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ThreeMinuteModernist-TheBean
SUMMARY KEYWORDS work, jeff koons, anish kapoor, various backgrounds, magnificent, stunning, piece, chicago skyline, war memorial, frank gehry, magnificently, aforementioned, millennium park, issue, multifocal, morphed, balloon, skyline, amphitheatre, funhouse mirror SPEAKERS Christopher Garcia Christopher Garcia My recent trip to Chicago I had one must-see, and that was Anish Kapoor's Cloud Gate, better known as 'The Bean.' And it's a stunning work, it really is, as much as Anish Kapoor is the most troubling artist working today. He's kinda like Jeff Koons was in 1989. He put out a piece that is just magnificent. It's a piece that speaks of its time and its place, and the viewer. Because this is what is so amazing. When you look at this work, in particular, its position in Millennium Park, you can walk all the way around it, you're reflected in it. At the same time, you're morphed like a multifocal funhouse mirror, and you can walk under it and look up and this beautiful sort of divot, which gives this very different form of distortion to everything you see, it's magnificently beautiful. It is a stunning work. Of course, it was over budget and delayed, but let's not go there. One of the things that makes it so impressive is the ability to take a picture of it. With the various backgrounds. Taken from one angle, you see much of the Chicago skyline from another you catch the Frank Gehry-designed amphitheatre from another you get skyline and I believe it's a war memorial of some sort. Another way and its trees. But what will be in all of those photos is the photographer, you will always see yourself in the work. This is far from the first work that managed that. Jeff Koons, the aforementioned, f course with his balloon dogs, for example, but as a piece of public art, it does magnificent things to draw you in, as well as encapsulate you within this work. It's a masterpiece. It's a masterpiece of public art, and I'm so glad I got to see it in person. Finally,
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ThreeMinuteModernist2022-UntitledDancingGirls-ErnestBriggs Mon, 8/15 10:50AM • 3:05 SUMMARY KEYWORDS figures, work, abstract, museum, fascinating, dynamic, british museum, inhabiting, dancing, sensation, briggs, bish, entire, representational, poses, women, canvas, garcia, indications, ernest SPEAKERS Christopher Garcia Christopher Garcia Ernest Briggs is an artist I've been aware of mostly for his association with the abstract expressionists. The 1960s, work, Untitled dancing girls is fantastic. In that sort of way that Richard Diebenkorn or Elmer Bischoff, we're in their representational phases, Phil Gusman, to a degree as well. Here, it's eight figures, all nude dancing. And they're both women and men. And it's fascinating because, first off, there is a genuine sexuality to the entire thing. The men all have erections, the women are all exceptionally sexy. In a way, it seems to be referencing a lot of the works that we were beginning to see filter into museums from Thailand from India that were hyper-sexualized as they were presented. In those museum settings. You can still see it today at the British Museum for very good example. The poses are incredibly dynamic. But what's fascinating is the level of abstraction. Because while pretty much the entire anatomy is evident, the faces are abstracted greatly. And well, the surrounding portions of them have various paint indications. It's really just as if that is indicating where the figure is in front of as if they are not in the same scene. They are just being placed together with some of their evidence, I guess. It's a beautiful dynamic piece. But the sensation I get from it is what's interesting, because it is the sensation of poking through not necessarily of inhabiting a canvas but being inserted into the Canvas from something else. And the distortion of the face. It seems to indicate not that the figures are indistinct, but that they are not whole. That we are only catching a glimpse. That's powerful, powerful, artistic work. And it's one of the reasons why I'm going to be looking a lot more into earnest briggs
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SUMMARY KEYWORDS feels, painting, piece, david, sally, acrylic, paintwork, shapely, blue stripe, lime green, salle, present, image, top, takata, lollipop, front, untitled, meme, encountering David Salle is a postmodernist who's probably closer to a pop artist than anything else. He tweeted a image of a new painting he did called Untitled. it's 2022. And it's flashe, acrylic and pencil on paper, which has been mounted to aluminum. But it also fully feels like David Sally has embraced meme culture. Because the image is of a shapely young woman looking back at a well built young gentleman. She's in this beautiful green dress, he's in a lime green tank top and looks like black jeans. But in between them is something interesting. It is a globule, the only way I can really put it, you can see the letters S E. And this sort of Pac Man like symbol, it kind of looks like you might want you might see on a lollipop, but it is 100% between them. But then again, there's more to the painting. There's this blue stripe of acrylic that goes across the top, and it actually passes in front of between the two of them, it looks like but in front of the man's head, and you see the back of his head. And it's he's got black hair, but there's this sort of like baldy spot, and you can see the blue through it. It's as if he's not really there. But he's there. Cuz she's looking at him. In the same way that we're looking at him. Only she's looking at the front part. The whole idea here seems to be a separation between two people who are looking at each other, but forced to look through a lens of a third thing that is present in the painting that we're not given much of. And it might be that those two are the only two who actually have anything of an idea of what this piece is between them. It doesn't seem to be created by them, it seems to be them encountering it, almost like a fence that they're looking over. It's a fascinating piece and it has this feeling of the classic you know, he's looking at this girl who's walking by and his girlfriend looks exasperated at him for looking at her. Could well be but the whole thing feels as if it is a reference outside of itself, which is David Sally's real leisure domain, but honestly, it just feels as if he is leaning into the present. And the piece, you know the paintwork kind of feels like a Teppei Takata there's just this sense of paint to it. Something I don't usually sort of ascribe to David Salle works
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