THE ARTS IN NEW YORK CITY Fall 2017 | Baruch College | Macaulay Honors

Walking to the Whitney was a bit interesting, as I had passed it several times before but never to enter it. While I enjoy visits to the meatpacking district, I often wonder what a museum is doing there. This was my first time going to the Whitney so I had to ask for directions on how to get my ticket, where to leave my bag, and where the actual exhibit was.

Walking into the exhibit the first piece I saw was Bolides.I have seen this idea of hanging wood or other firm materials to create various shapes or images and I absolutely adore it. The 3D concept forces you to move around and observe the piece at a multitude of different angles, that a 2D piece simply cannot do. Another great thing about this is how a bunch of different people can all view this piece and everytime get a different perspective on it. I admire Oiticica’s idea of not having art on a pedestal, but rather as interactive. His use of objects and materials found in everyday life really brings forward the point that his art was “integrated into the world, not separated from it.”

Another concept that I appreciated of his went along with his piece of Brutalist Manhattan, subtitled semi magical found object. When we wrote the blogs on what we think the definition of art it, I said theorized that something is art based on the context surrounding it. Oiticica also had this perspective, that taking something not typically considered art, and adding or changing a small bit of it, brings a deeper meaning to the piece.

My absolute favorite part of the exhibition was Eden. Described as a “proposition for behavior” I think its aim is to befuddle the average art viewer. Usually, art is made to be seen, not touched. This was made to be explored and I think the interactiveness allowed me to enjoy the art more sincerely than I would have if I were to just gaze upon the sand and stone floor arrangement. This beach paradise Oiticica created invited me to explore each part. Walking through the sand was a beautiful experience. I walked through the sand, into these little tents that had various scents attached to them. I stood in the middle of the water and with the scents and the nearby sounds of the parrots it really felt as if I was at a beach in Brazil.

The title of the exhibit To Organize Delirium made me think. I could see the confusion it could cause because Oiticica’s work is not like other artists. He is bold and it shows in his work. I believe coming to NY was a great outlet for him, but it was very obvious that his muse was Brazil and Brazilian culture.

Overall the exhibit was a beautiful experience and I will definitely be going back again. I was filled with so much joy and this was an art exhibit that really touched me, which is what I believe art should do.

To Organize Delirium, an attempt to describe in words what Helio Oiticica’s intention was with his art. Oiticica was a prominent member of the Neo-Concrete movement- an art movement that sought to comprehend the complexities of human emotions through physical objects that would invoke feelings within the viewer of the art. In his piece Tropicália, Oiticica actually forces feelings of quiet and relaxation onto the viewer by having them take off their shoes and socks, something you don’t often get to do in public spaces, and walk through spaces of sand and water. Beyond the exhibit, you could see the Hudson River glistening through the windows and I felt as though I had been transported to the beaches of Rio de Janeiro where Oiticica grew up.

Cesar Oiticica Filho, Oiticica’s nephew and artistic director of the exhibit said “The object is not important for you, the most important thing is the experience.” The curators talk about how Oiticica intended to shake things up. He left Rio due to the oppressive government there and moved to New York City where in the seventies, all different kinds of art were being made and celebrated. Oiticicas “parangoles” (which translates to habitable paintings) could be modeled and danced in, as they were intended to, on rooftops and in subway trains. People were open to new ideas and Oiticica’s art relished in this.

Here’s me in a parangole 

This narrative helped me engage in his work because it gave me this context to see the art through. When I walked through the piece, Rijanviera, which Oiticica created after his return to Brazil from New York City, I could really understand how calming it must have been for him to return to his home, a lush paradise, after living in New York City. I could feel how nice it must have been to return to nature after being in such a bustling metropolis like New York.

Here’s a picture of me in the exhibit

The title of the exhibit, To Organize Delirium felt especially relevant for today. The state of the world currently, with natural disasters happening every week and terrifying decisions being made in politics, from local to international scale leaves us all feeling delirious. It makes sense that the Whitney decided to put this exhibit on display now. There are people leaving America, both voluntarily and because they have no choice, similarly to how Oiticica fled Brazil’s oppressive government. The exhibit feels like a soothing sanctuary amid all of this turmoil. Although I must note that at tickets being sold for $25 a pop, this is not a sanctuary available to everyone.

