance

Duration/running time: 1 hour, 30 minutes

Genre: comedy, political, social drama

Location/venue: Hunter College Kaye Playhouse

I was with some other Macaulay students when I saw this.

My visit to Agora Gallery was both enlightening and uplifting. I went to the Altered States of Reality exhibit where different artists shed light on both the physical and mental worlds in which we live. The most impactful artists took my breath away and left me leaving the gallery with a new set of eyes. Italian photographer, Mauro Fioravanti captured images of stunning seascapes and portrayed them as dual entities, vast and immovable, yet capable of small, quick movements. The colors of these pictures were extremely vivid, almost resembling the compositions of Renaissance paintings. His concentration was the Mediterranean coast, and the influence of nature was predominant in most of them. Cinque Terre 005 elicited a very ominous, yet mysterious mood- with clouds hanging over the green sea and hints of light pouring in through some of the clouds. Golfo dei poeti 005 was, in my opinion, the most beautiful of the paintings- combining different artistic elements to create a surreal affect. The purple of the sunset, the blue of the sea, and dark colors of the rocks contrasted each other very beautifully. To top that all of, the artist captured the fog surrounding the rocks- successfully creating the intended surreal affect. Debra Kayata’a pictures also incorporated nature as a predominant theme, capturing atypical images of flowers and blossoms. She captures the obsession with youth that is instilled within our society and displays it through lush, vibrant colors embedded within the flowers. Orchid Intense Preservation is a digital pigment print, capturing an intense pattern within the petals, and highlighting different shades of purple in one flower. The explicit meaning cannot be derived from any of the works, as the artist’s intent is heavily intertwined with the meaning. I think the works of these artists were more aesthetically pleasing, and their perception of the world in which we live is heavily influenced by aesthetics.

Orchid Intense Preservation, Debra Kayata

Cinque Terre 005, Mauro Fioravanti

Artist: Fernando Salado, Mauro Fioravanti, Glenn DeWitt, Mike Cable, Debra Kayata, Joel Schlosberg, Denis Palbiani

Title of Work:Altered States of Reality

Date of Work: November 2nd to 23rd

Materials/Medium: Photographs

Genre: Modern, Realist Art

Location: Agora Gallery

I was alone when viewing this exhibit

Inspired from popular culture, Tim Burton’s works have reinvented the face of film. He is both an artist and filmmaker, and has created many films including Edward Scissorhands, Bettlejuice, The Night Before Christmas, and many others. One of the exhibitions explored “the lurid beauty of monsters” through a series of films that have inspired Burton’s work, reflecting the motifs, theme, and sensibilities of his work. Most of the exhibitions bring together seven hundred examples of rarely or never-before-seen drawings, paintings, photographs, moving image works, concept art, storyboards, puppets, maquettes, costumes, and cinematic ephemera of many of his films.

In a documentary, Tim Burton states that he appreciates the way MoMA blurs the lines between his different works of art. All the works complement each other and aren’t separated in to separate categories. Curator, Ron Magliozzi compares the production of an exhibition to a film- the gallery vein the film set, the art installed the “characters,” and the curator- the director.

Because Tim Burton’s work was never meant to be on display in a gallery, the team decided to structure the who in two ways: the first, a narrative of his life in Burbank, CA and the second as a successful filmmaker- exploring Burton’s major motifs, such as  body modification, armoring, masking, and Burton’s creature-based notions of character.

The presence of surrealism is predominantly captured throughout most of Burton’s work- placing major emphasis on the contortion of reality and what is “normal.” From an early age he states that the word “normal” scared him, leading him to believe his behavior wasn’t, therefore suppressing his thoughts. His main inspiration, he states, was his teacher who encouraged him to draw what he wanted to do, to do what his hands told him, not the rest of the world. I think this concept is truly important in order to understand the dynamics of art and its foundations.

