Museum Shop Manager Justin poses with #WallerCreekMonster - a percentage of the proceeds from sales of this lil guy will benefit @wallercreekconservancy. Only 50 in existence, so get yours at the museum today! #austin #atxlove #blantonmuseum (at The Blanton Museum of Art)
Some treasures from the Blanton’s Suida-Manning Collection - drawings by Giovanni Francesco Barbieri, called Guercino.
Did you know Picasso made jewelry? We didn’t! Learn more in this article from the Boston Globe.
(PS - if you have a bunch of money, you can also buy these pieces!)
We’re throwing it back this Thursday to our 2008 exhibition, Re-imagining Space: The Park Place Gallery Group in 1960s New York, where bright colors and sculptures filled our gallery space.
Tucked away behind the higher profile Sol LeWitt and Eva Hesse exhibit* at the Blanton Museum of Art, you’ll find a bit of brilliancy from choreographer Deborah Hay with the debut of her innovative art installation.
This short snippet of video from Perception Unfolds hardly does Hay’s contemporary dance and technology-driven exhibit sufficient justice.
I may have lost you at “contemporary dance,” but I hope not. I didn’t really think it was my “thing” either. But, stick with me for a minute, or, better yet, go give it a whirl at the blantonmuseum or visit Hay online. Decide for yourself.
From the main foyer or the adjacent LeWitt/Hesse exhibit, you curve around into a darkened room with four very large translucent screens suspended in the air, presenting multiple versions and visions of a single dance to you.
Perception Unfolds reoriented my view of choreography. Dance performances — the end product of a choreographer’s work — may be most easily and readily classified as art. But, when you start to see the moves assembled differently and repeatedly, from various angles and assorted contributors, the act of designing that dance becomes the moment you can see how the technical, methodical and more mathematical elements are very much art on their own.
And, if nothing else, it’s a great way to spend your lunch hour. A little culture and a little time to reflect surely can’t hurt the mind, body or soul.
* LeWitt/Hesse is so wonderful in its own right, but we’ll save that for another pos.
A lovely review of Perception Unfolds!
Giacometti at the Getty: Morning Light, Frontal Profile
Norman Carton, Firebird II, 1960, oil on canvas, Gift of Mari and James A. Michener, 1968.
On the second segment of this week’s Modern Art Notes Podcast, Blanton Museum of Art curator Veronica Roberts details her new exhibition "Converging Lines: Eva Hesse and Sol LeWitt," which examines the two artists’ friendship and the ways in which they informed each other’s work. The exhibition is accompanied by an excellent catalogue co-published by the Blanton and Yale University Press. It reproduces not only numerous works by the two artists, but marvelous examples of their correspondence. It’s available from Amazon for just $25.The exhibition is on view through May 18.
The image at the bottom of this post is LeWitt’s Wall Drawing #46: Vertical lines, not straight, not touching, uniformly dispersed with density covering the entire surface of the wall (1970), which he created two days after Hesse’s death. Until this piece, which is on view at the Blanton and at MASS MoCA., LeWitt’s line drawings had featured only straight lines. It suggests how Hesse’s ‘lines,’ such as in Addendum (1967, at top) in the collection of the Tate and on exhibit now in "Eva Hesse: One More than One" at the Hamburger Kunsthalle, influenced LeWitt.
See more images of art discussed on the show.