This was one of my favorite pieces from the exhibit, which I first thought translated to “Be marginal, or be hero” which I didn’t really understand. Not everyone who is marginalized can just give up their lives to become a hero and fight for the revolution or otherwise. Later I googled it and realized that it actually translates to “Be an outlaw, be a hero” and that it was the contribution of Oiticica’s to Exhibition of the Flags. The dead body on the flag is that of Manuel Moreira, known as Cara de Cavalo (“Horse Face”) who was a fighter for the rights of minorities and was assassinated by a paramilitary group. Manuel Moreira was also Oiticica’s friend and lover which made it especially poignant.

I also really liked the depiction of Che Guevara looking childlike and in awe and decorated with sequins on this parangole, because he is usually seen looking so stern and intense. Another good detail of this piece is that the inside was lined with a floral pattern.

Overall I really liked this exhibit! I went with my dad who I hadn’t seen in a while and it was an evening well spent. Also I listened to the playlist while doing this assignment before even seeing that you had mentioned it in the directions. It’s so good! I love old Brazilian music.

Julie

When I first heard the name of the exhibit at the Whitney we were assigned to visit, I couldn’t understand what an exhibit called To Organize Delirium could possibly be about. The oxymoron within the title had me curiously wondering, “How could something be organized/structured yet delirious or whimsically cacophonous simultaneously?”

Before entering the exhibit, I asked a curator to give me a briefing of Helio Oiticica and his exhibit. He explained to me how Hélio Oiticica intended to break the stereotype of what many perceive and define as Art. Art isn’t only for the elite and pretentious members of society. Art can become understandable to anyone once you view it as a means of expression.  Helio felt that we all have artistic moments and means of expression. This expression comes to fruition generally in our leisure time, as we let our minds unwind a run free.

I gradually began to understand why the exhibit is called To Organize Delirum. The exhibit and the works displayed a kind of like a snap shot of Helios mind put on display. The art displayed portrays Helios concretization of his mind expressing itself. His thoughts and views put on display become the art.

The Eden exhibit allows provides an environment where you can really experience yourself. The exhibit is designed to be some sort of safe heaven where you can just relax and enjoy your time with your own thoughts. Or, perhaps, you may experience some sort of “zone out” where you may not think at all. Helio designed this exhibit so the average person, like himself, could be an environment where they could “utilize” their leisure time by expressing that within. I loved the tent with the music inside. Being inside and listening to the music was not only relaxing, but it felt as if I was in my own little heaven, my own little Eden.

The Rijanviera exhibit struck me as the contrast of the Eden exhibit. The exhibit is incredibly simple, almost pure. At first, I didn’t understand the intention behind this disjointed grey box before me. However, as I began walking through the sand and the cool water, I felt a certain calmness and ease. I felt calm and relaxed in the Eden exhibit, but the calmness experienced in the Rijanviera was different. I did not need music or books and magazines to allow my mind to unwind. I was able to relax solely by engaging with nature and its elements. I think Hélio Oiticica appreciated the calmness and serenity of nature as well. He chose to convey this serenity through a simple exhibit where one does not distract himself with his environment, rather he is a part of his environment.

I look forward to visiting the Whitney again, either to explore a new exhibit or visit this one again! The museum is in a beautiful location, right near the HighLine and fairly close to Baruch… I look forward to my return.

*  Unfortunately I did not get pictures inside the exhibit but here are two photos of my favorite two parts discussed above!

