Sunday, February 12, 2017

Master of Lights and Shadows





When Julio Le Parc arrived in Paris from his birth country Argentina, he had a mission: transform the art scene. In 1958, "art" in Europe was driven by the elite and displayed in  museums and galleries.
Le Parc and his group, the GRAV ("Groupe de Recherche d'Art Visuel" founded in 1960), were to change this, and bring art to the masses and to the streets. The artist's fame grew parallel to his work's international recognition starting with the attribution of the Grand Prize for Painting at the Venice Biennale in 1966, and his political engagement which got him briefly thrown out of France following the May 1968 events. Le Parc believed that it was the artist's responsibility to engage crowds of uninitiated people and transform their lives. A tall order he pursued during his career which spans more than 60 years. The 88 year old artist presently living in Cachan, a southern suburb of Paris, was recently in Miami for the opening of his first museum solo show in the United States taking place at the Pérez Art Museum Miami. Julio Le Parc: Form into Action occupies most of the museum's second floor gathering more than 100 works, from drawings, paintings to sculptures and installations.

A photograph of young Le Parc and a brief text about his background printed on a ceiling-to-floor poster introduce the exhibition which starts in a dimly lit room lined up on one wall by a historical piece. Continuel-mobile, 1963/2016, hung at the entrance of the Paris Biennale at the Musée d'Art Moderne de la Ville de Paris in 1963. This time, half of it is on display to fit the space. Made of multiple pieces of metal hanging from nylon threads, in constant motion, it could be called a kinetic relief but the categorization would reduce the impact of the work which fills the room's black walls and floor with fleeting lights and shadows created by the reflection of spotlights. Immersed into the work of art, one feels slightly disoriented, like floating in the dark space due to the constant shift of the elusive images. In search of "instability", Le Parc reached his goal.
The exhibition progresses more or less chronologically going back to 1959. In the first room, the abundant works on display from that period are two dimensional and mainly black and white. All are made of simple geometric shapes rearranged to create visual effects, distort vision and generate illusions of motion. Ambivalent Progressive Sequences with Circles, Rotation of Squares, Visual Instability, become a lesson in Op art. The following room is filled with the fourteen "pure" colors selected by the artist for his research about  the subject. Started also in the early 60's as witnessed by the archival material courtesy of the artist, the meticulous studies recorded on school paper feature endless permutations, interactions, combinations and rearrangements of the fourteen colors. These led to larger acrylics on canvas in the 70's, like  the Ondes series, and sculptures. This period's masterpiece is a site specific wall decoration La Longue Marche (The Long Walk), 1974, displayed in a round room. The 360 degrees composition surrounds the visitor with its interacting colored lines, creating ten different patterns evoking life "unforeseen events", "expectations" and "surprises". Moving on to the 80's, the Alchimies series is in stark contrast, with its black background sprinkled with tiny colored dots, resulting in cosmic landscapes.
