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Blog Post No.8 : NYC Exhibitions
Christies Auction House
December 4th, 2018
When I received the email about our final trip I slightly cringed at the fact that Christies was located at 20 Rockefeller Center. Midtown in December is my definition of hell. The hundreds of tourists crowding the cross walks, stopping to look and take photos of literally every window display at Saks, in fact, a group of 4 from some midwestern town scared the hell out of me as I walked out of Saks to Christies to ask for a photo of them in front of a giant window display with a mannequin dressed head to toe in pink silk organza with coordinating stuffed poodle at its side as it laid in a bathtub. Nothing about the display made sense and their overly cheerful and upbeat dispositions threw me for a loop.
As I made the slow walk, attempting to weave in and out of the crowds who walked in threes across the plaza of Rock Center, I wondered what I’d be seeing at Christies. The only auction house i’ve been to is Sotheby’s for a vintage car auction when I was 8, I got yelled at for ‘accidentally’ touching a priceless Maserati Birdcage. I finally arrived and was greeted to we clean, white lit room with gorgeous marble floor. To my left was the exhibition, Luxury Week, the entrance read. Now they were talking my language. I walked through and blacked out for a second. Was this heaven? Had I just died and gone to Hermes heaven? Was this even real? Was I aloud to be in this room that housed $40,000 bags? Either way, I made my rounds. Stopping to look at each one like it was an old friend, and keeping in mind some valuable advice my grandmother gave me about behaving in a luxury environment. I could hear her voice in my head saying “Gabrielle, don’t you dare touch anything or so help me God.” That though overwhelmed me with nostalgia.
I continued on until I stopped in my tracks. There it was, Lot 134: “A shiny black porous crocodile Birkin 35 with gold hardware, Hermes, 2014, Price: $30,000-$35,000. If I didn't have a mini heart attack when I first walked in, I was now having a full on stroke. Jokingly, I took out my phone to send a photo to my parents, the included text said “if you were thinking of getting me something for graduation, I’ll take this please.”
I continued on. Adjacent to the bags was a smaller room full of old, rare and equally as expensive liquors. (This room would have been my ex’s idea of heaven as he was an annoying alcohol snob who’s prize possession was a bottle of Pappy Van Winkle.) I moved on, I couldn't justify anyone spending $35,000 on a bottle of 20 year old wine that was, by now, just vinegar.
I moved along quickly through the watches, saw the famed rainbow Rolex, through the jewelry room that was full of potential buyers where I felt totally out of place. I thought to myself, Is this really what rich people do at noon on a Tuesday? Go to Christies to snoop out jewelry before getting outbid by someone on the phone? I was jealous, as I knew once I had that kind of free time it would probably be spent on worrying how I was going to pay my rent that month. Before I left, my parents had responded, my mother, “Where are you and what’s Hermes?” and my father, “We are paying for your education so you're getting a job for graduation.” I shrugged, that was fair, and made my way to Barney’s.
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Blog Post No.7: NYC Exhibitions
The Met Cloisters
November 27th, 2018 I guess this blog post would be a forward to my first blog post for this class as I was able to visit the Met Cloisters this past summer for the Heavenly Bodies exhibition. As I mentioned in my pior post, the great thing about Heavenly Bodies was that it was viewable at three different locations. And personally, I think seeing the garments in The Cloisters was a much better experience. I went when it was a brutally hot and humid day in late august. By the time I cut through the park I was drenched in sweat. I met my friend inside where the stone interior kept things nice and cool.
The exhibition was held in every part of the museum space including one of the gardens. There were costumes and garments suspended on pedestals above your head, a costume pedestals in a glass coffin and one hidden behind the opening of a door under a wooden staircase. When I first walked in I made a right into an a high ceilinged atrium. Towards the back, suspended under a domed ceiling was a sculpture of Christ on a crucifix. Below it on the stone floor stood a mannequin dressed in a short sleeved white silk gown that formed a perfect semicircle trail behind it. It wore what looked like a nun’s headdress and was positioned looking up towards the Christ statue. This room was empty and quiet except for the soft, angelic choir music playing around me. I sat down on a bench to face the garment and sketch. I quickly realized my skills from freshman figure drawing were rusty and stopped to just absorb my surroundings instead.
