Tessa's Blog Posts

A series of Blog Posts about NYC museums!!

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Christian Dior: Designer of Dreams

When visiting the Dior exhibition at the Brooklyn museum, I couldn’t help but be in awe of the sheer amount of garments. In total, there are probably over 200 garments on display at the exhibit, all presented in dramatic lighting and structures. Along with the couture, there are historic photographs, archival videos, various accessories, and sketches. These elements of the exhibition helped you contextualize all the work put into ideation, construction, and presentation of each garment. 

Personally, I was attracted to the “new look” section which debuted in 1947, just ten years before Dior passed away. The creation of this silhouette was a complete fashion reset, propagating a new sense of luxury after the war. Additionally, these garments worked directly with the ideals of femininity and motherhood, furthering the social and political agendas of the time. 

Following Dior's death, a series of creative directors took over his role, including the now-legendary Yves Saint Laurent, John Galliano, Raf Simmons and others. The exhibit also includes galleries dedicated to those directors, who continued to build Dior without Dior himself. While the exhibit takes the time to showcase the visions and influences that different designers have brought to Dior, its main goal is to find the common narratives that have remained part of the designer brand’s vision. What was truly fascinating about these designs was how Dior creative directors have consistently come back to is historical fashion. The house of Dior, as the exhibit shows us, has a skill for turning old styles and silhouettes into more contemporary trends.This balance has allowed for Dior to remain on the top of its game, no matter what year and no matter what season. 

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Lynn Hershman Leeson: Twisted

Technology has been the centre of Lynn Hershman Leeson’s works – explored through her works such as the “Breathing Machines”, “Electronic Diaries”, “Deep Contact” or her latest “The Infinity Engine”. This exhibition, curated by Margot Norton, at times feels limited and overly cramped, omitting a lot of works while simultaneously squeezing too much into basically a single floor. Considering this exhibition was Lynn’s first solo show in New York (she’s 80), even though she’s had a life-long career, it obviously would be a challenge to encompass all of her works. What was particularly interesting about Hershman is her exploration of the public versus the private through different forms of media and themes.

We live in a world where others have access to our data, location, and practically any information about you is one google search away. Considering every public space has elements of the private, and every private space has elements of the public, where is the line drawn between the two? Leeson's dolls proposed this question in a very interesting way. When observing the exhibition, you feel like you're encroaching on the artist's private space, learning about her through something personal: her art. However, her art is learning about you too. It was a really fascinating feeling once you realize that the dolls are observing you exactly how you are observing them, highlighting that you are just as on display as they are. What is unnerving about this work is anyone can access the footage taken of you, watching from a livestream accessible through googling it scanning a QR code.

When you leave the comforts of the space you find most private, namely your home, you are allowing for access to you. It is quite self-absorbed to assume privacy is entitled, because every day you are recorded in some sense. That can be through the eyes of someone else, listening in on a conversation, security footage, interactions, and ending up in the background of a selfie taken by a tourist. This is what I personally enjoyed about this exhibition: the introspection Hershman forces you to have when recognizing who and what has admission to you and your digital footprint. 

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Jasper Johns- Mind/Mirror

At the Mind/Mirror exhibitions in New York and Pennsylvania, each room focuses on a specific aspect of Johns’ understanding of himself through “the lens of different themes, processes, images, mediums, and even emotional states. Taken together, they provide an immersive exploration of the many phases, treasures, and mysteries of a radical, enduring, and still-evolving career” (Rothkopf). Considering the size of this exhibition at the Whitney, it is impressive to note how the space is completely filled with works. At first, it was slightly overwhelming to navigate through, considering the sheer amount of pieces present, however as you explore the exhibition, you become enthralled with how much Johns’ work has shifted and developed over his career. This exhibition is organized in chronological order, so walking through it almost felt like a walk throughout Johns’ life, thoughts, and interests. This is perhaps what made Mind/Mirror so poignant and emotional; it acted as a complete immersion into Johns’ psyche. 