From then on, the visit offers some of the most iconic works from Le Parc, starting with kinetic wall pieces like Cercle en contortion sur trame, or Formes en contortion sur trame, both made in 1966. The works of the Contorsions series made of reflective metal ribbon on a background of narrow longitudinal black and white stripes, are animated by small motors swooshing softly in the background, while two larger works Cloison à lames réfléchissantes and the mural Virtual Circles, 1964-1966, (Displacements Series) are activated by the viewer's motion. These are surrounded by smaller but compelling pieces like Trame altérée, 1966/2005. Le Parc's contribution to The Labyrinth, 1963, presented by the GRAV for its landmark exhibition at the Paris Biennale includes this time Penetrable Cell, 1963/2016, Cell with Curved Mirrors and Light in Motion, 1963/2016 and  Cell with Vibrating Projection, 1968/2017. Immersed in the "environment", the visitor navigating from cell to cell through narrow passages lined up with distorted mirrors or floating sheets of metal, becomes disoriented due to the reflection of the lights producing fuzzy "uncatchable" images, twisted dancing lines and unexpected shadows. Even the ground feels unstable. Next, one can lay down on a couch to gaze at Continuel-lumière au plafond, (Continuous light on ceiling) 1963/1986, or sit down to look at two light boxes, assembly of Plexiglas and wood. With light and mirrors in constant motion, the two Continual-lumière, 1960/66, provide examples of infinite variations of light, color and form and contributed to Le Parc's influence in the kinetic movement.
The  "experience" continues with more lights and shadows, coming from large-scale works, like Lumière verticale visualisée, 1978, a fountain of light, Continuel-lumière cylindre, 1962/2003 or Lumières alternées, 1967/93. Nearby smaller pieces offer a full view of their inner parts: broken glass or mirrors, screws, bolts, springs, toy-size motors, spotlights...  a technology more adapted to tinker in a shed than to create art in a studio (would have thought art aficionados at that time!). Upon leaving the dark and quiet space, the contrast is jarring when reaching the brightly lit and noisy "Game Room" where several play stations offer interactive activities aimed at engaging the visitor directly. The conclusion of the exhibition Sphère Rouge, 2001/2012, is a gigantic red ball made of Plexiglas. Eight feet in diameter (and height), it includes 3000 red squares suspended from nylon threads. Red Sphere is a signature piece of the artist's latest works.
Fulfilling one of Le Parc's goals to physically engage the visitor, the exhibition's setting allows the viewer to become participant. It gives also the occasion to discover or rediscover the artist, starting with his studies. The hand drawn exercises on school paper, in which he meticulously rearranges shapes and colors, outline his quintessential references. Starting room 4, the kinetic pieces, small or large, represent Le Parc's legacy. One can regret that Le Parc's political and social engagement, a basic motivation for his practice in the 60's, is not more emphasized. For Le Parc, art has the power to change people's life and he thrived to democratize art. Material related to this aspect of his legacy is available in the book published at the occasion of the exhibition, including some of his writings. Movie clips from the period and a recent interview of the artist are shown in the museum's theater.
Another goal of Le Parc was to create emotionless art. Completely detached from the work, the artist leaves the viewer interact directly with the art and transform it. He succeeds in a way that his work reaches the coldness of op art. But spirituality seeps in, due to his search for infinite combinations of shapes and colors. Technically flawless, the works require careful synchronization and precise settings to allow randomness. However, Red Sphere feels like a step back in the artist's journey. Decorative, it has lost the sense of fun and experimentation of earlier works.
Julio Le Parc in museums? Times have changed, and the word "museum" expresses another reality: crowds of schoolchildren, visitors of every age and background, far from the stuffy crowds of insiders from the 60's. Artists like Le Parc contributed to these changes.




