Michele Schuff’s highly anticipated new show opens on February 2nd at Sandler Hudson Gallery in Atlanta. To explore Michele’s work is to discover a deep and indecipherable sensitivity masked by layers of wax and pigment. Indeed she may only have scratched the surface of her immense talent in a show that promises to take us to a new galaxy “On The Edge of Forever.” Having had a sneak peek inside her studio a few months ago, I am intensely curious to peer through the polished lens of Michele’s telescope. Knowing her work, I don’t expect to unearth any dark abyss, but a world full of light and wonder and awe. Her show runs through March 17th at 1000 Marietta Street NW, Atlanta, GA 30318.
On the first of what will no doubt be several visits to the 2017 Whitney Biennial I was confronted with an uneasy feeling. As I worked my way through the crowded galleries, I stood shoulder to shoulder with others pondering the works before me. It was like standing next to a stranger in a public bathroom, looking into the mirror. Are we staring at ourselves, or looking past one another wondering what the other person is thinking, while trying not to make eye contact. However innocuous the encounter, I walked away from each artwork feeling that we are all here because of a common purpose and a desire for shared experience.
The “Zeitgeist” portrayed in the Whitney’s newest survey of American art is one of seriousness and concern over the polarization in society. Significant artworks deal with themes of inequality and injustice that were at the forefront of last year’s election. Probably the most talked about piece is Dana Schutz’s homage to Emmett Till, the painting of a young black boy who was brutally killed following false accusations by a white woman in Mississippi in 1955. Controversy erupted as some black artists protested what could be perceived as profiteering on a “black death spectacle,” criticizing that – as a white female artist – Schutz has no ownership in the cultural heritage and the civil rights movement that the image of Emmett Till represents. In her defense, Schutz has made clear that she never intends to sell the painting.
I disagree with the criticism and feel strongly that it is for all Americans to own that shared cultural heritage including the shamefulness of white supremacy. It’s certainly better to confront that experience than to run away from it or deny its continued existence. Biennial’s co-curator, Christopher Lew on artnet put it this way: “It is deeply painful and traumatic—more so for some than others, in unequal terms—but it is something that we all have to deal with, and I think if we don’t confront it, if we don’t have these kind of conversations, then we’re not getting anywhere.”
That painting is also the subject of a personal confession and the source of that unsettling mirror-image I was feeling. In a moment of pictographic ambiguity, the yellow cloth surrounding the victim’s head suddenly resembled the shock of yellow-blond hair that we have all become too familiar with. Was it Emmett Till’s casket open in front of me or was I staring into a dystopian void in which Donald Trump was staring back at me? However fleeting, this weird moment of confusion was a reminder that the subject of racism is ever present in society today. Our fate as Americans – white and black – are all wrapped up in the heritage that led to the death of Emmett Till and we have a shared responsibility to deal with it. I am reminded of the song “Everyone’s a little bit racist” from the musical Avenue Q:
If we all could just admit
That we are racist a little bit,
And everyone Stopped being so P.C.,
Maybe we could Live in — harmony!
In the words of another notable white figure, controversial on matters of racial injustice, the Polish-British author Joseph Conrad said this: “In order to move others deeply we must deliberately allow ourselves to be carried away beyond the bounds of our normal sensibility…” Whether through literature or painting, art has a way of transcending reality to engage us in new ways of thinking about ourselves and our shared experience.
Biennial co-curator Mia Locks wraps up the exhibition this way: “When people keep talking about racism, when people keep talking about inequity, when people keep talking about debt — when conversations come around without you bringing it up — you realize: These are the ideas!”
For a show bustling with the energy of an overzealous crowd in search of the next big controversy, the Whitney Biennial also offers quiet moments of reflection. The busy visitor will miss the beauty and poignancy in “Harmony of Difference”, a video and music installation by jazz musician Kamasi Washington. As I stood and watched, I could hear hushed questions from impatient passersby asking “is anything going to happen”.
Slow images rolled by as visitors came and went. For those who patiently waited, Washington’s beguiling music evolved and the video rewarded greatly with “Desire,” “Humility,” “Knowledge,” “Perspective” and “Integrity” – the five themes beautifully woven together. My take away of the whole biennial: for true understanding, we must take the time to look (and listen) carefully and to see deeply.
Domo Arigato to all of the visitors to the exhibition “Water Abstracts” – artworks by Berlin artist Silvia Sinha. Thanks for commenting on the tranquil beauty of these works, which mirror the Japanese aesthetic for calm (odayaka), impermanence (mujō) and the essence of minimalist order (kanso). Enjoy this recap. If you like what you see, think about adding Silvia’s works to your collection. Contact Project Art Lounge for details.
Creative collaboration is in the DNA of Hikarie 8/ – the “Shibuya style” marketplace that has become a meeting point for fans of art and design in Tokyo. Located on the 8th floor of the Shibuya Hikarie building, the panorama windows offer a great viewing spot overlooking the 3 million people who pass through busy Shibuya Station every day. It is also the perfect place to see “Water Abstracts” – an exhibition of photographic artworks by German artist Silvia Sinha. In painterly images, Silvia captures the light and flow of Berlin, which similar to Tokyo is full of energy and vitality. By depicting a city reflected in rippling bodies of water, Sinha conveys a sense of tranquility as well as the fleeting nature of the urban landscape. “Water Abstracts” – Silvia Sinha runs through Sunday, November 22nd.
Just as the Paris Photo Show opens its doors to international artists next week, Project Art Lounge is pleased to present the works of European photographer Silvia Sinha at one of Tokyo’s most innovative art and design spaces. Following an invitation-only preview earlier this year, “Water Abstracts” by Berlin based Silvia Sinha will be on display from November 19-22, 2015 at Hikarie 8 / Creative Lounge across from the busy Shibuya station.
Like Hiroshi Sugimoto’s Seascapes, Silvia Sinha takes us on a “voyage of seeing” in her series “Water Abstracts”. In photographs which the artist likens to “painting on the water’s surface” Sinha captures the ever changing light and flow (光と流) of the urban landscape.
Silvia Sinha’s recent works were featured in the European Month of Photography in 2014 in Berlin and at international exhibitions in Basel, Switzerland and Tokyo.
ベルリン拠点の写真家、Silvia Sinhaによる「Water Abstracts」シリーズでは、杉本博司の 海景と同じように、我々を「眺めの旅」に誘います。今回、Project Art Loungeが紹介する展示はSinhaの捉えた、常に変わり続ける都市風景の「光と流」というテーマです。 アーティスト自身が写真を「水面上に描くペインティング」のように捉え、都市風景をシンボルとして、陸封メトロポリスの活気を表す作品です。
Creative Lounge MOV aiiima 3
Project Art Lounge (www.projectartlounge.com)