This one makes me think. It is as if an artist had been looking at every Frank Stella ever made, then found himself admiring some muchrooms, and then put the two together, and the result, biomorphic, clustered, entwined, and at least a little eerie, feels as if it had grown in some dark corner of some dank museum.
This piece, more than most, hit me.
Futurism was the idea that all time was happening all the time.
OK, that's not entirely accurate, but stick with me, it gets better...
You see, there was the idea that you should be able to represent movement even in a static space. The idea that a statue's form could represent a series of motions though it is a single, stationary piece, was the key to many works, notably in the world of Boccioni. This applied also to painting, but then Futurism was gone, in the wink of a DaDaist's eye.
I've never seen Sheeler called a Futurist, but there's another here that gets me - Industrial Surrealism. The idea to my eye is one of a made landscape, defined by the markings of the Industrial Age, but presented in the dream-like state, perhaps as if these images were being processed together through unconscious memory.
Sheeler's Aerial Gyrations fits that idea perfectly. It it the merging and over-lapping of forms that are instantly identifiable as a part of the Industrial World, but presented in a form that is as if it were built over disconnected temporal ligatures. That would certainly speak to the
Futurist ideal, and Cubist as well, but truly it is something different. it is a tale of the non-differentiation of forms within the world of the Industrial. It is about the architectural version of facelessness. In short, it is about viewing of the markings of Industry through the lens of timeless and placelessness.
I tarried and thus, didn't write this piece up while it was on display at The Anderson earlier this year. I guess that makes this eligible for SiliGone Valley!
(for you non-insiders, that's my podcast about the loved and lost locations of Silicon Valley - http://www.podcastgarden.com/podcast/siligonevalley)
This is, without doubt, the most joyous piece I've ever seen. Not quite Abstract Expressionist, but certainly showing why he was a member of that movement, I can't help but find myself humming a tune I think they might be moving to.
It's a ladder, right? Or maybe two ladders? It's one of those off-set hand-foot ladder they use on subs?
This one, man. This piece is... I just don't get Scully. I really don't.
I mean, it's a ladder, right?
It's gone now, but it's one of the better Stellas out there in the world. This one is so clean. It's a shaped canvas, but it's also got those standard pinstripes that Stella has mastered. The way that it works is simple - at a distance, your eye meets the canvas shape and traces it towards the top, across the surface; up close, the same effect, but slower to the top along the pinstripes. It is a Selectric track for the eyes.
That thing that looks like a reflection off glass making it seemed layers? Nope, it's actually made of a bunch of transparent layers, as if it were building a topographical map.
This is a beautiful piece of architecture/Landscaping conceptual work. It's a sweet piece, and when you realise the optic aspect, you start to feel it. I adore it.
This is a form of Abstract Impressionism. It is the form, or forms, that are recogniseable, while being removed from their context, rearranged, weirded as far as I'm concerned. The effect is one of a whole that is not the sum of its parts, but the grand total of the impression it makes upon the viewer and the canvas.
That's right, the canvas matters.
In fact, this is an anti-deKooning. deKooning tried to create a recogniseable image in his women, but here, it is the recognition of portions that do not form a whole, or at least that do not form a Nude in Environment.
Christopher J Garcia - Curator, Fan Writer, Podcaster, and a guy who just loves art.