video




photographs by the author:

"Séquences progressives ambivalentes", 1959/91
"Trame altérée", 1965
"Continuel-lumière écran en plastique", 1960/66
"Lumière verticale visualisée", 1978, video






Tuesday, January 31, 2017

From Voguing to Collages





Rashaad Newsome is back home with his latest exhibition Mélange at the Contemporary Art Center. Born in New Orleans, the artist lives in New York City after spending some time in Europe. The month long show includes not only a display of  collages, drawings on paper, videos, but also films, a live performance and a conversation moderated by Amanda Hunt, Associate Curator at The Studio Museum in Harlem. The following review concentrates on the exhibition located in the newly  refurbished first floor of the CAC.


Heavy glass doors now enclose the first and largest gallery filled with eleven collages hung against two walls in a dull arrangement. The museum-like display includes a wall text to introduce the artist and his work. Loud music brings some commotion to the otherwise quiet atmosphere. One by one, the collages dazzle in their austere surroundings and project lavish scenes. Luxurious, opulent, flamboyant, luscious, outlandish, racy, garish, kitschy, ..., there are not enough adjectives to describe the extravagant display of riches from the inhibited decors. Made of high end glossy magazines, the collages assemble pearls, diamonds, luxury watches, gold chains,  mixed with iconic historical buildings and heavily tattooed skins, glowing mouths, open legs, entangled arms, resulting in a visual overload. A mixture of high and low, they are meticulously built and result in dynamic portraits with hints of surrealism and humor. The larger pieces are presented in matching black custom frames covered with leather and automotive paint, adding a perfect finish.
The music comes from the second room where a 9 min. video is projected against a wall. FIVE SFMOMA, 2017, is a clip of the live performance which took place at the opening of the San Francisco Museum of Modern Art in April last year. Its title refers to the five moves of Vogue Fem, the latest style of voguing. It includes five elements (hands, cat walk, floor performance, spin dips and duck walking) translated in a frenetic "ballet" in five parts executed by five dancers with colored wigs and matching make-ups. Five musicians build up the music parallel to the moves, improvising as they watch the performers. An opera singer is also involved. The result could be chaotic if it was not for the intervention of the multi-disciplinary artist. In a few video shots, Newsome appears behind a computer, like a conductor, synchronizing music and dance while also drawing the dancer's moves, thanks to a 3D modeling software program. The resulting "three color lithographs with 3D and photographic collage elements" are then framed and displayed on the wall in chronological order, complementing the video.
Two black arrows point to a narrow passage giving access to the smaller back gallery where two silent videos are projected simultaneously side by side, recordings of live performances which took place in the artist's studio. Untitled and Untitled (New Way), 2009, are earlier works representing the collaboration between Newsome and selected performers.

A first walk through the exhibition left me unsettled and I realized that the visit should start with the two silent videos, in the back. The earlier works represent the key to the artist's inspiration. Newsome stated: "I view these videos as drawings, with the dancers acting as my pen, creating lines, shapes, landscapes, and an array of narratives." Unfortunately, the sound from FIVE SFMOMA which invades the whole exhibition spoils some of the experience. The next stop is in front of FIVE itself. The performance combining music, dance and drawings is possible due to the artist's diverse practices which include computer programming, collage, video, music, sculpture, performance. His skills brought him to turn "movement into material, and then material into movement" through computer programming. Freezing the movement to produce drawings, he then "fills them with abundant material to create collages".
A reflection on popular culture, connecting all media, glamorous, they should be the last sight.







photographs by the author:

"Brush Stroke", 2015
"When You're Talking to Someone and You Know They Are Lying but You Keep Listening", 2015
"#1st Place", 2016



Sunday, January 15, 2017

The Many Faces of Abstraction






This month, two exhibitions on Julia Street reflect the wide scope of Abstract art. The short walk from Octavia Art Gallery to Callan Contemporary represents decades of art history, bringing the visitors from expressionist to geometric abstract through the paintings of two artists: thirteen of Kikuo Saito's late works are on view at Octavia and Syn•tac•tic assembles fourteen of James Kennedy's most recent compositions.

At Octavia, it feels like a rush of colors when going through the entrance. An exuberant mixture of warm oranges, yellows, reds, moody greens or blues, covers the canvasses displayed along the walls. The late paintings of Kikuo Saito have the gestural quality of expressionism, with a twist. Ghostly stenciled letters can be found in the background while the oil paint is applied on top with vigorous brushstrokes, sometimes spread unevenly giving some texture to the canvas.  Saito was born in Japan and arrived in New York in the early 60's at a time when Joan Mitchell, a second generation abstract artist living in New York City moved to Paris. Her influence can be felt in paintings like Tilla, 2015 or Arabi, 2014, so is Helen Frankenthaler's, a Color Field abstract painter. Saito was her assistant for some time. What transpires through Saito's works is a love for life, conveyed through an explosion of colors.

At Callan Contemporary, the overall ambiance is more meditative with predominant blue and brown colors. Simple shapes and lines interact to create complex architectural landscapes patiently built through "dozen of layers of glaze-work and incised lines", providing perspective and depth. A connection to George Braque's works comes to mind due to the colors and also the woody or marbled effects of some areas. This is not a surprise as geometric abstract is born from Cubism according to the art historian Alfred Barr. It also reaches spiritual levels as described by Jorge Daniel Veneciano in his essay written for The Geometric Unconscious. James Kennedy's works meticulously composed bring serenity.


