Berlinische Galerie in Berlin

I highly recommend visiting the Berlinische Galerie the next time you are in Berlin. There is an excellent collection of art there which was made in Berlin as well as many great contemporary artists on view. The museum had many artists working in site specific installation which is one of my personal favorites. We are so accustomed to entering an art institution and walking past rows upon rows of two-dimensional artworks that we often forget about the space which exists beyond the flat surface of the gallery walls. It is a wonderful decision when a curator chooses to engage viewers with the actual space of the gallery or museum,  so that people can walk around, through or on top of artworks. This method of display helps to break us out of the redundant viewing experience one can have when wandering through room upon room of images hung on the walls. For some reason, installation engages me in a way that gives my viewing experience a little pep, and I have found that my energy level increases, making the rest of my trip through the museum a little less tiring. 

Berlinische Galerie, Berlin

On view was the exhibition "Art in Berlin 1880-1980", in which all of the artworks are part of the permanent collection of the Berlinische Galerie. The show was arranged chronologically and included artworks from multiple movements which I find fascinating in the history of art. They included, but were not limited to: Secessionists, Avant-Garde, November Group, Dada, New Objectivity, Postwar Surrealism, Abstraction, Postwar Architecture, and New Figuration. 

Hannah Höch & Dadaist Propaganda

George Grosz / John Heartfield "The Conformist Turned Wild", Electro-mechanical Tatlin Sculpture, 1920

John Heartfield and Rudolf Schlichter, "Prussian Archangel", 1920


I was surprised to see the installation of this piece, which I believe is a re-construction of the original, to be very close to its initial means of display at the First International Dada Fair in 1920. 

The rest of the exhibition was lengthy, and I spent an hour and a half navigating the multiple rooms. 

The lower level of the museum contained works by contemporary artists, some of which I found quite stimulating. In the first room you enter after showing your ticket to the guard, there were five trees hanging from rotating axles which were suspended between the gallery walls. It is by far, one of my all time favorite installations by Michael Sailstorfer, the recipient of the  Vattenfall Contemporary 2012 entitled Forst. 

Watch Video of "Forst"

   

Watch the Movie About the Installation Process

Watching Forst in motion, was akin to watching the waves hit the beach, or leaves caught in the wind because each time the trees rotated on their axis, the level of movement and sound was different. Below each tree, bits of branches and leaves formed concentric circles, and spirals as the trees deteriorated within the gallery walls. The effect was sensational and romantic within the confines of the white cube, and I derived as much pleasure from the installation as from watching other viewers interact with the work and observe it. I had a child-like grin plastered on my cheeks when I noticed the museum guard staring at one of the trees as if he was in a trance. I am so pleased with an installation when an artist shows us there is more to artwork and our experience outside of a gallery than flat two dimensional paintings or photographs. Works like Sailstorfer's Forst, help us to re-imagine what we  believe should or should not be displayed in a museum. Is it art in the traditional sense-no, but did it put a smile on my face and inspire me? Yes, and because of that, I feel that something qualifies as art when it has an effect on my state of being; when an artwork sparks my interest or challenges my belief system I am suddenly engaged and I leave the gallery fulfilled.

New York City Art Fairs: Armory Week 2012

I just remembered I never posted about my week-long trip to New York for a pan-continential art excursion. I was searching for inspiration and I feel it is necessary to see all the new artists being included in the fairs these days. There was no lack of options to fulfill the needs of either I or my mother, who joined me on my quest.

Our first stop was Pier 92, part of the Armory Show that focused on Modern Art. There was no shortage of abstract expressionism and representational paintings, paintings, paintings. Of course, the Modern period, would not be complete without several fantastic Louise Nevelsons to adore. How I cherish her! I was also fortunate enough to see one of her miniature works in the home of a friend. He had casually placed it on top of his stereo receiver. I will have to remember to take a photo of it next time I visit.

