I had the great pleasure to see the magnificent movie, "Monk With A Camera". Seeing Nicolas Vreeland's spiritual journey was inspiring in this intimate and honest documentary.
Nicky with the Dalai Lama
Nicholas Vreeland walked away from a worldly life of privilege to become
a Tibetan Buddhist monk. Grandson of legendary Vogue editor, Diana
Vreeland, and trained by Irving Penn to become a photographer, Nicholas'
life changed drastically upon meeting a Tibetan master, one of the
teachers of the Dalai Lama. Soon thereafter, he gave up his glamorous
life to live in a monastery in India, where he studied Buddhism for
fourteen years. In an ironic twist of fate, Nicholas went back to
photography to help his fellow monks rebuild their monastery. Recently,
the Dalai Lama appointed Nicholas as Abbot of the monastery, making him
the first Westerner in Tibetan Buddhist history, to attain such a highly
Louise BourgeoisLEGS 2001
76 x 34 x 22 1/2 inches
193 x 86.4 x 57.2 centimeters
I am most interested
in mature artists making great works throughout their careers and especially in
their later years.Often artist’s work
can be considered better as they evolve.
The recent showLouise Bourgeois: Suspension at Cheim & Read(October
30, 2014 - January 10, 2015) is a fine example of
greatness in later years. Many of the art works found in this show were created
when Bourgeois was 91 years young.
The sculptures in
this magnificent exhibition all hang from the ceiling. Along with a group of
drawings from the 1940s, in which pendulous forms are delineated in black ink,
the selection of works traces the theme of suspension throughout Bourgeois’s
long career. Spanning more than forty-five years – from the organic Lair forms
of the early 1960s and the Janus series of 1968, to the cloth figures of the
1990s, the hanging heads of the 2000s, and the torqued spirals of shining
aluminum made in the last years of Bourgeois’s life – they demonstrate the
myriad ways in which she approached material, form, and scale.
Most interesting is
her explanation and approach to the works. For Bourgeois, the sculptures’
suspension is an expression of the psyche; as she stated: “Horizontality is a
desire to give up, to sleep. Verticality is an attempt to escape. Hanging and
floating are states of ambivalence.” In
psychology, ambivalence refers to conflicting but coexisting feelings for the
same person, place, or event.
I found the hanging
pieces and the installation very playful and humorous in spite of the artist’s
serious references. The technical execution of each sculpture is absolutely beautiful.
It was truly a
wonderful moment with a great artist, Louise Bourgeois (1911-2010).
Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937
March 13-September 1, 2014
I saw the exhibition this week and was speechless. I saw some of the greatest works by the most prominent artists in art history. The show at the Neue Galerie is truly a gift to the NYC.
On March 13, 2014 Neue Galerie New York opened the exhibition
"Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937." This is the first major U.S. museum exhibition devoted to the infamous
display of modern art by the Nazis since the 1991 presentation at the
Los Angeles County Museum of Art.
The term "degenerate" was adopted by the National Socialist regime as
part of its campaign against modern art. Many works branded as such by
the Nazis were seized from museums and private collections. Following
the showing on these works in a three-year traveling exhibition that
criss-crossed Germany and Austria, most were sold, lost, or presumed
destroyed. In this light, the recent discovery in Munich of the Gurlitt
trove of such artwork has attracted considerable attention. The film
"The Monuments Men,"directed by George Clooney, is about this amazing moment in history and shows the growing interest in the subject.
Highlights of the show include a number of works shown in Munich in the summer of 1937, such as Max Beckmann's Cattle in a Barn (1933); George Grosz's Portrait of Max Hermann-Neisse(1925); Erich Heckel's Barbershop (1913); Ernst Ludwig Kirchner's Winter Landscape in Moonlight (1919), The Brücke-Artists (1926/27); Paul Klee's The Angler (1921), The Twittering Machine (1922), and Ghost Chamber with the Tall Door (1925); Oskar Kokoschka's The Duchess of Montesquiou-Fezensac (1910); Ewald Mataré's Lurking Cat (1928); Karel Niestrath's Hungry Girl (1925); Emil Nolde's Still-Life with Wooden Figure (1911), Red-Haired Girl (1919), and Milk Cows (1913); Christian Rohlf's The Towers of Soest (ca. 1916) and Acrobats (ca. 1916); Karl Schmidt-Rottluff's Pharisees (1912); and Lasar Segall's The Eternal Wanderers (1919), among others.
The Neue Galerie exhibition is accompanied by a fully-illustrated
catalogue published by Prestel Verlag.
Neue Galerie New York
Museum for German and Austrian Art
1048 Fifth Avenue
New York, NY 10028
“Liberty Between the Towers” photograph by Paula Barr
New York – Paula Barr, a world-renown photographer known for her
images of iconic New York, has licensed Collection 18 to reproduce two
of her images of the World Trade Center on a silk scarves to be sold
exclusively at the 9/11 Memorial Museum Retail Store.
“Lunchtime on the WTC Plaza” photograph by Paula Barr
Barr was commissioned by the Port Authority of New York and New
Jersey in the late 1980s to photograph the most important images of New
York City, which included the World Trade Center, The Empire State
Building, The Statue of Liberty, The Bridges of New York, and more.
The first scarf is based upon a color photograph titled, “Liberty
Between the Towers,” which Barr shot from an abandoned pier to capture
Lady Liberty centered between the two World Trade Towers. It shows the
skyline of the city on a beautiful day. The second print on a scarf is a
black and white photograph called, “Lunchtime on the WTC Plaza,”
depicting visitors and workers gathering on the World Trade Center’s
plaza in 1986.
The scarves will retail for $95 and will be sold at the 9/11 Memorial
Retail Store at the 9/11 Memorial Museum, which opens May 21. The
scarves will also be available at www.911memorial.org/catalog.
This scarf is a Paula Barr panoramic
photograph, entitled "Liberty Between the Towers". The skyline image was
taken from an abandoned pier in New Jersey in order to capture Lady
Liberty precisely between the Twin Towers on a beautiful day. The 100%
silk scarf measures 22 x 72 inches.
This scarf features Paula Barr's panoramic
photograph, entitled "Lunchtime on the WTC Plaza," of downtown workers
and visitors gathering on the World Trade Center's plaza, which
sometimes served as a public space for concerts and other outdoor
programs. The vast scale of the Twin Towers, the reflective surfaces
and striking gothic arches created by the steel tridents inspired
photographers to depict them from every perspective. Two tridents
recovered from the North Tower now stand in the Museum Pavilion. The
100% silk scarf measures 22 x 72 inches.
to purchase the exclusive Paula Barr 9/11 scarves click here