As a young photographer with “nothing to lose” Soth did a road trip down the Mississippi. The resultant book, just re-printed, is regarded as one of the “great representations of the United States”. “Charles – with his aviation gear and model airplanes – represents a “humble search for creative exploration”. Sleeping by the Mississippi, [is] a lyrical way of moving through the world that hints at sleep and dreams.”
A new perspective on the puzzle that is Murakami. Eccentric humour is a long standing tradition in Japanese art. Boston’s MFA is using its collection of historic Japanese masterpieces to place Murakami squarely within this tradition. Criticism of Murakami – that his art is too decorative – perhaps fails to take account of these foundations. The curator notes “He said to me, ‘There’s a need for play. It’s just fun.’” A video (2 min) is here.
Steinberg aimed to draw like a child. Easier said than done over a decades-long career. Magazine drawings, which brought fame, ran in parallel with a diverse artistic career that ignored boundaries. Steinberg was aware of the category confusion – his self-description was “a writer who draws”. And his description of his work also had a certain innocence: “[my hand explains] to myself what goes on in my mind.” More images are here.
Image: Saul Steinberg Foundation
Metal spider sculptures secured Louise Bourgeois’ fame. It seems, though, that for large parts of her career, print making was the focus of her creative process. A survey show of these works on paper will help free her reputation of the “clichés miring her sculpture in rabid feminism.” Because of “their vigour, breadth and intuitive gesture, [they] release Bourgeois from her legend”. A video on the show (31 min) is here.
The 19th century French art establishment viewed women as “scaled down men”. A ban on women artists studying life (nude) drawing was just one of many barriers. Nonetheless many persevered and a few, such as Berthe Moriset and Mary Cassatt prospered. “[I]t’s possible to look at works that are different not just because they’re by women, but because they’re not what’s mainstream.” Some images are here.
Chris Ofili is an important painter. But his latest, widely reviewed, show seems plain difficult – four paintings in a gallery, displayed behind a floor-to-ceiling wire fence. Some explanations are lengthy and one critic admits “I don’t fully grasp this exhibition”. This writer thinks the show is “stunning”. Summoning up his explanatory powers he suggests the difficult-to-see works are about “venturing resolutely upon a new vision of reality”.
Eugen Gabritschevsky was a distinguished Russian biologist until engulfed by mental illness. Confined to a psychiatric hospital he started painting. What had before his collapse been the occasional drawing, afterwards became a prolific activity. When a new medication was introduced his art stopped, though he seemingly retained “a deep wisdom full of resignation.”