20 million miles to Earth, 1957

3D Gallery

http://www.moma.org/interactives/exhibitions/2009/timburton/

Artist: Tim Burton

Title of Work: Tim Burton, Tim Burton and Lurid Beauty of Monsters

Date of Work: Life Works of Tim Burton

Curator: Ron Magliozzi

Materials/Medium: Films,Paintings, Sketchbooks, polaroids, sculptures, posters, writing, drawings

Genre: comedy, horror

Location: MoMa

I was alone when viewing this exhibit.

Traditionally Indian paintings have been largely classified according to regional areas and other fixed groupings; however, this exhibit used a different approach, linking specific artists and their lineages over the course of eight centuries. The notion of anonymity is heavily embedded in Indian art, which contributes to the mystical affect attributed to many paintings.  This exhibit attempted to de-mystify those aspects, which have been traditionally entrenched in the culture. The exhibit was structured chronologically, focusing on exclusively identifying 40 or so artists, some of who are still nameless, known only for their style, while others individuals could be identified by their paintings.

It was apparent from many of the paintings that certain artists were also influenced by different cultures, such as Basawan, whose style seemed to be influenced by European realism. The intense color and emotion displayed character in the paintings- and the Hindu tradition. Krishna, who appears across a broad spectrum of Hindu philosophical traditions, is portrayed as a god-child, prankster, and the Supreme being.  Nanda Touches Krishna’s Head After the Slaying of Putana, displayed an illustration of Krishna in an episode in which he kills a demoness by draining life from her breasts. I was very intrigued by the story behind the painting and decided to research it when I got home.

The dreamlike world of the painting was certainly brought to light, as different images of The overall experience was enjoyable, and enriching, as the Met exposed the Hindu tradition and the sacredness of the culture.

Slaying of Putana

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Shah Jahan, Mughal emperor

Artist: 40 named artists, several unnamed artists

Title of Work: Wonder of the Age, Master Painters of India

Date of Work: 1100-1900

Materials/Medium: Paintings

Location: Metropolitan Museum of Art

I was alone when viewing this exhibit

I think this exhibit required a certain level of awareness because the minor differences in each of his works were not noticeable at first, but a closer look revealed the slight details incorporated in to each work. For example, Rifts #1-3 illustrate the retrospective aspects of modern art. The differences, however slight, are deeply impactful. Richard Serra uses a minimalist approach and his work reinforces the notion that art can be monumental without relying on massive, “in your face” substances and formats.

He also creates many sculptures, in which he considers space to be a material- using sculptural form to make space distinct. Junction and Cycle, probably the largest and most complex works Serra has ever created. I experienced such a visceral reaction to the delightful and thoroughly engaging work- probably because the sheer mass of the sculpture overwhelmed me, simultaneously appearing as threatening and protecting.

Rift #’s 1 and 2

Junction and Cycle

Artist: Richard Serra

Title of Work: Rift #’s 1-3, July #’s 7, 9, 11, 12

Date of Work: 2011

Materials/medium: Paintings, sculptures

Genre: abstract-expressionism, minimalist art

Location/venue: Gagosian Gallery

I was alone when I saw this exhibit.

On my way to the village, near NYU, I happened to stumble upon some innovative work- geometric art- depicted by a faucet spilling out pixelated water. This contemporary piece of work was very a very fascinating sight, combining elements of reality and fiction. The work was both amusing and artistically inventive, as I had never seen something like it before. The degradation of color is present in the work, highlighting the different shades of water. I don’t think it’s appropriate to associate a meaning with this work, because the innovation itself represents the significance of innovation within the art world.

My visit to the museum began with a large multimedia map, which introduced visitors to the Himalayan region, as well as adjacent cultural areas. There were four sections I explored- including figures and symbols, materials and techniques, purpose and function, and Tibetan art in context.

The first, figures and symbols focused on the symbolism vital to understanding the content in the Himalayan paintings. The key figures in the art were represented by two-dimensional paintings and three-dimensional sculptures of Hindu gods and goddesses. These art forms in particular were very recognizable and contextualized many of the sculptures I am familiar with. All of the objects, including thankgkas- a Tibetan silk painting with embroidery, along with the various other art forms including sculptures of bodhisattvas and tantric deities introduced me to different distinct symbolic entities, characteristic of the region.