In the late 1950s, Jasper Johns emerged as a force to be reckoned with in the American art scene. His stunning interpretations of maps, flags, numbers, and recognizable icons guided the artistic community away from Abstract Expressionism, and toward a new emphasis on the concrete. When observing these works, specifically Johns’ flag series, one couldn’t help but question the intent of these pieces. Having seen these works only in images online, the vibrancy of color was perhaps the most surprising factor. It is interesting to note that the Flags/Maps room of this exhibition was the most crowded, with many of the observers taking pictures in front of the works. Therefore it was quite a challenge to truly give John’s work the attention it deserves. Created in the Cold war period, it is possible to infer that these works stemmed from the nation’s unrest, or perhaps acts as Johns’ way of understanding his own military background during this period of American nationalism. Considering how united America becomes in the face of war and fear, it is understandable that this series was, and still is, alluring to the masses.    

Much of Johns' pop art pertained to the neutralization of subject, which was accomplished by utilizing instantly recognizable objects of which the viewer already had a visual relationship and awareness. Through these iconic, undeniably Pop images, Johns’ was able to traverse the limits of the canvas, breathing new life into familiar mediums. One example of this is Saverin monotypes exhibited at the Whitney Mind/Mirror show. Much of Johns’ work includes a range of found and represented objects, which begs you to ask the question: what can art be made from? With something so simple and recognizable as a coffee tin, it’s quite interesting to notice how Johns’ was able to reinvent the way you look at common and everyday objects. The representation of these tins are not intended to be realistic interpretations, but yet the lens in which he sees these objects and the value he places upon them. That is, perhaps, what makes this series so fascinating.

The exhibition Mind/Mirror, presented by the Whitney Museum was a fantastic journey into the psyche of the very private Jasper Johns. Considering what a reticent person Johns’ is, it was truly amazing to follow his train of thought and see how much his work has developed over his career. This exhibition acted not just as a chronological expression of his career, but yet a representation of his turn of mind. Additionally, it was fascinating to observe the elements of pop in his work, and first hand see how his art attracts the masses.

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Andy Warhol- Revelation

When you think about Andy Warhol, do you think about God? Knowing his popularity at the height of his career, one might think he equated himself as a similarly commanding figure; yet, the opening of Andy Warhol: Revelation at the Brooklyn Museum completely shifts this misconception about his famed ego. Through this exhibition, viewers are able to witness the lesser known facet of his work: the influence of his Byzantine Catholic background. As an out and seemingly proud gay man from religious immigrant parents, one would assume the worst about his connection to religion; however, this exhibition proved that was not the case. Warhol practiced his religion for the entirety of his life, and it truly influenced many, if not all of his works. At the start of this exhibition, the room is populated by personal and family artifacts that pertain to his Catholic background. For instance, on display is a statue of Jesus painted by a young Warhol, holy cards, crucifixes, and even several religious paintings by his mother. The exhibition then is separated by six thematic sections labeled with roman numbers that recognize other elements of Catholicism over his career timeline. Additionally, this exhibition included works ranging from iconic screen printed celebrity portraits, appropriated Renaissance classics, thereby reframing them and their catholic symbolism within the context of Pop art. 

What was particularly interesting about these exhibition was how utilizing this new lens of religion when observing his series, especially the ones pertaining to women, shifted your understanding of Warhol. More specifically, his obsession with Jackie Kennedy, Marilyn Monroe, and transgender muse Candy Darling highlighted a desire to find counterparts of his Byzantine Catholic icons. These portraits are fascinating, especially once you begin to recognize how the Madonna motif plays a role in their creation. Additionally, drawings and photographs depicting breastfeeding mothers were included, presumably inspired by the endless Renaissance paintings of the Madonna and Child. One work pertaining to his complicated relationship with women that stood out was the repetitive Screen-printed work, Mona Lisa’s Hands, made in 1963. This work is important because it was made in the same year that Leonardo Da Vinci’s Mona Lisa was exhibited for the first time in the United States after Jackie Kennedy convinced the French Government to lend it out. “During its four-month tour, it was seen by million of visitors, cementing the portrait’s dual roles as art historical archetype and celebrity”(Diaz 2021). Due to the high regard and fame the portrait gained during this time, it makes sense that Warhol would use her as a muse for a new series. This definitely showcases the popular imagery trope in the pop movement. Additionally, this series included the slightly abstracted changes amongst repetition that was common with Pop artists. 