At first, I was taken back by the name of the exhibit. I was unsure if it meant that the artist was in a state of delirium or if his works represented a state of delirium. Before I entered the museum, I did some research on Helio Oiticica. He was not only a revolutionary artist during his time in Brazil, but his works also lead to many social and economic movements in his country. Even at first glance, I knew that this wasn’t going to be a boring, old exhibit. Oiticica’s artistic goals were to engage the viewer in his own pieces, to get the viewer to experience their own emotions and feelings towards a work of art. I think that Oiticica wanted the people of Brazil, and later all around the world, to open up their own senses and allow their emotions to create their own opinions. 

The second the elevator doors opened to the exhibit, I was overwhelmed. I saw dozens of square sculptures hanging from the ceiling, huge boxes suspended by what seemed like nothing. The organization of all these different sized and colored boxes to form one sculpture seemed like intended organization of random boxes. I started to understand why the exhibit was titled “To Organize Delirium.” Each box complimented each other, while if they were suspended randomly, it would seem as if the artist was delirious, or in a confused state of mind.

I walked into the next room. I saw a beautiful, serene walkway, guarded by two museum guards. It looked so calming and I wanted more than anything to step into it. As the thought passed through my head, I saw people walking around on the sand and gravel inside the work of art. I knew that Oiticica’s works were interactive, but I had no idea we would be stepping inside his pieces. I felt the sand and gravel under my shoes, allowing me to forget that I was in a museum. I stopped at a wall, covered in beautifully written poems. I adored that the artist combined literature, sculptures, and even an interactive walk way for the viewer. I was encapsulated in his work. I allowed myself to enter into a different setting and focus on the feelings that flowed naturally. 

As for the narrative of the exhibit, the curators did a fantastic job at arranging his pieces in a flowing manner. It was easy for the viewer to walk through the entire exhibit and interact naturally with his piece. Each private room felt like a portal to a different world, to a completely different emotion or feeling.

The hammock room and the room filled with beds allowed the viewer to relax themselves and completely enjoy the works of art they were experiencing. The narration and placement of the art did justice to the artistic goals of Helio Oiticica. The interaction of the exhibit and allowing the viewer to feel their own emotions instead of being told exactly how to feel. There was a sense of freedom, and of confusion, but once I stopped and interacted with the work, my emotions became organized. The viewer had to accept their own emotions to experience their own organization of their own delirium.

Hélio Oiticica. When I first saw that name on our class syllabus, I had no idea who he was. I had never heard about him, never seen any of his work.

When I arrived at the Whitney Museum last Thursday, I instantly regretted that I hadn’t been exposed to him sooner.

Hélio’s work is unlike that of any other artist. It’s bold. It’s bright. It’s downright honest.

I for one, love it. There is not a piece that I saw that I didn’t connect with.

My favorite though, if I really had to choose, would be a piece entitled “Seja Marginal Seja Herói.” In English it translates to “Be an outlaw, be a hero.”

I really identify with that expression.

Growing up, I was always different from the kids around me. When I was younger, it was just that I preferred to keep to myself. Instead of going to high school parties, I would rather stay at home, sip a cup of tea, and listen to The Beatles. Now, it’s that I’m not on Instagram and that I don’t understand memes.

For a while it bothered me. It made me feel like a weirdo, like an outsider. Now, I’m actually okay with it.

Hélio’s words embody the idea that we don’t need to be like everyone else. We don’t need to have the same interests as our peers. We don’t need to agree with the popular opinion. And we most certainly don’t have to succumb to societal standards.

Being our own person is okay.

My second favorite piece would have to be Tropicália. According to the description posted nearby, Hélio meant for the massive display to allow viewers to experience his homeland of Brazil.

That it most definitely did.

Walking barefoot through the sand, climbing in to pits of tattered books, and listening to the whistles of parrots, I felt like I was being transported to another realm. I was no longer in congested little New York City but walking on a tropical beach.

The best word to describe it, would be magical.

The interactive display both helped me understand Hélio’s background and identify the influences Brazilian culture has had on his style. It also made me understand the title of the exhibition, “To Organize Delirium.”

The artwork showcased is a reflection of Hélio’s thoughts. As we are walking through the exhibit, we are quite literally exploring Hélio’s mind.

