Yesterday an exhibit at the Guggenheim Museum in New York on the post-war German, and eventually international, network of artists called Zero closed. I had never heard of the group or most of its members, but it was a great exhibit and an interesting moment in (art) history…
One of the recurring themes for the group and many of its members was movement in art, either literally art with moving parts, or optically, creating the impression of movement.
Vision in Motion / Motion in Vision exhibit at Hessenhuis, Antwerp 1959
As such, it was interesting that one of the earliest group shows, whose distinctive installation (seen above) the Guggenheim mimicked in part of their own exhibit, was called Vision in Motion – Motion in Vision. Held in an old industrial building in Antwerp in 1959, it included some moving pieces, proto-op-art pieces implying movement, and one abstract animation by the American Robert Breer.
The Breer piece included in the Guggenheim was Phase Forms IV, from 1959, and the above animation, Eyewash, was from the same year, the earliest piece I could find by him online… The piece I saw at the Guggenheim, maybe more than this one, reminded me a tiny bit of a better known 1965 semi-abstract animation by that American animation giant, Chuck Jones:
The Late Child and Other Animals by Marguerite Van Cook and James Romberger
It sounds like an interesting life story and story-story, and the team of Van Cook and Romberger have created some real lovely, trippy art before in 7 Miles a Second, another autobiographical comic created with artist David Wojnarowicz before his AIDS-related death in 1992. I’ve been planning a separate post about that book for a while, so tomorrow’s event comes at a good time to learn more about Van Cook and Romberger’s collaborative process, and about this exciting new book too!
A Kickstarter-funded temporary pop-up location for the Hoboken-based Jack Kirby Museum is up and running this week at 176 Delancey Street in Manhattan, with exhibits, events, and even a scanner for you to digitize any Kirby art you may happen to own! It’s up through next Monday, the 11th.
It’s a home-coming for the museum, since Kirby grew up on the Lower East Side himself, later creating an autobiographical comic of his childhood there called Street Code. The museum has a great post about the history of Street Code, an unique part of his oeuvre as Kirby’s only self-produced autobio story.
Kirby’s Street Code
I remember seeing Street Code at MoCCA’s 2010 Neo-Integrity exhibit, and it’s an amazing alternative account of that moment in the city’s history; a bit jarring because of the superhero-ish qualities of Kirby’s art, but incredibly dynamic and full of details.
The original Kickstarter‘s purpose was to remodel a storefront in the Lower East Side to create a local hub for rotating pop-up events, and the Jack Kirby Museum is their tenant for this week.
There’s a neat behind-the-scenes article about the development of the piece since ENO. It also mentions some of the outside-the-box promotion the Met’s been doing (TV spots during Catfish seem appropriate), including an “Ask me Anything” session with Muhly on Reddit! Strangely engrossing… He elaborated on some of the questions on his own site too.
PS: “Two Boys One Cup” was definitely a Google autofill suggestion today…
EDITED TO ADD: Britten‘s final opera, Death in Venice, is streaming until Friday on BBC Radio 3, which I mention here because of Muhly’s self-proclaimed love of Britten’s operas and the centrality of a boy character to each. Maybe by listening to the two you can play spot-the-influence; I heard some gamelan-like touches are appear in both…
Also, here’s a video from the Met with the most music and footage from the actual opera as I’ve yet seen… To put some visuals to the disembodied music you’ll hear tonight…
Ghost Hotel, copyright Kim Ku, 2013 MoCCA Fest Award winner
If you remember as far back as this year’s MoCCA Fest (the first under the new leadership of the Society of Illustrators), you’ll remember one of their new additions was a juried award for exhibitors. Well, the lucky 7 winners are the subject of a new exhibit at the Society opening today, but partiers-in-the-know will wait for the free reception tomorrow night, from 6 to 10.
I sadly missed some really neat sounding exhibits at the Society in the mad dash that was the end of last semester, so I’m ready to get back in the swing of things… And coincidentally, I know someone in my library science program who knows one of the winners! So looking forward to blending my library and comic museum worlds in one night…
So I’m going to a conference today about libraries and I’m reading up on the speakers, and oh wait, what’s this, one of them works at the freakin’ Metropolitan Opera Library!!! Tanisha Mitchell, a 2013 Library Journal Mover & Shaker, works as a music librarian in three different NY libraries, and get this, she sings opera too! That profile on her includes a link to an unlisted YouTube video of her singing “Depuis le Jour” from Gustave Charpentier‘s 1900 opera Louise… so here’s Leontyne Price performing the same aria at the Hollywood Bowl in 1958:
Oh man, I am going to have to geek out about opera with her…
Speaking of the Met Opera and libraries, here’s the Met Opera Online Database, with archival materials, histories of Met performers, and statistics on house repertory. Not the most user-friendly interface, but tons of great info laying in wait… If you want to just jump in and look at pictures, I recommend clicking on “New Photo” on the left sidebar; lots of good jumping off points from there!
After a bit of scrounging around, I did find some information on the Met premiere of Louise, in 1921. No pictures or designs, sadly, but there is a full-text review by Richard Aldrich of the New York Times:
For the first time Charpentier’s opera of “Louise” was given at the matinee performance at the Metropolitan Opera House yesterday. The audience was very large and full of curiosity and interest to witness a performance in which Mme. Farrar made her first appearance as the wayward heroine, and Messrs. Harrold and Whitehill and Mme. Bérat took the other leading parts. It was apparently pleased with the results and was liberal in its applause.
I made this! (That’s my lovely mumblecore voice, even!)
This was a final group project for one of my classes in library science school; pretty nifty no? You can see three semesters’ worth of these podcasts on the miNY Stories blog, so lots of interesting quickies about New York history to choose from.
Anyway, it’s my last week of the semester, so bear with me as posts are a bit fewer and further between. I’ll be all done after next Monday! Until summer classes start at least… : P
Chantalle Uzan, Sebastian Moya, Jenny Ferretti, and Leah Castaldi
At the turn of the 19th century, Thomas Edison, George Westinghouse, and their associates raced to electrify the world. Out of their patent wars, company rivalries, and competing currents, the electric chair was born.
Edison and Westinghouse were fierce rivals, as businessmen and inventors. The meat of their competition lay in the electrical currents used by their companies; Edison Electric Light Company used the Direct Current while Westinghouse Electric Corporation used an Alternating Current.
“All generators produce AC internally. In this basic AC generator, the arms of the loop cut lines of force in opposite directions, causing electromotive force of opposite polarity to be generated in the conductor.”
Edison’s Direct Current was transmitted by expensive, heavy copper wires, which they buried underground. Westinghouse’s method could deliver electricity over greater distances more cheaply, but their wires were kept above ground…