I moved through the rest of the first floor alone until I reached the outdoor garden in the center of the museum. I sat here and waited for my friend in the partial sunlight as the inside was getting too cold from both the stone and A/C being cranked. My friend arrived and we started at the beginning again and slowly moved our way through the entire show. Carefully reading the descriptions of each garment, shook over the immaculate details of the Alexander McQueen and Dolce and Gabbana gowns. The drama and depth of each piece captivated our imaginations and we acted out how we would pose in each at the Met Gala. After spending over an hour, we made the trek back down the narrow stone stairs that brought you back to the park and both decided it was unwise to wear heels that day.
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Blog Post No.6 : NYC Exhibitions
Cooper Hewitt Design Museum
November 13th, 2018
This Tuesday afternoon was the perfect overcast and chilly weather to visit a museum in NYC. I had never been to the Cooper Hewitt but i’ve always heard good things. This class was the perfect excuse to go and now i’m upset I didn't go sooner.
I dropped in around 3:00 that afternoon and practically had the whole museum to myself. The rich wood staircase invited me upstairs to the exhibition entitled: “Saturated: The Allure And Science Of Color”. This exhibition explored the perception of color, and humans deep relationship to what color means on an emotional and psychological way. The objects featured included an entire rainbow of iPod nanos (which I found nostalgic) Eames Chairs, color swatches for ceramic design books, explorations, event posters, the list goes on. But what I was most excited about, especially after hearing how interactive this museum is, was the Immersion Room. This little corner room allows its users to play designer on a giant touch screen table. Where collections of wallpapers floated around on the screen and you could select one to project it on the walls surrounding you. You even had the option to make your own pattern and project it. Here you had total control of the mood of the room. Your designs come to life around you.
After playing around in that room I continued to look at the rest of the objects on display and then, once entering the other side of the exhibition, I stumbled into another projection room. “The Color of Landscapes” manufactured by Carnovsky, is floor to ceiling wallpaper covered room with colored lights above. The lights would shift in color and the wallpaper would show a totally different scene than what you saw when you first entered. Landscape No.1 as this area was called, is made up of RGB wallpapers that has three superimposed scenes each of which is printed in either cyan, yellow or magenta. The overhead lights would either project supersaturated red, green or blue light. Under each of the lighting conditions one of the scenes would be revealed. I was able to get through the entire exhibition pretty quickly but it was fun to play around with the interactive elements. I will definitely be back to The Cooper Hewitt before graduation to take advantage of the free New School admission.
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Blog Post No.5: Solo Show 2/3
IFPDA Fine Art Print Fair 2018
Javits Center
October 27th, 2018
The Saturday of October 27th was a horrible one. Being in Hudson Yards while its pouring with insane winds is not ideal. But the grey overcast light pouring into the Javits Center for The Fine Arts Print Fair was perfection. This semester I am in two printmaking classes where we are working with silkscreens, lithography, and woodcuts. Both of my print professors highly encouraged us to attend, My friend from one of those classes, Kyle and I, braved the wind and rain, our umbrellas turning inside out just to see some of the wildest prints.
Now, the only experiences I have had at the Javits Center were at The International Auto Show and Drag Con. Both huge events, jam packed with people and lines for each vendor and experience. The Fine Art Print Fair was the complete opposite. Yes, the turnout was a fair amount of people but everyone was very sophisticated, spoke in a low tone, sharply dressed, and very, very white. It was actually kinda snobbish. Here where my friend and I, probably the youngest people there (besides the kids forcibly dragged there by their gallery owner parents.) We quietly followed suit but inside we were both bugging out over the huge collections of prints on display.
