I’m traveling tomorrow to Boston and might have time to get a few pictures together to tell the story of this day. Here’s the main thing though, if you are a museum person you have to buy a ticket to New York. After all this time of looking at our walls imagine how it feels to look at objects that make your heart beat fast.
Now it’s the day after tomorrow and I haven’t got to this last day yet, but I WILL when I get home!
Above is the hot dog stand I have never yet missed when visiting New York.
COPIED from the The Morgan Library and Museum website, so I won’t forget the glory of the “Shahzia Sikander: Extraordinary Realities” exhibit and be reminded of the unfathomable vocabulary of art-speak. (I also enjoyed the original building, the library, and the gorgeous display of early bookbinding.)
“Born and raised in Pakistan, Shahzia Sikander (b. 1969) gained international recognition in the 1990s for her pioneering role in bringing painting traditions from South and Central Asia into dialogue with contemporary practices. Her work interrogates cultural identity, racial narratives, colonial and postcolonial histories, and issues of gender and sexuality. Through multivalent narratives layered across time, geography, and tradition, she shatters established hierarchies, norms, and stereotypes, using her imagination and playfulness to conjure extraordinary realities.
“This exhibition explores the first fifteen years of Sikander’s career, from her formal training in manuscript painting as a student at the National College of Arts in Lahore, Pakistan, where she enrolled in 1987, to her early years in the United States. Sikander moved to Providence in 1993 to study at the Rhode Island School of Design. She then lived in Houston for two years before settling in New York in 1997. Her work during this period reflects a new openness in the United States toward artists working outside of commonly accepted models as well as a dramatic shift in the perception of Muslims following the events of 9/11. The potent vocabulary of Sikander’s early work continues to permeate her oeuvre today, and the subjects she confronted then have only become more relevant to contemporary discourse.”
And COPIED from wikipedia.
“As an undergraduate student in Lahore, Shahzia Sikander studied the techniques of Persian and Mughal miniature painting, often integrating traditional forms of Mughal (Islamic) and Rajput (Hindu) styles and culture The traditional form of miniature painting requires equal measures of discipline, gesture and expression in order to execute a careful layering of color and detail. Compositionally, miniature paintings exhibit an extensive display of colorful imagery including, human forms, animals, patterns, shapes, dots and connecting lines. Miniature paintings often engage in contextual complexities such as, religious narrative, scenes of battles and court life. Sikander has integrated the techniques and forms of traditional miniature painting, relying on the layering of images and metaphor to drive her work. Her forms and figures exhibit a quality of continual morphing as transparent imagery is layered, providing a complexity with endless shifts in perception. Sikander’s complex compositions “dismantle hierarchical assumptions and subverts the very notion of a singular, fixed identity of figures and forms.” The increasing approach of continual morphing explains Sikander’s relationship to an ever-changing world where opposing societies coalescently interact.”
Paul joined me for a visit to MoMA, the highlight being acres and Acres and ACRES of Cezanne drawings. SO many rooms of drawings. I hadn’t been in this version of MoMA’s life with yet another expansion, everything moved around, and more more rooms, it was disconcerting actually. I think I’d have to visit several more times before my longtime affection will return.
It was entertaining to turn the corner and exclaim “More!” at the Cezanne exhibit, and I did hunt down Matisse’s “Dance” and stroll through the rooms of Greatest Hits, so yeah, they’re still there, YAY.