dissonance and abstraction

At the NOMA's (New Orleans Museum of Art) bookstore, I came upon another treasure for a few dollars. My latest find is a book titled Schoenberg, Kandinsky , and the Blue Rider, published for the exhibition of the same name which took place at the Jewish Museum in NYC from October 24, 2003 till February 12, 2004.

Paintings from Arnold Schoenberg, Wassily Kandinsky and artists from the Blue Rider were exposed together, recreating the group's exhibitions before WWI.

One century ago, the 2Nd of January 1911, new compositions from Schoenberg were played in Munich. In the audience, Kandinsky and Franz Marc were listening...and Kandinsky was drawing. At the time, he was exploring synaesthesia ( the idea that senses were interrelated) and translated the music with colors in Composition III.

The 2Nd of January was followed by a fruitful relationship between the painter and the composer, who first exchanged letters and eventually met.

Along the five essays written by different authors, the reader will learn about the birth of abstraction in that part of the world, the personal lives of Schoenberg and Kandinsky and their inspirations.
Schoenberg himself was a painter. Trained by Gerstl, he was selling portraits at times to supplement his income. He produced oils and drawings for several years before WWI and after a few exhibitions decided that he was just an amateur. He concentrated on his musical career. Kandinsky was an admirer of his works and was painting the music of Schoenberg , who brought discordance, generating energy, creating thoughts, movements. A new era was born: abstraction and dissonance.

The book also describes the birth of the Blue Rider movement, its first exhibition and the publication of the Almanac.

The intellectual effervescence of the time and place was abruptly interrupted by four years of a brutish war. Franz Marc joined the Imperial Army and was killed in 1916, Kandinsky moved back to Russia and Schoenberg to Austria where shortly after the war, he was exposed to the anti- Jewish atmosphere. He moved to the States and Kandinsky eventually to Paris.

The two artists exchanges were very fertile. The book is a testimony to this. Each chapter addresses a different aspect of the relationship and its lasting influence on the art in the 20Th century, bringing a synergy, a simultaneous musical and visual revolution.

The book includes 61 plates reproducing the works presented at the exhibition in NYC, a detailed biography of Schoenberg and Kandinsky, numerous references, and a CD with the entire pieces played at the concert the 2Nd of January 1911, including Second String Quartet in F-Sharp Minor, op.10, Three Piano Pieces, 0p 11, Lieder, opp. 2 and 6.

The Centre Pompidou had a major retrospective of Kandinsky's works in 2009.
Schoenberg's concert? I listened to the recording and discovered that I could see colors too.

Link to the recording of one of the "Three Piano Pieces, op.11" played that evening in Munich

http://www.youtube.com/watch?v=xrjg3jzP2uI
1."Der Blue Rider", Kandinsky, 1903

2."Composition VII", 1913

3."Impression III" (Concert), 1911

(1 and 2 public domaine, 3 Flickr sharing)

A modern palace

This is the last day of the exhibition titled: " Monet-Warhol: Masterpieces From the Albertina and the Batliner Collection" at the National Gallery in Prague or to be more specific the Veletrzni Palace (Art from the 20th and 21st Centuries)

Two months ago, a large panel advertising the exhibition greeted me at the airport. Paris was struck by a Monet fever with two exhibitions, one at Le Grand Palais and the other at the Musee Marmottan. Of course, I was curious to see Monet in Prague. My deception was great when I realized that only one of his paintings was on display at the entrance, "The Water Lily Pond", 1917-1919. The rest of the exhibition was composed of mediocre works from known painters like Max Ernst, Dubuffet, Fontana, Sol LeWitt, Matisse, Kandinsky and more and of course a few Warhol. No photographs were allowed. The 80 works were on loan from the Albertina's permanent collection in Vienna.

However... the visit was worth it. First, I discovered another area of Prague, after a trip with the tramway from the Vltava river to the hills with a beautiful view of the city.

I was also able to visit the permanent collections. The building itself is modern, vast with ample space to display the collections of modern and contemporary art dispersed on 5 floors. Like any building in Prague (it seems) it has its own history. Built in 1925-29, it was destroyed in 1974, and rebuilt to reopen in 1995.