We are seeing his evolution as an artist. We are seeing his geometric designs, his architectural installations, his writing, and his films. We are seeing his thoughts. His raw, unfiltered thoughts in no particular order – making it all the more real.

At any given time and place each and every one of us has more than one thought in our heads. We’re not sitting in math class, solely thinking about the derivatives of a function. We’re thinking about what we did before class, when this class will end, and a plethora of other things.

“To Organize Delirium” showcases Hélio’s art as his thought process – a beautiful and innovative concept.

-Alyssa Motilal

The most interesting part about the Whitney Museum of American Art organization of the retrospective exhibit of the late Brazilian Artist Helio Oiticica, was not its numerous rooms of artwork but rather its title. The title, “Helio Oiticica: To Organize Delirium” speaks volumes alone about the perspective the curators had of his work. The proper definition of Delirium is an acutely disturbed state of mind. Not only were curators suggesting that Helio’s art came from a state of disturbance, they were also trying to depict to viewers that his journey and struggles inspired his abstract work. The curators of this exhibit had one purpose in mind, to organize Helio Oiticica’s art and form of expression, into an organized view for the common public to understand and comprehend.

One piece of art that really spoke to me about Helio’s intuition was the hanging art he began to create. It was said in the description of the piece that in 1959 he began to take his art on paper and transform them to suspension works from the air. His ability to take his geometrical art work from paper to space really set him apart and began to make visitors feel engaged with the 3-D work. This piece was centered in the middle of the room, meant to catch everyone’s gazing and wandering eyes. The orange color he used also acted as an offset and contrast to the white all around the room.

The second piece of artwork that spoke to me was his creation of the Tropicália. Another interactive exhibit that allowed visitors to feel the same way Helio did when he was in Brazil. From the details of the warm granulated sand beneath our toes, to the huts and tents that caught our eyes, to the sounds of the parrots that attracted our ears to the source, and finally to the Tropical smell of the entire exhibit; Helio Oiticica was able to utilize the senses of visitors to create an illusion that they were walking in the same paths he did in Brazil. By doing this he created a sense of understanding between his life story and visitors who now could not only read about it, but experience it first hand.

Overall, my experience of the Whitney Museum of American Art, as a whole, helped me to enjoy the exhibit even more. The inclusivity and interaction the Whitney Museum provides, allows for viewers to be prepared artistically for each floor. From the great rooftop views of the city skyline to the artwork displayed outside, up the stairs and on each floor really put viewers into the mindset that art is a journey and has transformative power. The overall feeling of the Museum parallels the feelings I encountered in Helio Oiticica’s Exhibit. From being invited to walk along the sand and water pits, to the hammocks and beds in the screening rooms, to the wardrobe spots where we tried on different attire, to the parrots, all the way to the simple things like being able to play a game of pool with Ron. Running into fellow classmates only made the experience that much better, to visualize and understand their perspectives enriched the entire experience.

Abishek (AJ) Johnson

“To Organize Delirium.”

Delirium, as defined by the Merriam-Webster Dictionary, is a state of frenzied excitement. Delirium has a dreamy, almost mystical ambience to its presence. And that is exactly what I felt walking through Helio Oiticica’s exhibit at the Whitney Museum on Friday morning. I felt as though I was walking through something created in a dream-like manner, but with a sharp focused eye, staying true to the exhibit’s claim of “Organizing Delirium.”

Oiticica was most definitely an artist of all trades. As filmmaker, photographer, writer and exhibition artist, Oiticica’s talents and outreach were beyond belief. His ideas and his creations crossed geographical borders (ex: Brazil to New York City and back again), political frames, and sexual boundaries. There was so much of Oiticica’s work to see and to think that someone could create so many great pieces and installations in a lifetime is incredible.