We walked slowly up and down the aisles of collections, looking at prints big and small. Most of them we couldn't tell if they were actually printed pieces or just drawings or paintings. After doing some research about the event after our brief visit I came to find out that the Fine Art Print Fair started in 1991 and is one of the most celebrated exhibition of fine art prints in the country. The event itself is actually very niche (which certainly explained its turnout). The fair is well known amongst curators of museums, major collectors, and galleries because of the rarity of some of these prints. It was unusual to see Picasso prints that closely without being in a museum environment surrounded by tourists and museum goers. This was much more refined and exclusive.
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Blog Post No. 4: Solo Exhibition 1/3
David Wojnarowicz: History Keeps Me Awake at Night Whitney Museum of American Art
September 30th, 2018
This is the fist of three solo exhibitions I plan to go to. I actually had the opportunity to join my best friend Jo, who needed to visit this exhibition for his Queer NY class. It ended up being so thought provoking and enjoyable that I simply had to blog about it. Jo filled me in that he was studying the featured artist, David Wojnarowicz, a queer artist who was practicing in the early 1970s. His work spanned across photography, film, painting, sculpture, writing, and most importantly ativism. His career took off in the 80s where he was creating in New York at the height of cultural changes, creative energy, and financial prosperity. Wojnarowicz, being a queer man and later to be diagnosed with HIV, used his position as a societal outsider to fuel his work. He became a passionate activist for himself and others fighting HIV and AIDS. This crisis was taking friends, family, and lovers in huge numbers all because of the government not stepping in to take action. Inspired by Walt Whitman, and William S. Burroughs, his work took on ideas of sex, love, spirituality, loss, death, and violence. Wojnarowicz died at the age of 37 of AIDS related complications.
His retrospective spalls 11 galleries. Each broken up by medium. His work has no signature style but one can recognise the themes he is trying to illustrate in each work. Gallery 9 is where his photo series are held but there are a few paintings peppered in. One series that pulls at the heartstrings and opens the mind is a photo Wojnarowicz took at the hospital where his friend, Peter Hujar, died of AIDS related complications. According to wall text, Wojnarowicz asked the other mourners to leave the hospital room so he could photograph Peter for the lsat time. The three black and white film photos are of his hands, feet and head. A visually striking work that very bluntly puts a face and name to the AIDS crisis.
This retrospective was captivating from start to finish, as you wander through the galleries, you really feel a sense of urgency to stop and look at each piece. Each photograph is deep with meaning, each sculpture and painting is visually striking. Even when you aren't looking at something but rather listening, you know that what is being said is important and fueled with passion. That can be said to the experience you enter in Gallery 8. Wojnarowicz prepared writing and engaged readings that he recorded. In this gallery you simply sit and listen to him reading one of his own pieces from 1992. He reads excerpts from his books Close to the Knives: A Memoir of Disintegration (1991) and Memories That Smell Like Gasoline (1992). You can hear the pain and the passion in his voice as he describes normal American families simply turning out the AIDS crisis and how the government was ignoring victims and their families.
Although David Wojnarowicz could fall into the category of a “pop” artist, I think he is far from other queer artists like Warhol or Harring. His work was centered in his own life experiences, his passion for activism and the collaboration with other queer folks with in his community. He chose to rise out of the ashes of his situation and create art that shown a light on the struggles his community was facing. This retrospective does his work a huge justice and he shouldn't be slept on as someone who was a trailblazer for queer art.
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Blog Post No. 3
National Museum of the American Indian
October 16th, 2018
Being that my senior thesis directly speaks to the misrepresentation of Native Americans in visual culture and American sports culture I was very excited to visit the National Museum of the American Indian. I was hoping to find accurate and correct representations of indigenous peoples from the United States but got so much more. The museum is located off the Bowling Green subway stop. Once you walk up the massive front steps you are welcomed into a very fedral looking building, the George Gustav Heye Center. This is one of the world's largest collections of indigenous objects and art, containing almost one million artifacts. In the late 1980s the museum joined the Smithsonian Institute.