There was a disclaimer at the beginning of the exhibition of International Art, the collection is still modest due to the country's isolation during the Communist regime. Some of the paintings were not in great condition, but one could find Klimt, Egon Schiele, Edward Munch, Egon Adler, Otto Dix, Georg Grosz to name a few.

Czech artists were well represented, and I discovered most of them

Of course, an area was occupied by the works made in glass.

I spent several hours in the Museum, and forgot that I came to see Monet-Warhol...so much more.

photographs by the author

1.The introduction to the exhibition with three sculptures: " Six Headed Horse", Germaine Richier, 1956, " Standing Cardinal", Giacomo Manzu, 1978, "Under the Bridges of Paris", Max Ernst, 1961

2." Castle with a Moat", Georg Klimt, 1908-1909

3."Family Trip", Max Ernst, 1919

4."Great Dialogue", Karel Nepras, 1966

5."Three Dimensional Composition for the World Exhibition", Rene Roubicek, 1922

The "Mad Potter of Biloxi" and the OOMA

The Ohr-O'Keefe Museum of Art just opened along the Gulf Coast, in Biloxi, Mississippi. The story of the museum in itself, is interesting. Almost completed in 2005, it was entirely destroyed by hurricane Katrina. The architect Frank Gehry went back to the drawing board and designed a new version which includes several independent structures with different functions.

The Mississippi Sound Welcome Center, a wide open space is a meeting place, with a coffee shop, a museum shop and a small gallery to present local artists (and, of course, a cash register with a helpful cashier)). From there, according to taste or mood, the visitor can climb to the third floor and enjoy looking at the Ocean, or just continue following the covert passageway and reach the two main galleries: the "IP Casino Resort Spa Exhibitions Gallery" (an unfortunate name) lighted only with skylights, a space conceived to adapt to the needs of different exhibitions with its adjustable walls and the "Gallery of African American Art". These were my main interests on the campus. The visitor can also find replicas of the Creel House and historical artifacts.

The "George E. Ohr Gallery" and the "City of Biloxi Center for Ceramics" should be completed in 2012.

At the present, the museum is hosting three exhibitions of interest and I started with "The Seeker" presenting twenty-two sculptures from Richmond Barthe, a sculptor close to the New Negro arts renaissance of the 30s in Harlem. Spanning from late 1920's to the 60's, the sculptures are technically flawless, mostly inspired by sexuality, religion and black history.

All the sculptures are figurative, of the same style and the sculptor did not experiment over time. The sophisticated expressions, sometimes too lyrical can become repetitive and lack in originality. Somewhat out of style, they are representative of a genre.

Next was an exhibition titled: "Mortal to Mythic: the Transforming Power of Art, Andy Warhol, selected prints from the Cochran Collection." Twenty-seven prints, including series like "Cowboys and Indians", "Myth Series", and well known prints, like the portrait of Mick Jagger and "Moonwalk". I discovered another Warhol, story-teller, different from the Pop artist with the cans of soup or the portraits of Marylin Monroe. I spent some time in front of The Shadow, which is a self-portrait. Inspired by the Indian custom of the girl drawing the shadow of her lover on the wall as he is sleeping, catching his profile for eternity. I found this self-portrait very moving, the expression of a deeper, thoughtful, fragile, self-preoccupied Warhol-Janus.

Jun Kaneko's glazed ceramic sculptures are scattered through the outdoors and the main gallery. The artist who was born and raised in Japan is highly influenced by his background. The peaceful giant heads, talking to each other are staying mysterious, maybe too Japanese for my taste. The artist is also a painter but none of his paintings were on view. It is the first time I am exposed to his works.

Works from local artists are displayed in one area of the Welcome Center with Helene Fielder from Booneville , MS, this month. "Balancing Act" features several stoneware sculptures with lively colors and shapes.

Of course a whole gallery is dedicated to Ohr's works. I am not inclined to look at potteries but Ohr is reaching beyond the craft. He is enlighted when creating each unique piece. The quality of his works is so far unequaled, so thin, almost translucent when in bisque form (later works), if glazed so colorful, so brilliant. The subject is always interesting, humorous,

inspired. The pot is reaching another level, and the potter transcends the material. Ohr' always surprises me and I am looking forward to see the opening of the George E. Ohr Gallery in 2012.

