I can truly respect the idea of merging art and science together. I love the idea! In our Arts Seminar, we are always discussing art that makes us think, so if science can’t make that happen, I’m not sure what can!

Shane Hope has created a hollogram-like experience with photographs that presents them as three-dimensional objects. On a wall within the gallery, there is a grid of 160 squares that are all a part of this intricate machine. In addition, there are homemade machines in the gallery called RepRaps. These machines are on wheels, and they produce three-dimensional representations of objects scanned by it. Basically (which is a poor word choice, considering the perplexing complexity of these machines), these machines are all assembled by the same parts and one machine could potentially be turned into one of the other ones in a “Matrix” style. His exhibition is called “Transubstrational: as a Smart Matter of Nanofacture,” which clearly doesn’t hide its inclusion of technology in this artsy experience.

Since the piece can be assembled in many different ways, it requires human interaction in a certain way, which adds an entirely new side to art in my opinion. I think that he really has a unique experience to offer (and not just because his name is Shane) in that when you look and analyze each piece, it teases one side of the brain that’s saying, “This piece is technically the same as the other one, because it’s composed of the same pieces.”  Honestly, I would demand a demonstration, because quite frankly, I’d have a hard time grasping the idea when it’s right in front of me.

I believe that the moment we start to incorporate technology and new inventions into art, it’s a clear sign that art is moving forward and in sync with interests of the current decade. Notice how the word “growth” wasn’t used here, because I would argue that it may not necessarily be growth, as we talked about in class. However, I would argue that art has to keep the general public’s interest, just like other forms of art. I think artists like Shane encourage others to push the limits even further.

Knoedler & Co., in the upper east side, announced suddenly this week on Wednesday that it will be closing down due to financial shakiness from the recession and troublesome economy. It’s unfortunate that this gallery is no longer open, because it has quite an interesting history. It opened its doors 165 years ago at a time when major museums and galleries were not prevalent in New York CIty. Not only did it become filled with significant artwork, but also it inspired the tastes and styles of homes here in New York. However, it’s not surprising to me that the corrupt business world may have played a significant role in the shut-down of Knoedler. Apparently, one day before the closing, Knoedler was sued by a man in London for selling him a possibly forged work of art for 17 million dollars! Now was this shut-down a response to this act? I’d vote “yes,” but it’s definitely too early to be making those kinds of calls at this point.

It’s too soon to know what will happen to the valuable art pieces, photographs, letters, etc., but it is a major concern, because these are pieces that date back as far as 1863. The Knoedler Gallery has occupied many homes in the past (somewhere around 13) and has helped shape the American art world. Therefore, it’s relevant to everything we’ve studied and analyzed in our Arts Seminar Class, because art may not have developed the way it has if early art galleries in New York had not progressed and persevered through hard economic times just as Knoedler has. The article I’ve provided contains more on the details of the close, but I just want to inform everyone of the significant shut down of a well-known and much-appreciated art gallery. I only wish I had gotten a chance to visit!

Beating out sculptor Karla Black, Martin Boyce was awarded the Turner Prize for the entry of his piece, “Do Words Gave Voices.” Apparently, the piece is an interior space that he designed with geometric, aluminum leaves on trees all around a long desk. I’ll get back to the design in a moment, but I want to take this time to discuss the award itself. It’s a fairly new award; it was started in 1984 by the landscape artist, J.M.W. Turner, who it was clearly named after. I’ve been thinking about the meaning of this award. I’m sure it was created to encourage the innovation and creativity in the art world, but I’m wondering how they decide what is the most “creative.” I’m sure there are many requirements that need to be checked off as a work is analyzed, but this is often my problem with the analysis of art. It’s simply a matter of opinion. It’s just left up to the judges that are “experienced” in art to judge and make the final decision.

Now, I’d like to offer my two cents on his work of art as an interior designer to be (as if I’m as qualified as the prestigious set of  judges). First of all, I’d have to establish which area of art I’m critiquing; clearly, this contest is for modern artist with abstract creations. I appreciated his work from the picture that I was able to view online, but I wish I had more angles to see from. Judging from what I saw, it came off very clean and thought out. However, in judging such abstract art like this, I feel that the story behind it is almost more important than the actual art, because anyone can technically throw some geometric shapes in a room. I feel that when something is thought out and executed well abstractly, it deserves some recognition! In the art world however, an artist’s recognition should be awarded with money so that the artist can proceed in his work. The average starving artist still has to pay the bills in order to maintain the innovation for art’s future. So I say “Congratulations!” to Martin Boyce, and I’ll support his work to come… if I approve of course! Just kidding. Click on the picture to view the article!

From the beginning, I knew it was going to be a great MOMA trip for me when I read that DeKooning created his paintings as decor for interiors, because I’m always looking for a stylish piece of art to cover a wall! However, while it is true that I was interested in the interior design aspect, this also allowed me to appreciate DeKooning’s transformation from that time to his future as an artist  even more so, because it inspired me and my future as an artist of sorts.

