Month: December 2015 (Page 2 of 2)

A presentation of outside mainstream art is being presented in Lincoln Square in the form of the abstract “Collection de l’art brut lussane” at the American Folk Art Museum. The term “art brut” refers to works that are produced by self-taught artists that detach themselves from societal norms and potential exposure when producing their pieces. According to a pamphlet that I received at the museum, art brut creators include “psychiatric hospital patients, prisoners, eccentrics, loners and outcasts”. I had the pleasure of walking through the Daniel Cowin Gallery where the display included pieces by Madge Gill, Aloise Corbaz, and Guillaume Pujolle.

The American Folk Art Museum is a relatively small space, and there are not as many spectators as you would say at the MoMA, per say. When entering the museum, I was notified that admittance was free of cost and that I would have to put all of my belongings in a locker, excluding a pencil and paper, before walking through the galleries as photography was not permitted. The wooden lockers I was directed to each came with a small laminated version of an art piece and a corresponding key tagged with an identical art piece. There were only about 40 lockers, and hardly any of them were being used when I had arrived. Already, the space felt very intimate. I felt less that I was spectating so much as I was experiencing the pieces that the museum had to offer. The environment that the museum created resulted in a very raw sensation as I was wandering through the building. The pieces were not showcased in a grandeur manner, and there was no sense of prestige. Also, none of them were named. It was as if I was experiencing each piece in the homes of the artists themselves. There was no external pressure to bask in the glory of whatever I was looking at, as I feel is often the case with large, over-populated museums. Rather, I felt a personal motivation to experience what the artist was trying to portray, which resulted in a very vulnerable reaction to the art. Whilst walking through, I decided that I wanted to focus on the Daniel Cowin Gallery, as the art work that it held resonated with me in their unique design.

The way that the “Collection de l’art brut laussane” was separated was that each gallery held art brut pieces that shared a theme. The theme of the Daniel Cowin Gallery seemed to be art brut pieces with distorted symmetry in pattern. Each piece used some form of symmetry, however, it was far from precise. The pattern that the artists were using gave off an impression of symmetry, yet every inch of the piece was unique in its color scheme, pattern, and texture. When noticing this, I felt a sense of unease from the lack of order, which may speak about a narrative that the artist was trying to convey. Perfection in aesthetic is virtually impossible as the world is not composed of straight lines and perfect circles, though society has impressed a perfect standard on beauty. Therefore, it is imperative that we rid ourselves of this standard to embrace the imperfection of ourselves and our environment, where true beauty lies. The realization of my uneasiness prompted me to question why I felt that way in the first place, to which I responded by thinking about why these pieces were making me ask this question. The subtlety of the artistic choices by each creator was very impactful.

The use of pattern and design in the gallery was very intriguing. I noticed that in most of the pieces, human beings were being portrayed in abstract forms. From a distance, without focusing on the detail of the piece, it is hard to notice any specific construct or design. Instead, a spectator is taken aback by a large, intricate pattern. However, when one focuses on very small sections of the piece, distinguished figures can be seen. In some of the pieces, there were human faces with blank expressions scattered everywhere. In others, we could see dancing women in the distance. Though the most important aspect of this pattern was that all of these figures were severely distorted. Yes, they resembled people, but resemblance is the most relative word I can use. Examples such as naked women with both breasts strewn across one arms, or people with their entire face condensed onto one-third of the head can hardly be considered realistic. However, the beauty of art brut resides in this. The outcasts that participate in art brut are creating not to maintain the standards that the world has created, but to bend lines and dent shapes into what they feel is sufficient art. When I noticed the faces that were being portrayed, I was shocked how easily they blended into the background. None of them showed any sign of emotion or expression, but simply resembled a person. I feel as though this tells a narrative about how mundane actions results in the individual blending into their back ground, as opposed to standing out from it.

Overall, I feel as though the American Folk Art Museum has chosen to present a collection of artwork that suits its environment. The artwork itself is rather impactful, and the ambiance that the museum produces through its intimate setting only adds to the experience of the spectator. I quite enjoy how the physical museum incorporates into the experience of art that was produced before its time. It as though the past and present come to blend with each other to create an entirely unique experience altogether. Personally, I feel as though this visit has been one of the more fruitful museum excursions of my life time, and I would definitely recommend a visit to my peers.

