The first time I’ve been to the Joyce Theater was in 6th grade and it hasn’t changed much since then. The Joyce Theater is very intimate compared to the Metropolitan, where we saw Carmen. I believe this is extremely fitting for contemporary ballet because it allows us to really embrace the dance. One detail that was different from my experience now and the one I had 7 years ago were our seats. I had the pleasure of sitting in the middle rows in my first experience and I must admit, I enjoyed the performance more then. The angle that I was able to see the stage had a slight affect on the way I felt about the performance. At one point, I was so uncomfortable in the position I was in that I couldn’t even look at the stage. Nonetheless, I thought the performance was brilliant.
Complexions is a well renowned piece and I truly believe it was worth my while. One thing I’ve learned about watching dance over the years is that this is an art form whose purpose can vary. With dance, many pieces tell a story while others are just choreographed to appreciate movement. Contemporary dance in general strains the body physically in a way that combines elements of modern, jazz, and ballet. For example, in the last section, the dancers were on pointe but also bending their bodies in a way that ballet doesn’t allow. The combination of the intimate theater and the performance being contemporary ballet made me appreciate the effort it takes to put on such an amazing show. I would like to acknowledge the parts of the show that I used to take for granted such as the lighting, the backdrop and the performers themselves. The lighting and the backdrop really set the mood in each section. At one point the backdrop was completely black which made the stage seem endless once the smoke was fully set on stage. I felt like they were dancing before entering dark cave with so much unknown. My favorite lighting was the red lights that accentuated the party and intimate feel of the section in the last piece. Lastly, the performers were absolutely incredible. I know or a fact, I cannot do any of the moves they made look so smooth. I can only imagine the hours and weeks of practice this must’ve taken to prepare for opening night.
This massive compilation of random garbage peas, garbage fish eggs and most of all garbage foam made no sense to me and added to my frustration towards the art world. Now that i can reflect on my journey through the art scene, i can undoubtedly say that i have a new found appreciation and perspective to view art. Just the other day after our last IDC class, i went to the library to meet up with some friends. However, the library was so packed we ended up sitting in those little telephone rooms that have video art on the TV. It happened to be that on Tuesday the artist for the video was going through each floor with a little group. They walked in on us watching some really funny videos and decided to ask us what we thought about the art. While my friends were thinking of some BS they can say. I jumped right into the question and started giving my perspective about the artificial world vs natural creations.
Now to connect this all back to Pea Roe Foam, i have the perspective i was missing. The dada form of art is another statement by the artist to get us thinking about the meaningless material in our lives. Its one thing being told this and another finally coming to terms with this myself. The useless products we saw in that gallery was all an effort of non stop labor to allow us to find the meaning of the art. The art is a compilation of the garbage we throw ut after we finished using it. Why should we throw it out? Well we shouldn’t because throw a bit of glue on it and someone will buy it apparently. But actually, the dada art is supposed to be as unspecific as possible so that the viewer comes to terms with it. I am so glad to have gained a new found respect for art, i feel much more sophisticated going into a conversation about art now and i feel like i am a baby specialist in the market.
Taking a walk in October across 67th street, I looked up to see an odd, geometric figure. I wanted to know more. As I walked by, I was able to snap a picture so I can look at it later.
As it turns out, the sculpture was one of seven, displayed on Park Ave between 52nd and 67th streets. They were created by Ewerdt Hilgemann, a German-born artist. The series on Park was called “Moments in a Stream,” and range from 8 to 20 feet. The particular sculpture I saw was closer to 20 feet.
The most amazing thing about these sculptures is that they are imploded. A unique vacuuming process causes the implosion. To Hilgemann, the implosion represents the inward spiral of energy to reach the core and mystery of matter, the ultimate beauty of creation.
What strikes me about the sculptures is that they play with the idea of perfection. A perfect geometric figure becomes imperfect, as its straight edges are tarnished. There seems to be chaos in the art, but there is a clear order and precision as to how Hilgemann imploded the works.
Overall, I was impressed by the sculptures. They seemed out of place on Park Avenue, certainly not an empty avenue. However, while they stuck out like a sore thumb in their time on Park, they seemed right at home at the same time.
The art made me more aware of my surroundings towards the beginning of the semester, showing me that art can literally be anywhere in New York, you just have to open your eyes and look.
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