weather unpermitting
The plan was to offer ORQ's NYC debut outside P.S. 1 this past Saturday, but Hurricane Hanna's edge put a literal damper on that idea. The day didn't seem that bad early on, and there were even a few minutes of weak sun, making me think I should just ignore the weather.com predictions of 100% precipitation by 4pm. But on the first day out in the city I didn't really want to get soaked (especially with 15 books, two portable chairs, and a video camera in tow - and all this on foot), so I headed to the Guggenheim to see Louise Bourgeois.
Bourgeois has been an inspiration for me for years in so many ways and it was fantastic to see so much of her life's work together. Now that I know that she did more than half of her work since turning 70 (and being the first woman to have a retrospective at MoMA - shockingly, in 1982!!!!!) her ways of thinking and working are even more interesting. In fact, I find her current work with fabric and the patched-together, falling apart bodies, the stitched heads, powerful and visceral. They are like large, intense dolls, weaving together the connection of childhood and old age.
Louise, you so totally rock it's not even funny. Which reminds me, as a stonecarver it's interesting how to see how you work with that medium. And those are quite some hunks of marble, especially the Belgian Black (at least i'm guessing that's what it is) - yes, the one with the illuminated glass cups. Unfortunately, the Guggenheim didn't dim their fluorescent light behind the piece so it was really hard to see the illumination in the cups, but it was there if you looked. Secret.
[Thanks to rafastarix for the use of his photo!]
Bourgeois has been an inspiration for me for years in so many ways and it was fantastic to see so much of her life's work together. Now that I know that she did more than half of her work since turning 70 (and being the first woman to have a retrospective at MoMA - shockingly, in 1982!!!!!) her ways of thinking and working are even more interesting. In fact, I find her current work with fabric and the patched-together, falling apart bodies, the stitched heads, powerful and visceral. They are like large, intense dolls, weaving together the connection of childhood and old age.
Louise, you so totally rock it's not even funny. Which reminds me, as a stonecarver it's interesting how to see how you work with that medium. And those are quite some hunks of marble, especially the Belgian Black (at least i'm guessing that's what it is) - yes, the one with the illuminated glass cups. Unfortunately, the Guggenheim didn't dim their fluorescent light behind the piece so it was really hard to see the illumination in the cups, but it was there if you looked. Secret.
[Thanks to rafastarix for the use of his photo!]
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