Friday, April 29, 2016

Mira Schor, Human Interest, and Unfinished: Thoughts Left Visible

Mira Schor's exhibition, Death is a Conceptual Artist, at Lyles and King, which closed last week.
Gallery Link

The concept of aporia is defined on a Google search as "an irresolvable internal contradiction or logical disjunction in a text, argument, or theory."  

This show revealed the many directions that shape an identity and life.

Ink, conte and charcoal drawings on primed Japanese paper

Schor continues to mine the gap between verbal and visual language; her writing is sensual and calligraphic in nature, her pleasure in script palpable. Yet the drawings, though light, are also worked.

Her figures possess symbols similar to cartoon thought bubbles.  
Complete with 'swipes' and alter egos

and interests by now assimilated. Yet the notion of aporia persists, in the toggle between reading and looking

 The artist

The artist.

A gorgeous Barcley L. Hendricks from
the Whitney Museum's Human Interest exhibition
Exhibition Link
Holland Cotter's NYT Review

Larry Rivers - a stalwart reminder of a glorious past, with some buoyant spring color


Will add artist's name for this beautiful work 

Lush portrait of Gertrude Vanderbilt Whitney

Fairfield Porter detail 


Will add artist's name for this '70s masterpiece, which looks so good now



Richard Bechtle, central panel of triptych

The car - look at that fender - so beautiful

Henry Taylor

Alex Katz 

Julian Schnabel

Robert Mapplethorpe


Jackie and Caroline

Downstairs, June Leaf

Such a distinctive hand

Large bird looming

I've always loved the grit in her work, the logic that springs from studio to world, uncompromising

A work on an easel that accompanied some wall works - an image repeated time and time again

Sculptural works on a table accompanied the wall works

And feel of a piece with them - thought realized in multiple forms.

Kerry James Marshall in Unfinished at Met Breuer
Unfinished: Thoughts Left Visible Link

Much has already been said about the premise of this exhibition, which examines notions of finish in seemingly finished and clearly unfinished works, sometimes pairing them together, as with Poussin and Corot.

A lovely Picasso. So surreal to see in the old Whitney. Very good to be in that building again, which looks great.

The great Titian - an interaction of Tarquin and Lucretia - amidst the palimpsest of so many Biennials.

And even more shockingly immediate Titian's Flaying of Marsyas, one of the greatest paintings of all time! 

Detail, Titian's Flaying of Marisa

Downstairs, Nasreen Mohamedi's lovely drawings.
Mohamedi Link

Subtle, delicate, taking you so many places.