Octavia Art Gallery and Callan Contemporary allow the visitors to experience two different abstract languages, both making a lasting impression on the viewer.


photographs courtesy Octavia Art Gallery and Callan Contemporary
Kikuo Saito "Marimo", 2014.
James Kennedy "Salon Composition III", 2016.

Sunday, January 8, 2017

Variations





"Abstract art... is a universal language, and dwells in the realm of music with equivalent emotion. Its melody is attuned to the receptive eye as music is to the ear." This quote attributed to the painter Abraham Walkowitz, defines the course taken by the abstract artist Anastasia Pelias. Following her collaboration with the Jazz musician Nicholas Payton, her latest compositions are inspired by her favorite female vocalists. For the exhibition "Sisters", fourteen of her paintings are filling the entire space at the Jonathan Ferrara Gallery, immersing the visitor into her new body of works.

There is a  feeling of drama when first surrounded by the large square paintings made of black drawings and drippings on a white background. Variations for each work are brought up by touches of vibrant colors. Meandering along the creases of the textured Arches paper, the drips, like a thin veil, give fluidity and lightness to the paintings while thick drawings made with oil sticks provide focal points, subjects and action. Some evoke silhouettes, like in "Laura" or "Nina", but the paintings stay abstract. Each projects a distinct aura generated by emotions triggered by the music. The titles, first name of the singers, allude to the closeness built over time while listening to our preferred musicians. "Sisters" suggests lasting, unbreakable bonds.

While most of the artist's past compositions have been about color, this time, she chooses achromatic black on white and grey, as a common language. In Pelias's Mediterranean culture, black is about death and mourning, but in her latest paintings, black becomes a tool for expression through drips or drawings, suggesting an East Asian influence. Pelias has mastered the technique of drip painting and like Jazz musicians improvise freely after years of practice, she allows herself to be spontaneous in her gesture, letting the emotions flow. A gallery visit is essential to view "Sisters". Size, texture, adventure of the drips, vigor of the lines, nuances of the colors, are missed when looking at the paintings on a screen. While the show can be overwhelming at first, one can choose to discover a singer at a time.
These works are a chapter in the artist's experimentation with automatism and music. They are not portraits, but translate raw emotions through abstract representation.
Where could Anastasia Pelias's voyage be more suitable than in New Orleans?








photographs courtesy of the Jonathan Ferrara Gallery


"Nina", 2016
"Stevie", 2016
"Chaka Khan", 2016

Friday, December 23, 2016

😬😬😬 My First Emoji Review




I just attended a seminar for art writers and learned about a few new tools available to art critics.   Among them, emojis used daily on social media to convey our emotions or let the world know about our activities. Of course, I am eager to try my new skills.
For example, a few pics from my last visit at the Centre Pompidou in Paris:

Otto Dix
"Portrait of the journalist Sylvia von Harden", 1929
🤓🤒🍸✍👍👍















Vassily Kandinsky
"Improvisation 3", 1909  
🏇🌒🏰🏞




Piero Mansoni
"Merda d'Artista", 1961
💩💩💩


It took me some time to select the emojis, the small pests are multiplying. Companies are seeking translators due to the expanding "vocabulary" and cultural sensitivities. Emojis were born in 1999, and are themselves considered art. The first original set was acquired by The Museum of Modern Art for its permanent collection last October.

This was my first ... and last review with emojis.