Louise Nevelson

After Pier 92, we headed for Pier 94. The contemporary section of fairs are usually my forte and please me the most. Sadly, I was dissapointed. It may have been because we were there for the VIP opening day- It was remarkably crowded. I was also let down by the Nordic section of the fair. I felt I was stepping over piles of posters, books and navigating my way through hanging fabrics and lightbulbs. Was it just me or did it seem that all of the galleries had brought work that had been curated by the same person? My mother did manage to leave with a roll of toilet paper printed with the word ANGST in red lettering. And I escaped with a pen that says something about "pay attention to poetry".. Who really knows at this point. My suitcase is still packed with tear sheets and flyers indicating dates for upcoming shows, and artist resumes.

My favorite fair was the Independent located in a quaint building in Chelsea. The building was at least three stories tall and viewers were required to climb a very steep and narrow stairway if they were not patient enough to wait for the elevator which was the side of a small public restroom stall. The layout of the Independent was a nice change to the grid pattern booths of temporary walls we so commonly see at massive art fairs. Instead, each gallery was allocated an area or corner on each level. This method of display allowed viewers to meander through and around artworks and between booths without feeling like they have to greet everyone who is patiently waiting for a sale.

For me, the gems of the fair were a series of small white on white paintings by Sam Windett which I absolutely adored but were already sold!!!

I really enjoyed Scope, it was a manageable size and had many artists that were playing with

Under The Sun (white on white), 2012Oil on canvas, 62x43cm

I really enjoyed Scope, it was a manageable size and had many artists that were playing with installation and and a variety of media as opposed to strictly painting. There were however, some galleries and "wanna-be galleries" I felt lowered the quality of the the fair as a whole.

By chance, as I was attempting to navigate my way out of Scope, I got trapped in a corridor of mirrors and a young woman made eye-contact with me and herded me towards a door in what appeared to be a wall. She asked me "Do you want to go in?" I agreed, as I have learned to do when attending art events, although I had no idea what I was agreeing to. Sometimes, it is not something I would like to see or in the worse case scenario it can be a performance piece I would not like to participate in (yes, this has happened on one or two occasions). I walked in to find a mirrored room, full of trophies. I must say I am a big enthusiast for site specific installation. This one was by Kenton Parker. You can read about the piece by clicking the hyperlink below.  Interesting effect, and yes, it has been done before in way more interesting ways, but it did make for a good instagram photo. 

Infinity Trophy Room | A installation from Kenton Parker on view at the entry to Scope New York | March 7 – 11, 2012

Ace Gallery- Los Angeles, Opening Reception for Carl Andre, Ed Moses, Mary Corse, John Millei: Review

Last weekend I attended the opening reception at Ace Gallery with some gallery associates to see what we thought would be a show of Carl Andre's work. Having written my senior thesis at Berkeley on Ana Mendieta, I was curious to see some of his work-with the intention of walking all over it with my boots. After we entered a crowded entryway and managed to maneuver the old-school elevator we walked into a gallery space which soon revealed itself as a cacophonous vault of nooks and crannies jammed full of art and the art-elite on-lookers of Los Angeles. 

It is important to note, that although we received invitations to Carl Andre's opening, we also received separate e-vites for shows of the other artists mentioned in this review. Well played ACE- you tricked me into believing I would be able to see more than one Andre work in one place. 

 

John Millei 

Ace Los Angeles is more than a gallery; it is a museum space. There are multiple rooms and hallways, each with small chapel-like rooms that were each filled with smaller works by John Millei. Although the paintings were efectively executed and were curated well, we could not get past how Willhelm de Kooning they were in their rendering of women. Also, my assistant felt torn between Picasso and de Kooning. There is nothing more annoying than a derivative work, especially when there is so much of it.

Carl Andre

Carl Andre's installation of Rise however, lived up to our expectations and left us wanting more. Each panel was slightly displaced from it's surrounding pieces so that a sense of disorder was injected into a piece that appears at first to be completely homogeneous in design. Gallery attendees were allowed to walk behind the wall and find that the metal continued onto the floor in large L-shapes. The pieces were tall enough so that people looking at the work from the front could not see who was behind. The work speaks to Andre's interest in utilizing materials of the common laborer and mass produced industrial objects. We were in awe.