The second section, materials and techniques demonstrated the different methods of creating the paintings and sculptures. The methods of Thangka painting were displayed through a three-dimensional art installation, presenting each of the process’ six-labor intensive stages. Structure and compositional elements were also displayed through a large wall painting elaborating on the hierarchal relationship between figures, according to size, position, and sequence.

Purpose and Function addressed the reasons for commissioning and using Himalayan works of art. Motives included secular concerns such as long life, accumulation of merit, and spiritual gains attained patrons through the ritual use of these objects.

The last section placed Tibetan art in context- featuring a shrine including sculptures, paintings, furniture, and textiles. Everything was elaborately decorated, complemented by butter lamps, which represent traditionally lit lamps that are traditionally housed within shrines. Ritual objects and musical instruments were also on display for visitors to see- and audio elements were incorporated in to the visit, as I was listening to a recording of monks chanting softly.

The stylistic diversity represented within the works is of particular significance as not one artwork was like another. This exhibit, focused on beautiful Hindu works, particularly from Kashmir and Nepal ranging from the 12^th to the 19^th centuries.

It provided a sort of escape from reality and especially the New York life. The aesthetic beauty is present, but the art is primarily for ritual use- depicted in paintings.

The concept of the wheel of life is a ubiquitous teaching tool and was painted at the entrance to the temple. It also reinforces karmic law- one’s actions in this life have a direct impact and one’s future rebirths.

Shrine Room

Artist: Several Himalayan artists

Title of Work: Art of the Himalayas

Date of Work: 13th to 19th centuries

Materials/Medium: Sculptures, thangkas

Genre: Himalayan Art

Location: Rubin Museum

I was alone when I visit this museum.

Japan has a long, rich history of storytelling-pairing narrative texts with elaborate illustrations. This tradition continues to influence modern-day Japanese storytelling through Manga and other forms of animation. The Met essentially expressed the cultural highlights of Japan’s storytelling past through elaborate hanging scrolls, screens, and books.  The scrolls were of paramount importance in regards to the exhibit, as they recount the life and turbulent afterlife of Sugawara Michizane, a ninth-century poet-statesman said to have died of a broken heart after being unjustly slandered. This important figure in Japanese tradition is just one of the many people whose life achievements have been recorded on the scrolls. These hand scrolls or emaki are designed to draw viewers directly in to a story- allowing a rare opportunity for visitors to become entrenched in to the intellectually engaging work. They generally measure about one foot high and can extend for more than thirty feet. As the viewer is free to move through the scenes at his or her pace, it also allows for the physical experience of progression of time and space- the past is rolled away , the present is slowly uncovered, and the future waits to be seen.

Illustrated Legends of the Kitano Tenjin Shrine, from the 13th century

Artist:several unnamed artists

Title of Work: Storytelling in Japanese Art

Date of Work: 13th to 19th centuries

Curator: Masako Watanabe

Materials/Medium: illustrated books, folding screens, textiles, playing cards, emaki (illustrated handscroll), paintings,

Genre: Asian

Location: Metropolitan Museum of Art

I was alone when I viewed this exhibit

Every evening when I walk home on 23rd street, I see this bike locked up, looking ever so endearing. The bright colors remind me of the sweaters I wore when I was a child and the thought instantly bring back warm feelings. This bike is just one of the projects of a recent phenomena called “yarn bombing.”  Bikes, along with lampposts, cars, trees, parking meters, and even the Wall Street Bull are just few of the amazing yarn bombs that have brightened the streets of New York.  While graffiti is known for being an expressive art, yarn bombing was initially only about reclaiming and personalizing sterile or cold public places. The movement has changed the face of craft and a group of artists have wholeheartedly embraced this- “Knitta Please” is known for its mission of making street art a little more warm and fuzzy. It started primarily with one woman, Magda Sayeg, who made a doorknob cosy for the front door of her Houston Boutique, which caused an outburst of appeal. The group spread worldwide and, although it is considered vandalism in some US states- the group considers their graffiti- a method of beautifying public space.”