Friday, December 16, 2016

Artist Collectives





For the last exhibitions of the year, two artist collectives,  Good Children Gallery and The Front in the St. Claude Arts District offer a variety of works, from paintings to installations, videos and sound art.
The front room's wide space at Good Children is filled with Christopher Saucedo's installation for his exhibition Water Bottle Buoy, New Sculpture That Floats. Three wood coffins piled up at the entrance introduce the show. The Caribbean blue colored boxes, branded with shapes of water bottles on the sides and melting continents on the lids, remind us of a future overshadowed by rising waters and of our inescapable end. Buoys, anchors and ropes are the materials assembled to create the sculptures. The buoys are made of over-sized polystyrene bottles, a reference to the main source of the Oceans' pollution. The sculptor, modern Archimedes, turned the equivalent of his body volume into one of the buoys after dipping in a vat filled with water and engaged his close relatives to do the same. The resulting display is a family portrait of a sort. The cursed artist who lost his house during hurricane Katrina and then more of his cherished possessions to hurricane Sandy, cannot get away from water. His resulting fears are alleviated by the ropes, solidly anchored umbilical chords
which allow drifting safely with the flow.  A blanket from the Red Cross is hanging on the wall, for added comfort. Treating serious matters with a twist of humor, through the rich conceptual installation the artist communicates his ambivalence about the unpredictable and destructive element, the water we are made of and we cannot live without.
Dan Tague, famous for discovering hidden messages in dollar bills, presents new works in the back room of the gallery. The main composition is an assemblage of cuttings from diverse foreign bills, each outlined by a black skull. Flowers, stars, abstract drawings, symbols, become elaborate colorful tattoos. The message however is somber, in short, money or its pursuit = death.  "The End is Near", a stern warning spread on a monochrome black piece made with graphite is faced by "I Should be Loyal to the Nightmare of our Choice", a pledge to empty or worse, nightmarish causes, written in red. But enough said, the artist makes his point clear.

Four new paintings from Brooke Pickett are displayed at The Front, across the street. The large pieces with their skewed perspectives are vertiginous, dizzying when looked at from a close viewpoint. A symphony of colors, from emerald green to blue, red, they are taking over two rooms of the gallery.
Back, the works from three artists, Jessica Vogel Brown, Joey Tipton and Johanna Warwick, are more experimental. Unshadowed  is about light. Through infinity mirrors, videos, mixed field recordings, photographs, they open a whole new world and help us see the unseen.



on view through January 8, 2017

photographs by the author:

view of the exhibition " Water Bottle Buoy, New Sculpture That Floats" from Christopher Saucedo
detail from Dan Tague installation
Jessica Vogel Brown "Banana Finger", 2016.




Friday, September 30, 2016

The Story of Monochrome






Monochromes: From Malevich to the Present, by Barbara Rose is a reflection on the history of single-color works of art through essays by the author and three additional contributors, Gladys Fabre, Christopher Ho and Vincenzo Trione. More than one hundred and sixty photographs of artists' works illustrate the paperback, arranged by colors starting with black followed by red, blue, gold, silver, ending with white.
A short introduction goes back to the birth of monochromes, centuries ago in the Far East and includes a chronology of significant events, publications or works related to the subject, from 1810 to 2004. Rose's essay organized in nine short chapters is enlightening due to her wide knowledge. Following the four essays, selected writings from twenty six artists are  organized under six themes and feature texts from Kazimir Malevich to Carl AndreLucio FontanaArmanYves Klein,
Ad Reinhardt, Donald Judd, Anish Kapoor among others. Furthermore, its stylish blue cover inscribed with gold letters and its lavish illustrations make Monochromes a great book from content to design.
Note for the New Orleanian art lovers: a painting belonging to the New Orleans Museum of Art's permanent collection, Effect of Snow at Giverny, 1893, from Claude Monet is part of the discussion, as a landmark in the history of monochrome. Chakaia Booker ( also found in the New Orleans Museum of Art's permanent collection) is represented by one of her sculptures.
Challenging at times, the reading of the book provides a review of the full scope of the monochrome, highlighting its timelessness and universality.






photographs by the author:

John Isiah Walton "Almost Clean", 2016

Julio LeParc "Movil Bleu", 1967

Lucio Fontana "Neon Structure", 1951, for the IX Triennial in Milan