The first thing I noticed when I walked into any room of his gallery is the color schemes that he used. Each painting had its own story going on just through color alone! Clearly, they had much more to offer, but the fact that the color had such an immediate effect sets the scene for the other elements perfectly. It also helped that I checked out the telephone-like device that speaks to you about the piece that you are viewing, because I was able to really analyze the piece as I looked at it, instead of reading and looking and reading and then looking again. A museum visit is a different experience with that device, and I recommend it! The only downfall is that it only touches on certain works, but I say enjoy it on the ones you’re able to!

I want to point out one of my favorite pieces: “Easter Monday.”  This is one of his pieces that refers to an urban landscape, which makes sense, given that he was living in the NYC. I read (well, listened actually) about how he wanted to portray the destruction of buildings and empty lots that he saw. I definitely saw it right after that lady’s voice told me! This is also a piece that was painted on newspapers to keep it wet, and when DeKooning came to work on it the next day, the newsprint showed through, and he loved how it looked! And so did I! If you look really closely at the picture I’ve provided, you can see it. It’s much more apparent in person at the gallery. Look closely at the bottom right of the painting! Enjoy!

“He prefers to think of them not as art objects but as “confusion machines” -Randy Kennedy of the NY Times.

In the lower east-side, there’s a new museum that has opened up, designed by Carsten Höller. His style and views fit in nicely with a discussion we had as a class regarding art that makes you think. Is it even art? Or is it just science? We decided that it was, indeed, art, but this museum seems to take it a step further. Not only do you have to sign a waiver before entering this museum, but the exhibits seem to require a lot of human participation and interaction. Now some people might say, “If I’m going to be the art, I can simply avoid the museum entrance fee and just go home to my mirror.” However, there is something about being in a museum space that is designed for art that can make even a human seem like a piece of art. There’s something about lying in a tank of water with the temperature of human skin with nude strangers that makes someone feel like he is becoming the art and experiencing it with other people. Is that at the same level as looking in the mirror? I wouldn’t say so.

In the Bronx, Edgar Allen Poe owned a cottage about 160 years ago that has been under a $500,000 renovation. I wanted to let others know that it may be opening up again sometime soon, and I know I’ll be one of the first in line to visit. Perhaps by the 31st?

There’s always something very intriguing, yet spooky, about visiting the dwellings of major figures of the past, especially those owned by the author of “The Raven” and “The Fall of the House of Usher.” When I pay a visit, I focus on two major aspects: the interior design and the owner’s history. Naturally, the design catches my attention for I take quite an interest in interior design, so seeing how taste and color choices have evolved is right up my alley. I believe that the curtains, woodgrain of the floor, rugs, and kitchen setup can say a lot about a person, granted it is my first job to find out whether an interior decorator was hired, because that would interrupt my conclusions.

This leads me right into the owner’s history factor. As I learn more about the owner of the house, I can start to see why they would have certain pieces of furniture in a certain room or why they preferred to have a desk in the living room as opposed to the study. Maybe the location of writing was preferred there? Maybe there was something in the study that annoyed the writer? Poe wrote two poems that we know of in this cottage: “The Bells” and “Annabel Lee,” and the article says more.

Of course, on a basic level, it’s always a joy to be able to say, “I walked on the same floor that Edgar Allen Poe walked on!” But that’s stooping to a level that I try not to amuse too much; quite déclassé in my opinion… Just kidding! Who doesn’t love that aspect?!

Want to learn more? Just click on the picture of Poe’s Cottage!

As part of my first trip to the Met, I was able to explore two exhibits that, surprisingly, had much in common. The first, of course, was the Frans Hals exhibit. I found it fascinating how most of the ladies and gentlemen in the portraits were previously lower class. The piece that comes to mind is the portrait of the man who may have been named “Nicolaes Pietersz Duyst van Voorhout.”                                                                                                                                                  

            Apparently, he owned a brewery, which doesn’t seem like the kind of position that would need to be remembered through a portrait, and that, in my opinion, is the beauty of it! The fact that he wasn’t a king created a shift in societal norms that is refreshing. As I walked through the “Hals Hall,” I enjoyed the fact that these people were simply common. Because of this, a viewer is able to appreciate the true elements of the painting, rather than worshipping the subject of the painting. One of the aspects was clothing. Our tour guide informed us that Haarlem was known for its use of different textiles and fabrics and knowing this explained why Hals used such detail on clothing. 

After visiting the Hals Exhibit, I paid my next visit to the Lehman Collection, which is now one of my favorites! From the moment I stepped into it, I felt like I was inside a dainty apartment going from room to room. It contained paintings from around the 14th century all the way to the 20th century! Compared to the Hals Exhibit, most of the pieces, with the exception of the portraits, were more colorful and seemed livelier. Although it’s difficult to compare because the Lehman Collection is so large and contains pieces from many centuries, I thought that the portraits of the Lehman Collection were similar to Hals’ style through the detail and color schemes. One of the pieces that stood out to me far above the others was “Masqueraders” by Madrazo of 1875. The minute I spotted this one, it stood out because of the “realness” factor. If you look at the maiden’s fair skin, it looks as if you could reach out and stroke it. And the fact that her coat is lying in a chair next to her creates a very natural feel. Overall, when I am to return to the Met, I can see myself revisiting the Lehman Collection, whereas the Hals Exhibit was more of a one-time appreciation for me. I look forward to see where my wandering eye takes me in my visits to come.