Museums aren’t usually my thing, let alone specific exhibits. NAWA, or the National Association of Women Artists, hosted a small exhibit on the 4th floor of a building on Lafayette St near NYU, and it showcases women artists without the bourgeois nature of donations or large fees. The gallery was small, quaint; you could spot all the art in minutes if you were rushing.
I decided to take my time with the gallery, though I was exhausted from classes and the long commute from Staten Island. The location was tough for me at first, due to the secluded nature of the building. It also highlights how art doesn’t have to be found in the Met or the Guggenheim; it attempts to diversify a long-standing approach to the art exhibition, by letting anybody, free of charge, admire the sculptures, paintings, and knickknacks.
At first, I entered the unit, and it looked more vast than it actually was(this made sense because the building floors are very small). I was met with the logo of NAWA, as well as the lady on the left that greeted me. There was a sign-in sheet. She offered me a tour(which would have been quick or tedious, depending on the artist) but I refused, as I was partially in a rush to eat or to go home entirely.
I’m not a frequent museum goer, but something about the gallery just didn’t click. I didn’t feel like the gallery was doing its work, nor that the art had a lot of meaning behind it. I tried my hardest to ascertain some sort of interpretation, but the paintings that had that effect on me were a dime a dozen.
One of the few paintings or sculptures I connected with was a painting that contained a very realistic oil/pastel picture of a street in a city; it doesn’t really have significant meaning for me, but I am particularly interested in how realistic, yet vivid and bright the picture looks without it being a photograph.
Overall, the lady at the counter was very welcoming and even gave me suggestions for other exhibits. She had her own art displayed, a sculpture using a car gear and some metal strips, all with the goal of creating motion in stasis.
I didn’t really interact with the rest of the art; I have a strong affinity for bodily-kinesthetic learning, but art always prohibits touching (sensibly), so I do not enjoy it as much. NAWA was interesting because of its initial prospect of emphasis on women; while I do not judge the gallery for the prices, I could never wrap my head around the art market and did not see the worth. Maybe someone else’s hobby, but not mine.
CB
