LPDM Fine Art Consulting

The lights of Times Square seem to have made their way into a museum.  Bring your sunglasses and head to Madison Avenue and East 75th Street.   Now through May 31, 2009 at the Whitney Museum of American Art  is an exhibition of Jenny Holzer’s work entitled, Protect Protect.  Known for incorporating text into her artwork, Holzer uses language in a variety of ways in this exhibition in her benches, paintings and electronic displays.  Included in the exhibition are a number of electronic sign pieces (LED works) comprised of text scrolling across horizontal screens grouped in particular arrangements.  This use of flowing text in lights recollects newsreels or advertisements yet they are manipulated into works of art or projects with multiple reels and personalized in their color, font, word placement and other spatial and visual concerns.

The first and largest work in the show, For Chicago, 2008 includes 10 rows of text playing on large, flat screens laid out across the floor in the center of the exhibition.  The text comes from Holzer’s earlier writing, including Truisms, 1977-79, Inflammatory Essays, 1979-82, and other text works done between 1997 and 2001.   Truisms, Holzer’s term for short, catchy groups of words are sometimes just random phrases and other times are well known sayings.  The artist has displayed them in various ways over time, on benches and in paintings as well as in her LED pieces.  In For Chicago, Holzer then transforms the words and phrases into a super-highway of information as the yellow words (the color of the center divider on a roadway)  fly across their black pathways, often running in both directions.  They seem to be telling us about traffic and the urgent need to be somewhere faster than is possible.  “I am losing ground.”  “I am losing time.”

The other LED pieces in the exhibition physically incorporate themselves into the structure of the space in different ways.  Green Purple Cross & Blue Cross occupy the corner of the next room with crisscrossing display panels forming a cobweb-like maze at the intersection of the two walls.  Across the room, Monument encompasses twenty semicircular electronic LED screens stacked, one atop the other like a silo beginning a foot and a half off the ground, to the ceiling with each projecting its text in red or blue.

In sharp visual contrast to the bright lights and flash of the LED displays, Holzer has done a series of paintings called the Redaction Paintings, 2005-09.  The text reproduced  and presented in these paintings comes from a source Holzer has been using since 2004: declassified pages from United States government documents.  My first look at one of the paintings this afternoon was arresting.  The text seemed to perfectly mimic the front page of today’s paper with the story of the Obama administration’s release of CIA torture memos of prisoners during the Bush era.  Talk of forced grooming, sleep deprivation, removal of clothing and using prisoners’ phobias (such as the fear of dogs or bugs) to induce stress appear in the news today and on the walls of the Whitney in Holzer’s prescient Redaction Paintings as if they were done just today with current events in mind.  The works are executed in black and white and incorporate typed and handwritten memos, palm prints and emails with the names of the parties and other high confidential details blocked out for security purposes prior to declassification.  Some of the pieces include identifiers such as “Secret” or “Unclassified.”

In the next three LED display pieces Holzer incorporated the text of the U.S. government documents, rather than her own writing, in Thorax, 2008, Red Yellow Looming, 2008 and Purple, 2008.  The pieces serve as vibrant yet silent protests of the tragedies uncovered in the government files.  Interspersed throughout the room of paintings are Holzer’s signature benches with text phrases carved into the seats.

Whitney Museum of American Art, 945 Madison Avenue, New York City.

The Wall Street Journal reported today that the Montclair Art Museum in Montclair, New Jersey is deaccessioning 50 works of art from its collection through Christie’s auction house in New York.  The museum is planning to raise funds to add to its endowment, which is now down 26% according the Journal, in order to have enough cash on hand to back its loans.  The museum expanded its facilities in 2001 at a cost of $14.5 million and is now saddled with the resulting debt.  The museum eventually intends to use the funds gained from the sales of their artwork for future acquisitions, but the immediate need and impetus for sales is the need to keep the endowment at a level sufficient to support the museum’s debt.  This museum, too, is looking for ways around the AAM and AAMD guidelines for deaccessioning artwork from its collection.  The AAM Code of Ethics states that museum collections may not be collateral for loans (“encumbered”) but in this instance the two step process involves first, selling the works of art and putting the money into the museums endowment and second, using the endowment as collateral for the loans.  The end result is that the funds raised from deaccessioning artwork are then indirectly encumbered by the museum’s debts.  It seems that adding an extra step is a way to justify the otherwise unacceptable process.   Click here to read the Wall Street Journal’s full article.

