Early inspiration for the show at hand…
"Visitors" Art Opening →
Rino Pizzi, Leon Alesi, and Caroline Wright
Gallery at Lewis Carnegie
1312 E Cesar Chavez (Entrance on Navasota)
Friday, May 24th 6-9 PM
In the middle of the night, I wake up and draw my dreams. These drawings are like gifts in the morning — strange, spindly missives from my asleep self. How can I recreate this space in my waking life? How close can I come to the subconscious while drawing, and what happens if that drawing becomes a performance?
These drawings: My teeth are my cello bridge, and they’re falling out in slow motion, as the strings fly off into space.
These were all on my desktop and just made a nice little chamber ensemble.
"I’m not paying ‘homage to the square’. It’s only the dish I serve my craziness about color in."
"I’m especially proud when colors lose their identity and become unrecognizable."
"Juxtaposing two colors puts me in a state of intense excitement."
Thank you, Josef Albers! My contraband images of his studies at the Morgan Library, before I was caught (The last one is from the Wall Street Journal, and many more are on arttattler). My lingering bitterness about the B I received on an assignment in VA 1 to “come up with your own Albers’ squares” one evening was assuaged by seeing the amount of study that went into his pursuit of color, which he compared to a musician’s endless rehearsals.
Robert Irwin at Pace. It’s hard to tell what’s happening here, but he cut a square out of the tinted glass, so you could see and hear and feel 57th street. Irwin always said he didn’t want his work photographed, because the image is nothing like the experience. His work makes the experience of being the viewer a self-conscious one, but in the best cases you forget yourself completely.
Leave it to me to find this in New York. (Can you find the Statue of Liberty?)