 

Ed Moses

We did not feel the same however about the endless work of Ed Moses which seemed to be caving in on us in all directions. Although I have never understood his work, this time I felt a strong aversion to the ceaseless rendering of shapes and colors I can never separate from textile designs. Don't get me wrong; I love fabric, but everything just seemed to look so tacky after experiencing the minimalist bliss of Andre's work. The rest of the night I felt like I was running from garage sale militants because my husband commented that the work reminds him of camouflage. He hates camouflage and always has. Moses' work will never look the same to me again. Nonetheless, it would have been a shame if in the crowded hallways of Ace someone were to spill their wine on one of the works while trying to squeeze past the crowds- or would it?

 

Mary Corse

The unexpected star of the show turned out to be Mary Corse, with her white-on-white glass bead paintings. Upon entering the room, my husband warned us that he found this room to be "extremely boring". Of course that got my attention, but after years of examining images everyday I have become a true fan of white-on-white works. Maybe it is because they offer a sense of space and clarity in my visual world. Each work appeared to be identical at first look. After spending a great deal of time in front of one piece, we began to notice differences in the strokes that shone through the glass beads. The works look different from each angle and in different light. How I would love to see one of these at home, as my orange curtains cast their pinkish glow upon my room in the morning. I can really appreciate a work that tricks my eye as I pass it, or appears totally new with each hour of the day. Also, in the past I have found that the use of these glass beads on a surface of a work can make a piece appear rather tacky and cheap. Finally, an artist has employed these beads as a medium of their own, allowing light to play freely across thier surface so that the viewer is drawn in. I love art that makes me want to understand it, yet is smart enough to deceive my understanding.

The Edge of Collapse-A Photographic Opus by John Reiff Williams at Thomas Paul Fine Art

I was recently promoted to Associate Director at Thomas Paul Fine Art in Los Angeles. Here is the first press release for the   show of an emerging artist which opens next week at our gallery. 

Los Angeles, CA– February 4, 2012 thru March 17, 2012– Thomas Paul Fine Art proudly presents the photographic work of John Reiff Williams in the upcoming show: The Edge of Collapse.

The gallery will debut fifty-four photographs by Williams which challenge our understandi ng of what the photographic medium is and what it is not. Williams’ work presents us with photographic observations of humanity that covey a visceral emotional resonance to the viewer. Focusing on social settings such as La Jolla Beach or Hollywood Boulevard, and Mexico City, Williams’ work explores the shifting perspectives occurring in-between the frozen moments photography was created to capture. Through his unique use of digital exploration, mutations and interpretations, Williams reveals the motion, activity and chaos that we all experience in our ever accelerating world.

In his photographs, Williams’ is on a constant search for what he does not know, and part of his search relies on the chance discovery of a recombination of elements through continuous play. This search reveals images to us which engage our curiosity and explore realms beyond the photographic quest for perfection and specific clarity. Williams’ process relies on a dynamic sense of flux existing between the world and its inhabitants. He extracts his subjects from a society in perpetual motion but responds with a camera and point of view that is also in motion and ever-changing. This technique of employing chance draws from a palette of gesture, motion, shape and time to piece together and redefine the sculptural qualities of form and color. This approach provides his viewer with portraits and images-through-time, which act as multidimensional reveals of our everyday life.

His photographic remnants of our society become both discoveries of catastrophe and the coalescence of memory and motion. Acting as photographic combines of time, space and gesture, the work presents us with a depiction of our world that is both new in form and familiar in spirit. Each image invokes a subjective relationship between the viewer and Williams’ cues and glimpses into our societal experience. His work is not about the documentation of objects, capturing frozen moments, or bombarding his viewer with literal figurative details. Instead, Williams creates images which are evocative of questions, which reflect our collective dreams, fears and imaginations, and which allude to something inexplicable. They are explorations of a world in the midst of exploring itself—they are images of our world on the edge of collapse.

Williams studied closely under Jack Welpott and Don Worth at SF State and worked closely with Ruth Bernhard in portfolio production and as a teaching assistant to Al Weber during the early stages of his career. While on full scholarship at USC, Williams also taught photography as part of his curriculum. Williams’ work has been reproduced in various publications including Flatiron: A Photographic History of the World's First Steel Frame Skyscraper, 1901-1990.

Opening night for Edge of Collapse is Saturday February 4th 2012, 6-9pm.

Thomas Paul Fine Art is located at 7270 Beverly Blvd, Los Angeles, CA 90036.