Assembly of Sea Forms (1972) by Barbara Hepworth, looking through the Sea King
On this date in 1903, Barbara Hepworth was born. She is one of my favorite 20th Century sculptors, perhaps in the Top Five. Her utilization of negative space in abstract forms is always compelling, be it as punctures or concavities or even in the distance between multiple forms.
But my favorite thing to do when I see one of her punctured works is to look through the hole. Yeah, it's a bit juvenile, but I feel as if the view is part of the experience of the sculpture, as if the perceived space beyond imparts significance to the artwork itself. Perhaps the thrill that I receive comes from an identification with the sculpture, viewing the environs through the work, seeing the world as the art, if it had sentience, would see it.
And that's another point about Hepworth's work, her sculptures "feel" alive, like creatures comprised of bronze or stone. It's weird to associate personality with abstract forms, but I can't help but detect a spirit within them, like animistic totems or primitive idols.
Four Square - Walk Through (1966) by Barbara Hepworth
Recently, one of her sculptures was stolen out of a park in London, likely by scrap metal thieves. This news totally broke my heart, like a story about an innocent person being brutally murdered. I can't understand how people can look at Hepworth's art and not be able to discern their distinct personalities, their irreplaceable charm, their wit and eloquence.
Helen Frankenthaler'sAdriatic (1968) at the Norton Simon Museum'sSurface Truths exhibit
I've been feeling a bit down over the past few days, since hearing of the death of Helen Frankenthaler, one of my favorite American abstract painters. Earlier this year, I had the good fortune to view her painting, Adriatic, on numerous occasions as part of my regular visits to the Norton Simon Museum in Pasadena. I would sit down and let my mind drift into the orange clouds of the surface, following the subtle yet precise flows of color. It was always a rich aesthetic experience.
It pains me that this woman who has brought such beauty into my life has left this world.
I went over to LACMA to view her painting, Winter Hunt, to pay my respects. I prefer Adriatic, but I haven't had time to head over to the Huntington Museum, where I think it currently on view.
Detail of Winter Hunt (1958) by Helen Frankenthaler
Although it doesn't have the tranquility of Adriatic, this painting has her characteristic color play and lyrical compositional style. There's an authentic ferocity to the image, a serene savagery.
A Garden in Pasadena (Lines 39 to 48) (By John Hollander)
Flowering trees, perennial anthologies Of the outcry of color against Versions of green, calculated plots of bright shrubs Empebbled, flowers of rhetoric Blaring the brightest colors of unburning fire- All these compose themselves in evening Calm, even at noon, or soon after. When the light Has weight, and when the undimmed music Still taking place here comes to a consonant sigh, Wind roughs up the grass, and petals shake.
I know, Hollander's birthday was two days ago, but, since I visited a garden in Pasadena yesterday, it seemed like a shame to not share a snippet of his poetry in this post. ;-)
The Norton Simon Sculpture Garden has a lovely selection of works arranged around a charming pond. I could spend an afternoon relaxing in this peaceful enclave of Art.
For months, I have intended to visit the Franklin D. Murphy sculpture garden at UCLA. It was back when I was writing up my post on the works of Alexander Calder. I wanted a good photo of Button Flower, but couldn't find one. It needs to be shot from multiple directions to effectively capture the spatial relationships of the work.
"Why don't I just swing over there and snap a photo myself?" I thought. "I'm always at the Hammer. And I could use the exercise of a good long stroll."
Yeah, believe me. That's one heck of a "good long stroll." I think it's uphill both coming and going. ;-)
Well, hike accomplished and photos taken. I didn't stop with just the Calder shots, but wandered around snapping away. There are so many fine works from which to choose, but here are a few of my favorites.
Yeah, the collection is heavy on the abstracts, but that's fine by me. Even after the huge David Smith show at LACMA, I still can't get enough of these Cubi constructs.
Mark Rothko was born on this date in 1903. He is generally classified as an abstract expressionist painter, although he did not approve of such a classification. I view his work as being closer in spirit to the post-painterly work of later color field artists, such as Helen Frankenthaler. The essence of Rothko's work is the exploration of color in rectangular compositions, multiforms, and their representation of emotional or spiritual states.
To be honest, I was disdainful of Rothko's work in my youth. His paintings looked like vague blocks of random colors to my untrained eye. Certainly, some were attractive in a meaningless decorative manner. Other were obscure and ugly. But I felt no significance behind these random color globs.
Then I heard Morton Feldman's 1971 composition Rothko Chapel, inspired by titular building in which fourteen black paintings by Rothko are featured. In Feldman's music, I could feel the spiritual significance of the paintings. The drifting rhythms and indeterminate compositional style of the music captured the profound apophatic aesthetic that Rothko was expressing.
So I "got" Rothko. But I still didn't adore him. My disdain was replaced by respect, but his work was still not my thing. Then I took a trip to Washington DC. Among the things I wanted to see during this trip was Renoir'sLuncheon of the Boating Party at the Phillips Collection. The Renoir was absolutely amazing, putting me into a positive state of mind and full of aesthetic contemplation. And then I wandered into the nearby Rothko Room. In my receptive state of mind, the psychological intensity of the paintings hit me like a lightning bolt.