The visit is definitely worth it, very detailed brochures provide ample information about the artists and the museum itself. The design from Frank Gehry succeeds in "promoting and preserving the culture of Mississippi and the Gulf Coast" and allows guests artists to be displayed in this unique setting. After the visit, one can use the gentle stairs to reach the third floor and look at the Gulf's waters... maybe too close.

"Pitcher" George E. Ohr

"The Boxer" Richmond Barthe, Art Institute of Chicago.

Work from Jun Kaneko, photograph by the author

View from the OOMA, photograph by the author

No photographs were allowed in the Galleries

Katrina at the O

The Ogden Museum of Southern Art in New Orleans (the O) is presenting an exhibition titled: "One Block: A New Orleans Neighborhood Rebuilds" by Dave Anderson.

One more exhibition about Katrina and its aftermaths, really? I saw some photographs on the website and decided to go anyway...I am glad I did.

The photographs are centered around one block of the lower 9th Ward in New Orleans and its rebuilding after the hurricane.

The subjects are people I meet in New Orleans daily, confronted with their worst fear: loosing their homes, which is more than walls, it is their history, their only refuge and legacy, a home.

The photographer is catching them in their despair, but knows also how to bring humor like in "Mystery Chicken", a pair of chicken parading in the street totally out of context, or "James on a Ladder", the prank pic we would do of a member of the family to laugh at during a later reunion.

Augustine and Stacy on each side of the fence one white, one black, and so close, united in the same story, the same tragedy.

Then, a lighter note, the child playing in the grass, oblivious.

"Maxine Blue" or "Maxine at Dusk", Maxine devastated, still alive , already gone.

The new houses appear bright, so defiant , better than before, but empty. Where are the scratches done over the years, where are the souvenirs, A lifetime has been cleaned and there is no going back. It is poignant, life will never be the same.

The photographer in this sobering exhibition catches a resume of countless lives.

photographs by the author

The Duchamp School

Carrying on my business one recent day (in Paris), I went to the BHV, where I last expected to find an art exhibition, but the title gave me a hint: "Courant d'Art au Rayon de la Quincaillerie Paresseuse." (approximately:Flavor of art at the lazy hardware department)

On the top floor, at " l'Observatoire du BHV", the (not too busy) shopper could take a few minutes to look at the works from fifteen young (and not so young) artists but all alive, made under the duchampian approach of the "ready-made" objects.

I noticed the French adjective to define works derived from Marcel Duchamp 's ideas: "duchampien" now also used in English, duchampian.

I thought about it and found that if we look at every object of our daily life as potential art, life becomes complicated. An object is an object. The esthetic (color, shape, decorations...) can be improved, the function should not be compromised.

Duchamp had a genial idea at the time, and became famous because of it.

The next step is the work from Arman with his

Accumulations, Coleres and more. He destroys, multiplies the object, and in the process gives it a new dimension, creating a work of art. The object cristallizes emotions and the artist interacts with the object.

Duchamp, indeed... the School of Duchamp ? Cute idea from BHV, great advertisement and a nice stroll for the not too busy shopper. But I do not need so many locks on my bicycle, one will suffice.

photographs by the author

"Sans titre", 2010 John M. Armleder

"Marcel Brancusi, Demultiple Marcel", 1987, Gerard Collin-Thiebaut

"Sans titre", 1999-2010, Richard Fauguet

on Art and Artists

A few days ago, I came upon a book written by the artist Raymond Mason (1922-2010) "At Work in Paris: on Art and Artists." The painter who became a sculptor was born in England and lived in France for most of his productive life.

In this book, Mason talks about artists he met, interacted with, admired ...or not. The final product is a great medley of characters from Giacometti to Balthus, along with Picasso, Duchamp, Matisse and more, also the Who's Who of the time, including art collectors, gallery owners and art critics. The book is a candid report of daily, sometimes mundane conversations, in-depth analysis of the works from artists like Rodin, Giotto, Jacques-Louis David, also here and there texts related to Mason's works, written for exhibitions catalogues.