I won’t lie and proclaim that I understood every single piece that Oiticica had created in this gallery, but there were many that although I did not understand, I thoroughly enjoyed. A particular (and apparently most famous) work of Oticica’s was his TROPICALIA, an interactive and immersive display that addresses cliches regarding the idea of “tropicalness” and placing it in contrast with a TV monitor and sculptures nearby. Although the setup and the display seemed a bit ambiguous to me, Oticica’s determination to create a piece that was entirely interactive for his audience delighted me. To those who cannot entirely understand the mind of an artist, allowing those to step into said mind is almost as fulfilling a feeling as understanding the artist entirely.

The series of materials within this interactive piece were thought-provoking and intriguing. Oticicia strikes me as an eccentric man, with deliberate and intentional ideas that he expressed throughout his life. The books and the foam “blocks” were soft to the senses but a bit confusing to my mind. The visible veil hanging over this “pit of novels” and “crater of blocks” seemed to just add to the mystery.

In fact, most of the materials in this exhibit seemed to be geared towards our senses. There was the roughness of the gravel we were required to step on, the soft relief of the sand. There were the piles of leaves and the shallow pool of water we were permitted to step on. There was the tent with headphones for listening and the exhibit was a sight for the eyes itself.

My favorite work of Oiticica comes from his time spent in New York City. As a girl born and raised for all her life in New York City, this city in its great expanse has always been my greatest source of inspiration. It is a comforting friend, a mysterious lover, and the most delicate muse. Walking around The Whitney and seeing Oiticica’s work in the East Village leads me to believe that perhaps he too felt the same way about New York City.

“His artistic experimentation in New York reveals in interest in the tensions between public and private spaces, discrete artworks and immersive environments, and the artistic avant-garde and mass entertainment.”

This particular narrative on Oiticica’s time in NYC really struck me. It seems as though artists and creative souls truly become more relatable and much more easily understood when they have stood and created in the same city as you have. Thinking about his time spent here in NYC, I can see how much he lets his ideas flow freely, how he photographs people and places in the way that expresses his mind, and in the way he challenges our definitions of ourselves.

   Oiticica’s 1973, Neyrotika, which contain 80 images of male models in various states of undress, was my favorite of all of his work. Something about the expressions of the model’s faces and the composition of the photos stood out to me as brilliantly artistic. Adding to that, Oiticica’s background soundtrack of himself reciting homosexual poetry of the 19th century is brilliant and haunting- the perfect way to complement this piece.

Helio moved to challenge human beings in their views of politics, of social issues, of sexuality, of sense and of self-liberation. And although most of his work is geared towards creating a feeling in his audience, what I took away from this exhibit was his own personal breath in every piece he created. I think Helio is an incredible artist who encompassed so many ideas in his works. He is the embodiment of seven mastermind artists in just one being.

Prior to visiting the Whitney, I wanted to gather some background knowledge on who Helio Oiticica truly was so I could understand his painting and sculptures a little more thoroughly.

Born in Brazil, Helio came from a very nationalistic family. A lot of his paintings were influenced by modern (at the time) European art which I can definitely agree with after visiting his exhibit at the Whitney. Even thought Helio passed away at a very young age, he left a beautiful legacy of artwork behind him. After visiting the museum, I can infer as to why it was called a “delirium”. Genuinely, his paintings are pretty difficult to decipher because they are very abstract, and quite difficult to understand if you do not know how to interpret art. Helio created a mythical world of his own and interpreting his art was definitely a challenge.

The first painting of his that caught my eye in the exhibit was this one just because it was based on political views. “Seja marginal seja heroi” translates to “Be an outlaw… be a hero.” Helio was referring to a time where the Brazilian government became insanely oppressive eventually turning Brazil into a dictatorship government. Helio himself helped push a movement to fight against these drastic government changes.

 My interpretation of this painting is that in his eyes, if you go against the law and fight for what you believe in, and what is best for your country, you will be a hero. Of course, being a hero sometimes comes with the consequences of you getting killed for your viewpoints. 1980s Brazil was a prime time for violence. I believe this is why the background was red, initially to signify death of the people that spoke up and acted on their true beliefs.