Very much the talk of the town these days, actually both in London and in New York, Picasso’s late work hangs at Gagosian Gallery on 21st Street in Chelsea in an exhibition titled, Picasso: Mosqueteros.  The exhibition is curated by John Richardson, an old friend of the artist as well as his biographer who has published three volumes of A Life of Picasso.  The show is of excellent examples of Picasso’s late images of the musketeers from various private collections around the world (including the Cohen’s exceptional Homme a la Pipe, November 7, 1968 – see prior post for more on that collection’s current exhibitions) and a couple of arts institutions.  Explicit in nature, many of the works depict the musketeer (who must be read as Picasso) vanquishing his nude muse, here in the form of Picasso’s second wife Jacqueline.  Others are simply portraits of 17th century men, or musketeers, as their titles explain.  In the second large room, five portraits command either side of a still life of flowers on a table, dated October 28, 1969, along the large back wall.  The works are sometimes subtle with gentle washes of colors lending oil paint the effect of watercolor.  Other works are jarring in vibrant color applied in a thick impasto.  The paintings are often large and provide the viewer with exaggeratedly close up views of the subjects, and the dark, back room is alternatively filled with small lithographs requiring a close-up stance by the viewer in order to decipher the images.

The exhibition is on view through June 6, 2009  Gagosian Gallery, 522 West 21st Street, New York, NY 10011.

Sotheby’s is now showing a group of works on loan from the private collection of collectors Steven and Alexandra Cohen.  The single room, 20 piece exhibition encompasses some of the most masterful and intriguing images of women in art, from Edvard Munch’s Madonna to Picasso’s Le Repos (and two others) to Vincent Van Gogh’s 1890 Portrait of a Young Peasant Girl and a 1916 Modigliani nude to Andy Warhol’s Turquoise Marilyn.  To say these images are icons would be an understatement.  Also included in this exhibition are images of women from contemporary artists Marlene Dumas and Richard Prince.

Though rare for an auction house to exhibit works which are not for sale, the boundaries are blurring as art collectors themselves become investors in art businesses such as the Cohen involvement with Sotheby’s.

Regardless of the interests at stake here, this show presents a wonderful opportunity for the public to see these important pictures and sculptures.  The work is on view at Sotheby’s, 1334 York Avenue (at 72nd Street) through April 14th.

I recently spent a few days in London and had an amazing time seeing some of the museums and galleries I have not had a chance to see in the past.  This trip meant both some of the cutting edge and some of the classics.

The Courtauld Gallery was the highlight of the trip for me.  It is a small museum located at Somerset House on Strand, and it is brimming with treasures.  The Courtauld is best known for its Impressionist and Post-Impressionist collections, specifically the collection of Samuel Courtauld which was amassed between 1923 and 1929.  The icons of the period are more amazing in person than I even expected.  In one room hang Manet’s Bar at the Folies Bergere, a period copy of his Luncheon on the Grass, nine Cezanne masterpieces including both his constructed landscapes and portraits and three Gauguin paintings reflecting his time in both Brittany and Tahiti.  The Haystacks, 1889, by Gauguin, depicting the golden French hay fields, is a treat.   The next room holds its own with Van Gogh’s Self Portrait with Bandaged Ear, 1889, a Seurat portrait, a Modigliani nude circa 1916 and works by Monet.  To say nothing of the works by Botticelli, Cranach, Breugel,  Gainsborough and many others.  I look forward to returning many times.

Next stop, the National Gallery at Trafalgar Square.  I was thrilled to see some more icons: Seurat’s luminous, large Bathers at Asnieres, 1886, Manet’s Execution of Maximillian, Stubbs’ Whistlejacket, 1762,  Turner’s Rain, Steam and Speed, 1844, the room of Canalettos and the Arnolfini Wedding Portrait, not to mention the current special exhibition, Picasso, Challenging the Past.  I need days more to take it all in – I will be back.

The Saatchi Gallery at the Duke of York Headquarters in Chelsea is now open.  The current exhibition, Unveiled: New Art from the Middle East,fills the large and bustling gallery space with varied and interesting work.  Among the best are Shadi Ghadirian’s large scale color photographs.  Upstairs in the Project Room is a hilarious installation piece, The Bed, by New York artist Will Ryman of an enormous  papier mache male figure strewn across a bed surrounded by the remains of a late night: Doritos, cigarettes, beer cans, etc.

Gallery hopping in Mayfair-St. James I found a great exhibition at Art First Contemporary Art on Cork Street of works by recently deceased gallery artist Wilhelmina Barns-Graham entitled Paintings 1965-1980.  I also took in the current shows along Cork Street and at Hauser & Wirth and wound up at Haunch of Venison’s Mythologies.  All in all, a very successful and varied weekend of seeing art.  I look forward to doing it again soon.

I picked up a copy of Sidra Stich’s art-SITES london which is a great guide to carry with you as you make your way on such extensive art tours.