Several chapters are dedicated to Giacometti. Mason had great respect for the artist, 20 years older, who he considered one of his masters. His writings make us also appreciate the man, modest, generous with others, detached from daily preoccupations and money, driven by his work.

The notes related to Balthus are enlightening for me, I never understood the artist. Mason states that his first meeting with Balthus changed his life and he recognized "the second pillar, with Giacometti, on which a new art of the figure and the figurative world could be built."

Dubuffet is described as heartless, Picasso cruel and superficial, Cartier-Bresson optimistic...

One day, Giacometti interrupted Mason: "You are just a mondain."

A few photographs of the works from Mason made me reflect about the writer...His work appears populist and he was trying to be understood and appreciated by all viewers, regardless of their backgrounds. The sculptor is a great critic of other artists but has little insight about his own productions. At some point he compares his works with Giotto's.

Mason was not afraid and made his opinions known, discarded Minimalism and embraced figurative art reintroducing colors to sculptures.

The book is entertaining, it starts like a biography, but very quickly becomes a succession of sometimes disconnected short chapters. The author knows how to sprinkle some humour and makes us reflect about art.

"La Foule Illuminee" Andre Mason http://www.flickr.com/photos/martin_uj/4148846302/sizes/m/in/photostream/

"Girl at a Window" Balthus http://www.flickr.com/photos/hisgett/4682322838/

"Walking Man II" Alberto Giacometti http://creativecommons.org/licenses/by/2.0/deed.en

"The Departure of Fruit and Vegetables from the Heart of Paris, 28 February 1969" (1969-1971) Andre Mason

Along the Vltava river

The walk to the Kampa Museum located on the bank of the Vltava river in Prague is very romantic, especially a month ago, with all the colored foliage. The island is a park, and the building hosting the museum has a long history starting in 1393. It used to be a water mill, of course was damaged during wars, burned, was rebuilt...and after more recent incidents was finally acquired by the City of Prague which allowed the museum to open in 2003. It looks like the week-end residence of a rich aristocrat, with its main building hosting the permanent collections and the Stables exhibition hall, the temporary exhibitions.
Meda and Jan Mladek, Czech-American collectors, contributed to most of the permanent collection, which includes more than 200 works from

Frantisek Kupka (1871-1957) and sculptures from Otto Gutfreund (1889-1927). These two Czech artists' works occupy two levels of the museum and are displayed in a chronological order. Kupta's path is a history of the abstract movement and the Parisian life. I discovered Gutfreund and his cubist sculptures like "Don Quixote" (1911-12), or Cellist (1912-13), dynamic, full of character, powerful. It is poignant to look at his post-war works, academic, emotionless, like the artist had disappeared from his works. He was well-known then, professor at the College of Decorative Arts in Prague. He drowned in the Vltava river in 1927.

The permanent collection of Central and Eastern European artists is rich with hundreds of paintings, sculptures, drawings from Polish, Czech, Slovak, Hungarian artists from the 60's to the 80's and later years. Several donors added works to this already rich collection, including George Soros.

In the Stable exhibition hall, next to the museum, a temporary exhibition was dedicated to Ladislav Novak (1925-1999), who is an original Czech artist. An action painter of a kind, he created "Decollages", "Fumages" and the famous "Froissages", creating a dreamlike world. A fairy like, lonely character is the center of a story, and annotations in French are inscribed with a pencil at the bottom of the works, giving clues about the character depicted. The works could be the illustrations for a book.

One cannot escape the history surrounding these works. Most artists , living in exile or in hiding, could not be silenced and this museum is a testimony to the power of their creativity.

A quote from Jan Mladek is encrypted on the entrance of the Kampa Museum: " If a nation's culture survives, so does the nation". The Czech Republic should fare well.

"Madame Kupka among verticals" (1910-1911) Frantisek Kupka

"Don Quixote" (1911-1912) Otto Gutfreund

photograph by the author:

"Rose" (1978) Ladislav Novak

view of one room, permanent collection at the Kampa Museum