The second part of the exhibit that I found very interesting but rather confusing, was this sculpture. In my eyes, this sculpture signifies the overall “delirium” that is being reenforced throughout the whole exhibit.Walking around, many of the paintings and sculptures I saw were so perfectly structured and organized. I think this extreme “order” that was present added to the overall madness of Helios artwork.

The different structured rectangles, all slightly different variations of shades of orange reenforces Helios concentration and madness. Personally speaking, I could not really fully understand the meaning behind this painting, if there even was one. To me, it was just very neatly designed and made you stop and think. What caught my attention was how perfectly aligned everything was. 

Overall, the exhibit showed me how many different types of artwork there could be and how many difference ways you can present art. Clearly, Helio showed that art can even be interactive! I personally enjoyed the physical paintings and sculptures rather than the interactive session, but I can totally understand why people are attracted to that area the most. I personally appreciated how much Helio connected with his roots and made several paintings and sculptures regarding the political movement of Brazil at the time.

My visit to the Whitney was definitely one that left a good impression of the art museum experience. Though the Guggenheim was fairly intriguing, I cannot say I was looking forward to spending another afternoon walking around an exhibit, trying to decipher the hidden meaning, if there was one, of famous artwork. Upon arriving and having the chance to observe the modern exterior of the museum, I could tell that the Whitney was not going to be the conventional art museum experience.

The first exhibit I spent time wondering about the significance of, the Metaesquema, Malekledrian, was a display of patterned blue squares and rectangles, with the infrequent mix of lighter shades of orange toward the center. Looking at the exhibit reminded me of one of those optical illusions I’d spent hours staring at one of my elementary school books as a kid. I drew a connection between the work and the unorthodox titling of the exhibit, “To Organize Delirium,” which I presumed, described the subtle organization of patterns of different geometric shapes, which could also appear to not contain any order at all given the uneven spacing of the figures that also pointed into opposite directions.

Aside from many of the displays that hung on the wall, or laid on a shelf protected by a thick layer of glass, several exhibits surprisingly permitted viewers to experience skin contact with textures including dry, big granule sand, pebbles, running water, as well as leaves, and other miscellaneous items such as old books, foam blocks, and a mattress. After pondering on the significance of the framed work above, and a possible interpretation of the Tropicalia, I came to a realization. As photographic or handcrafted art is subjective and aims to provoke an interpretation, interactive art serves a similar purpose, that of conveying an experience, or at least a perspective of one.

Dictionary.com defines “delirium” as a state of wild excitement, or ecstasy. As it relates to Oiticica’s participant involving artwork, I believe a connection can be drawn from the title of the exhibit, to his artistic ambitions. Walking through the Rijanviera, looking around the blank walls that separated the different water covered walkways did not offer as much insight into Oiticica’s motive, as merely paying attention to the plethora of sensations you encounter with your feet as you walk along the water to the surrounding sandbox. This exhibit highlights Oiticica’s artistic motive as being expressive of basic human senses.

A look at Oiticica’s biography suggests that he largely focused on creating artwork that escaped the limitations, or constraints of painting, while still remaining akin to the the diverse color schemes that the palette offered. One of the works in the exhibit that I thought could be considered to embody abstractionism, while retaining a vibrant color scheme was the Metaesquema, a seemingly scattered, yet completely organized display of red and orange pairs of adjacent parallelograms. Looking at the display, as well as others similar to this one including the Metaesquema Malekledrian gives the impression that Oiticica’s goal as an artist during the modern movement was to produce art that allowed observers to collect the same experience as he did during the creative process. “To Organize Delirium,” probably refers to Oiticica’s attempt to organize the perception of our senses in several exhibits, visual in this case, each offering a step into Oiticica’s conscious. 

Helio Oiticica’s exhibit was definitely an inimitable experience, that I cannot say was similar to any art museum I have had the opportunity to visit. Though his artwork is strikingly unique, given the interactive elements of several of his exhibits I was expecting to see much more provocative artwork than the geometric pieces that were on display. Even so, it is difficult not to be intrigued by Oiticica’s artwork, and its appeal to human qualities.

Ronald Osherov