I climbed the front steps and was greeted by the massive second floor rotunda where one can admire the painted ceiling. I headed straight to the back of the building where I started my own tour. Right before opening the doors to enter the showroom, I noticed a beautifully designed wall that spanned on either side of the doors. The wall text informed me that visual artist/ illustrator Jeffrey Veregge had collaborated with Marvel studios to create this mini exhibition entitled Of Gods and Heroes. Being that this was just a promotional display, the larger exhibition will feature a narrative by Veregge, a Salish artist, who is known for blending Northwest Coast formline and pop-culture figures. It will feature a story line of classic marvel characters and aliens fighting in the New York City streets. This was great research and design inspiration for my thesis and I’m excited to return and see the larger exhibition.
I continued through the double doors and turned left. I proceeded to walk through Transformer: Native Art in Light and Sound. This immersive experience showed the work of ten artists who work with light, sound, digital projection, and unusual media to express their own experiences between traditional and contemporary cultures. Through each artists different use of medias they all come together to represent the continuity of native/indigenous cultures in the digital age. Kevin McKenzie’s light sculptures, Father, Son, & Holy Ghost caught my eye at first sight as one of the most visually striking pieces in the exhibition. “These three buffalo skulls, cast in acrylic and polyurethane, are illuminated by orange neon lights that create the appearance of a meditative chapel. The reverential treatment of the buffalo, long venerated by 7 tribes on the Great Plains whose existence for centuries depended on the hunting of these herd animals, contrasts with McKenzie’s choice of materials.” (exhibition brochure) The title of this piece alone is intriguing. Referencing the Christian ideals and values that were forced onto Native Americans during colonialism.
I continued along through the rest of the museum, absorbing the span of each of the indigenous regions covered in the floor plan, everything from North America, Canada, the Virgin Islands and Mexico. Gaining a broader scope of each regions art, lifestyle and traditions in dance, meal sharing, hunting and gathering. This museum was exactly what I needed to accurately research Native American culture.
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Blog Post No.2
Bodys Isek Kingelez: City Dreams
Gabrielle Cantamessa
Blog Post No.2NYC: Exhibitions
The Museum of Modern Art
October 2nd, 2018
I popped into MoMa this last Tuesday before a doctors appointment fully expecting to write this blog post on one of the permanent collection galleries. I got to the first floor landing where they were setting up for a performance art piece and nothing caught my interest. Then I stumbled into City Dreams. Easily one of the busier galleries that day and for good reason. Spectators were in awe from the models on display. Miniature architectural models of airports, plazas, consulates, stadiums, and hotels made from toothpaste packaging, soda and beer cans, scrap paper and cardboard. Each one bursting with vibrant colors, organic shapes and futuristic motifs. From the first walk around I couldn't quite place where each model could be from, although some mockups gave clues and references from traditional Asian and African architecture. There were taller models on lazy susans so you could stand still and admire it from all angles. While larger scale city layouts were set low to the floor with mirrors above so one can look to the ceiling and see clearly the design layout in its full glory.
I later came to find out that Bodys Isek Kingelez, a designer, architect, and artist from The Republic of Congo designed these utopian cityscapes in order to explore rapid urban growth, economic inequality and the rehabilitative nature of architecture to one's environment. All of the materials he uses were ordinary, everyday objects. Reused and repurposed specifically to fit his vision. In the press release, it mentions how Kingelez did not travel outside of Zaire until 1989 but he was highly attuned to the wave of social and political issues surrounding his home country and the world. Being that this is his first retrospective in the United States, viewers are able to appreciate his entire body of work from his early single building models to his sprawling cityscapes, all made from unusual materials.
The tourists, students and senior citizens who I happened to observe while I was making laps around this exhibition all seemed captivated. Wiping out smartphones left and right trying to get the perfect angel. In the back left of the space, a study group of older adults was seated across from the biggest city layout in the show. I overheard their guide pose the question of “What public facility would you add to your community if you could?” A very important question to ask yourself as a designer and especially architect. In Kingelez’s case, I’m sure he has been asked this question a lot. It is clear that his meticulous attention to details and attention to materials has encompassed his goal of a “better, more peaceful world.”
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