Another fascinating theme portrayed in this exhibition was Warhols personal connection with sexuality and religion. In Catholic visual culture, especially the Byzantine tradition, there is an emphasis on the human form and ritual. “The body-- and his body-- fascinated Warhol, who was obsessed with health and wellness, particularly following the 1968 attempt on his life and during the early years of the aids crisis” (Diaz 2021). These factors played a large role in his understanding of his body and mortality. As shown through a series of photographs taken by Richard Avedon in 1969, Warhol’s scarred and mutilated body is showcased with his hands protruding outwards. This image is very reminiscent of Renaissance depictions of Saint Sebastian, who is frequently associated with the LGBTQ+ communities. It also suggests a connection between the resurrection of Christ and Warhol’s own medical resurrection. Considering no imagery is more popular than that of Jesus, Warhol equating himself to this powerful figure is quite Pop. As another recognizable figure in American culture, it is possible this period in Warhol’s career acted as a means of acknowledging and attempting to repent the mistakes he made before he was shot. 

After his near-death experience, the theme of mortality or memento mori began to show up in his work. Having gone through such a traumatic experience, it is completely understandable that Warhol would begin to reconsider what is important in life--living. One work that expresses this sense of mortality is Skull, 1976, acrylic and screen-print on linen. In the Byzantine Catholic religion, the trope of “Adam’s skull” is used on many ritualistic keepsakes. This trope acts as a reference to the belief that Adam was buried at the site of Christ’s crucifixion. “In medieval and Renaissance works that Warhol knew well, the blood of Christ trickles down to meet the skull, symbolically completing the cycle of original sin and redemption” (Diaz 2021). One can infer that this cycle pertains to Andy Warhol’s life before his near-death experience versus his life after. This particular work includes an imposing skull that casts an interesting shadow shaped almost like a baby. Comprised of bold colors and elements of screen-printing, this work is very synonymous with the characteristics of Pop we so fondly associate with Warhol. Perhaps, this work acts as a reference to the series or cyclical nature of life. However he intended this work, one thing is certain, Warhol was a changed man during the latter part of his life. 

Furthermore, this exhibition was a fascinating reintroduction to Warhol. Although his legacy is often associated in a negative light, the exploration into his history and personal life highlights a new version of him, the real person. Through these collections of works, we are able to recognize the complexities between fame, sexuality, ego, and religion which played a prominent role in his life. These themes bring the title of the exhibition Revelation into focus, not only divulging a hidden truth, but also the difference between the Warhol we thought we knew versus the one who actually existed.

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The MOMA in the Fall

I paid a visit to the Moma museum a few weeks back with the mindset of observing art I wasn’t particularly familiar with. This is often a common practice for me when I visit museums that are populated with iconic works. Upon entry, I walked through the 1880s-1940s collection quickly, for I had seen many of these works in person before, yet my eye was drawn to the Stephen Shore-esque painting of a gas station by Edward Hopper. I have owned a postcard of this painting for years, so I was quite excited to perceive it in person. There’s something about Hopper’s work that is so haunting, almost like you are witnessing a moment that you shouldn’t entirely be privy to. That’s probably what is so attractive about his work: a sense of isolation and nostalgia in a moment that isn’t yours. 

Moving on, I made my way to Morris Hirshfield’s painting on the fifth floor, “Inseparable Friends” created in 1941. I had never seen this artist’s work before, yet something about the shape of the women and painting style seemed so familiar. The flat, round shapes of the bodies intrigued me and made me think of Fernando Botero, if his figures were less plump. It is interesting to note that Hirshfield was a tailor and fashion designer, so his understanding of the female form was quite excellent. His background echoed throughout this painting; however, his work is definitely a more surreal interpretation of the body. 

As I continued to walk through the gallery, I made the conscious choice to power through the Pollocks and Rothkos, keeping an eye out for the female modern/contemporary artists. In doing so, I ended up in front of Mary Beth Edelson’s “Death of the Patriarchy/ A.I.R Anatomy Lessons” made in 1976. This poster mock up, comprised of important female figures dissecting a body  ironically named The Patriarchy, is truly eye-catching and inspiring. This group collage, composed of eighteen women and one cadaver, reinvents the group portrait synonymous with the Baroque Era. Additionally, the names of the women near the title makes it central that it is the women the viewer should be focusing on. I absolutely adored this work, especially in regards to it’s satirical nature. Not only that, but I truly appreciated this work because of how it represented women, not just in the nude like we are used to seeing at museums, instead focusing on the achievements of feminist icons.