I felt like a new type of cognition had been opened in my mind.
The Norton Simon Museum is currently featuring an exhibit entitled "Surface Truths: Abstract Painting in the Sixties." It's an interesting study of the post-painterly abstraction, specifically in the minimalistic or color field modes. I've never been a fan of this movement. Certainly, there are a few works that capture my interest and I certainly have respect for works within this movements, but it just doesn't "speak to me."
Well, it still isn't my thing, but I feel that my ability to appreciate it has been improved by this show. The various works on display come from the Norton's vault. When the current museum took over the old Pasadena Art Museum, they inherited as part of the deal a bunch of contemporary art. Given Simon's dislike of contemporary art, that's a bit ironic.
The Pasadena Art Museum was ambitious in its acquisitions. This eventually led to the financial woes which would turn it into the Norton Simon, but it also brought in some of the finest post-painterly art of the era.
Damascus Gate I by Frank Stella, 1969
Viewing these works in context definitely enhanced appreciation. On one wall, you have this colossal Stella masterpiece of minimalism. One a nearby wall, you have this richly textured Color Field piece by Frankenthaler. You can compare the hard edge compositions with the stain work compositions. You can compare geometric structuring with organic compositions. Yet, as different as these works are in appearance, they are all very open in compositional technique. There is no obscurity or deceit here. The clarity of expression is very engaging.
Adriatic by Helen Frankenthaler (1968)
Adriatic by Helen Frankenthaler is my favorite of the show. It sealed the deal for my in my appreciation for this exhibit. When critics discuss the energy and vitality of Abstract Expressionism, the term "Dionysian" occasionally pops up. It generally means sensuous, passionate, and chaotic. For these post-painterly works, it is appropriate to use the term "Apollonian" for they are creations of reason, clarity, and order.
Frankenthaler's work is created using the soak stain technique, where the paint is applied to raw canvas. This creates a watercolor-like effect in which the paint soaks and spreads into the texture. This creates engaging halo effects and color gradations. Yet, Frankenthaler utilizes this "chaotic" effect with clarity and structure. Looking at the Downing or Stella pieces above, it's easy to see how they are "Apollonian" works. But when you see Adriatic in person and observe the deliberate "stain" placements, you can see how it too is "Apollonian."
I unexpectedly really enjoyed this show. I highly recommend checking it out.
Here's a link to the Norton Simon Museum's website.
Every summer, the Los Angeles County Museum of Art (LACMA) hosts a series of Friday jazz concerts, in partnership with our local jazz station , KKJZ 88.1 FM. To celebrate the birth date of Duke Ellington, I figured that I'd catch a live performance. Being a member of LACMA and interested in a few shows currently on exhibit, I made the trip out to the Miracle Mile.
The concert was held at the Grand Entrance. Seating was iffy, but I got a good location. Sound was passable, although the audience was full of chatterboxes. Y'know, just because it's free doesn't mean it has no value!!! The band performed two sets with a brief intermission between.
This was the first time that I have seen Denise Donatelli perform live. I don't know if this was the right venue for her. She has a warm and gentle voice and her movements are sensuous and smooth. I think she must be fantastic in a club venue, but, in the LACMA entryway, the nuances of her performance are lost in the hubbub. Nevertheless, a diamond in the ruff is still a diamond. It was a good show.
Her performance of "Don't Explain" was especially good, bringing out the pain and futility of the words with a gentle subtly. Most performances try to out-soul or out-anguish Billie Holiday, but that's a losing strategy. Donatelli instead delivers the words with a sense of comfort, smooth as honey, but there is an "aftertaste" of pain in her words. Fantastic artistry.
Since I was at LACMA, I decided to look at a few of their current exhibits. So, before and after the concert, I went scrambling around the campus looking at art. The first show that I got to see was Elizabeth Taylor in Iran.
This was a series of thirty-two photos taken in 1976 by Firooz Zahedi in pre-revolution Iran. Apparently, the original negatives were lost and these few photos were produced off a contact sheet. An interesting little show, it disproved my belief that no woman can look sexy in a chador. Of course, few women are a hot hot hot as Liz Taylor. ;-)
Here's a vid:
The second show that I visited was David Smith: Cubes and Anarchy.
Star Cage by David Smith (1950)
I'm not a big fan of Smith's work. However, this is a very interesting exhibit which has me reassessing these works. First, it shows the geometric continuity underlying Smith's aesthetic development. Second, the exhibit layout provides an easy reference between works, which enhances the viewers capacity to recognize and appreciate design nuances. Finally, with over 100 works to view, the sheer scale of the exhibit allows the viewer to get a lasting feel for Smith's artistic vision. It's a very worthwhile show, even if you're not into the subject matter.
Finally, this one took me by surprise. The Magna Carta is in Los Angeles?!!
Yeah, on loan from the Bodleian, it's in town for only a short visit (April 26 to May 5) in celebration of BritWeek. Hmm. . . Anyways, I was happy that I caught a viewing of it. This one was from 1217. I think that I've seen the 1225 version on one of my trips to the UK. Pretty cool.
Of course, I can't visit LACMA with paying a visit to Michael and Bubbles. ;-)