As I walked through the Metropolitan Museum of Art, gaping at gargantuan sculptures and carvings from Southern and Eastern Asia, I had an urge to head, once again, to the European art exhibit. As I passed through many lively works of landscapes, biblical imagery, and portraits, the group of paintings that made me halt to a stop was Peter Paul Ruben’s exhibition. Indeed, this is the central characteristic of Ruben’s work, his figures seem as though they were imbued with life and emotion the moment his brush touched a canvas.

Particularly striking was the Flemish painter’s Wolf and Fox Hunt ca. 1615-21. The oil painting creates a vibrant, violent situation that engenders the viewer’s appreciative awe, yet hesitance in approaching it because of its realism. In addition, the painting’s vast proportions, at 8 feet by 12.3 feet, truly took me into a moment of historical fantasy, as if I was actually within the work of art itself. The immediate focus of Ruben’s Wolf and Fox Hunt for me was the clash of the point of a spear with the teeth of a snarling wolf. Amongst all the impending thrusts of more spears and the frightened trampling of two horses, the central conflict in the heat of the moment is the grind of teeth and the metal. The standing wolf, seems to embody human qualities, as it defies his own imminent death by attempting to grab the spear and break it with its canines. Although diminutive compared to its surrounding opponents, its venomous, infuriated demeanor, and serpentine twist of the body produces a violent aura I have never seen prior in paintings.

The unfolding battle also produces a sense of sympathy for the victims: the wolves and the foxes. The united force of animals inevitably face death as they are surrounded by an onslaught of merciless hunters. A man’s head within the center of the violence blows a trumpet as if to highlight the moment as a sacrificial ritual. The second wolf that staggers besides its companion, anticipates the sudden mauling by two dogs. It is as if it is trying to protect the corpse of a dead comrade. Another feeling of empathy gained from this piece is when an injured fox tries futilely to prevent one of the horses from moving by grabbing at its hoof with one paw. The overall actions by the animals and the hunters cannot help but produce a sense of courage and unfortunate sadness that befalls them.

Ruben’s piece is also intriguing because the skirmish within the painting happened in a cleared landscape. It is unusual that such predatory creatures would be subject to a brutal ambush as depicted in the scene. In addition, the ground shifts from barren soil to the green of the grass and forest into the far distance. The angle of the battle in which it was painted at also plays an important role for the viewer. The cloudy sky fills up more than half of the background, which produces an illusion that the figures are bigger than normal, thus further making the situation more life-like. Although Rubens painted this work during the early 17^th century, the positioning of the white horse uncannily resembles the well-known revolutionary imagery of Napoleon or that of George Washington on their white stallions. The colors that Ruben uses also creates a conspicuous division of tones at the center of the painting. On the right side contains the majestic white horse with its rider that attempts to “purify” the darker toned “evils” or the foxes and wolves located on the left side.

Another one of Ruben’s paintings that seized my attention was his A Forest at Dawn with a Deer Hunt ca 1635. At first I thought the image was a pitch black night scene because of the dimly lit exhibition room, but as I moved closer I began to see a faint light of a sunset between two twisted trunks, and the intricately painted branches of trees. As I analyzed the shadowy forest ground, it soon became decorated with many dried leaves, and a few frolicking deer appeared. The entire painting soon embodied a sense of a change in light and darkness, which is prevalent in many of Ruben’s works. It also symbolized a cycle of life and death or growth and decay in that the dying leaves would provide nourishment for the surrounding soil and further benefit the ecosystem. The change in sunlight also presents a renewal of daily life after darkness fades.

Many of Ruben’s other works also contained the motif of forest backgrounds, as well as light contrasting with darkness to draw the viewer’s eyes to various portions of his paintings with one glance. The clothing that he painted flowed and wrinkled on the individuals’ bodies. Other paintings also contained references to Roman mythology, such as with the goddess Venus, and Christianity. The figures within these works displayed life-like gestures and poses. What struck me as fascinating was Ruben’s exhaustive work on his figures’ hands. They seemed well in sync with each character’s persona due to the differentiated tones and texture of their skin.

Ruben’s masterpieces entice the viewer to turn their heads immediately after glimpsing the work within their peripheral vision. As you approach some of his pieces you begin to see life-like representations, the spirit of his art, and the figures that suddenly appear as though they were summoned by our own imagination. He presents mythical or unusual situations that allows the viewer to ponder deeply. Most of all, some pieces of his work seem to send a more personal message to the audience for them to formulate through the symbols and actions he portrays. There is no doubt that his artistic vision and legacy will shape you as you come across his canvases.