今年の1月に途中まで書いてて、そのままにしてたものを載せる。美術館について、ニューヨークで行ったMoMA、MET、Guggenheim、Whitneyで展示されていたものから特に印象に残っているものについて。
館内撮影許可だったから、はじめにそれぞれの美術館でランダムに撮ったものを載せたい。
at Guggenheim
at MoMA
at Whitney
美術館という空間が好きだし、キュレーションに興味を持ちだしてからそれぞれの美術館の展示の仕方の違いに注目することが楽しくなった。館内の部屋ごとの光の入り方と天井のライトのつき方、どういうテーマで区切って部屋を変えているのか、ひとつひとつの展示品の物理的な間隔の違い、額縁があるものはそれも。良い悪いをジャッジしようというのではなくて、素人なりにそれぞれの展示の違いを発見していくのが、面白い。
ー
あの静謐な空間に身を置き、そこで絵を目の前にするときの、もはや全身で「出会う」感。言葉より先に、ありとあらゆる感覚が身体中をざっと駆け巡る。「絵画を見るときは感覚が最も大切」なんて全く思わないけど (後述するけど、作品の背景や歴史を知ることはものすごく重要だと思う)、初めてそれを目の前にして立ったときのその一瞬にはどこか特別なものがある。
これを書いていて、写真評論家のトモ・コスガさんが写真をみることを「言葉なき対話」とよんでいたのを思い出した。田附勝さんの「何も語らないピースが現代に生きる自分たちに語るものがあり、歴史・過去が炙り出される」という言葉も。写真はもちろん、どの絵画にも、彫刻にも、それはいえることだということを、そしてその「対峙」の仕方もキュレーションによって全く違うのだということを、美術館に行くたびに実感させられる。
話がそれたけど、ニューヨークで行った4つの美術館で特に印象に残っている作品を載せたい。(写真は自分がとったものだけど、文章は美術館でのメモか、帰ってきてから調べたものから選んだもの。ソースが書いていないものは美術館の文章から直接抜粋。）
1. The Museum of Modern Art (MoMA)
Maria Lassnig
Transparent Self-Portrait
1987
(自画像を描く時に写真を使わずに、Maria は) She uses her imagination and what she calls “body awareness,” a unique approach to Expressionism that she hit on in 1948. Simply described, she paints from the inside out, taking cues from her body’s sensations. If Lassnig doesn’t feel her ears as she’s working, they stay out of the picture.
https://www.newyorker.com/magazine/2014/03/10/her
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Cecilia Vicuña
Black Panther and Me (ii)
Bogotá 1978
"I always painted portraits of Claudio until one day I rebelled and decided to do my own self-portrait. But the hair was very big on one side. To balance this, I had to put two other little people-that my brother Ricardo interpreted as "my other me’s"-some little people who are dedicated to satisfy all my desires.”
https://www.moma.org/collection/works/290939
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Marlene Dumas
Chlorosis (Love sick)
1994
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Vasily Kandinsky
Picture with an Archer
1909
“The painting‘s abstract, patchwork surface and vibrating, vivid colors nearly overwhelm the figurative forms—so much so that the scene may be hard to make out.
The lone rider with his archaic weapon, the traditional costumes and buildings, and the rural setting suffuse the scene with a sense of folktale or fantasy. When he painted Picture with an Archer, Kandinsky was living in Germany, far from his native Russia.
“Color”, Kandinsky wrote a year later, “is a power which directly influences the soul”.
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Henri Mattise
View of Notre Dame
1914
This one lives in my head forever since I saw it.
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Edward Hopper
Gas
1940
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Rene Magritte
The portrait
1935
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Maria Martins
The impossible
1946
“The spiky tentacles reacting toward each other in this bronze sculpture are locked in an embrace that suggests both opposition and attraction. “It is nearly impossible to make people understand each other.”, Martins said, feeling that may be the source of the interaction depicted here. Between 1944 and 1949, Martins made several version of this sculpture in different sizes and materials, parts of a larger body of work characterized by writhing, plantlike forms.”
https://www.moma.org/collection/works/81011
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Henri Mattise
The red studio
1911
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Henri Mattise
luxe, calme, et volupté
1904
luxe, calme, et voluptéは日本語だと豪奢、静寂、逸楽らしい。MoMAのサイトでは、英語では“Richness, calm, and pleasure,” という意味として紹介されてた。
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Eva Hesse
Untitled
1960
“The work is often interpreted as a self-portrait that captures the fear Hesse felt as a child fleeing Hamburg, Germany. In 1938, following its occupation by the Nazis. She was one of the last children saved by Kindertransport, a rescue program that transported Jewish children to unoccupied areas of Europe. At age two, she was relocated to Amsterdam with her sister : they rejoined their family in New York a year later. Hesse talked about the lasting trauma of this experience. “The world thought I was a cute, smart kid and I kissed them”. But at home I was called a terror. I was miserable. I had trouble - tremendous fear - incredible fear."
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Angst
1896, signed 1897
“Wood is something that is alive.” Munch stated, and he saw the material as a source of primal energies to be released through carving. He depicted this scene in both an oil painting and a lithograph before finally making it this woodcut. Munch used the physical qualities of the wood in the image, carving against the grain of the woodblock so that the horizontal of the sky run perpendicular to the vertical striations of the wood. With each cut into the block, Munch met the resistance of the grain, generating a tension in his process that mimicked the woodcut’s emotional subject. “
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Henri Matisse
Dance (I)
1909
“When it was painted, it’s implication of the human body and radical elimination of perspective were attacked as inept or willfully crude, but Matisse felt it evoked “life and rhythm”.
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Wilfredo Lam
the jungle
1943
“Lam, who had three years working with the Surrealists in Paris, aimed for The Jungle to convey the haunting consequences of Slavery and Colonialism for his native island of Cuba. He depicted figures with crescent-shaped faces, recalling African or Pacific Islander masks, against a background of Cuban sugarcane fields. Cuba, one of the world’s largest sugar exporters, had been colonized since the sixteenth century, and the Atlantic slave trade had brought more than million Africans there as labor for the country’s plantation. “I wanted with all my heart to paint the drama of my country.”, Lam wrote, “To disturb the dreams of the exploiters”.
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Hedda Sterne
New York, VIII
1954
2. Solomon R. Guggenheim Museum
Paul Mpagi Sepuya
Model Study (_2020255)
2017
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Pablo Picasso
The ironer
1904
3. Whitney Museum of American Art
Edward Hopper
(上から) A woman in the Sun 1961
New York Interior 1921
Seven AM 1948
Edward Hopper.....one of my favorite artist ever.
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Rachel Harrison
1:1 (Wonton: John)
1996
Thirty eight pictures of Johns and thirty eight unfired and polymer clay wontons.
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Norman W. Lewis
American Totam
1960
“Terror is both representable and abstract, conscious and unconscious, visible and hidden”.
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Alice Neel
Pat Whalen
1935
Alice Neel が描いた肖像画を実際にみたのはじめて…
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Charles Burchfield
Winter Twilight
1930
BurchfieldのOncoming Spring(1954)もいつかみたい。
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4. Metropolitan Museum of Art
Jean Alaux
Léon Pallière (1787–1820) in His Room at the Villa Medici, Rome (1817)
