Monthly Archives: September 2009

NYC’s Wealth of Vermeers

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The Milkmaid, 1657, Rijksmuseum, On loan at the Metropolitan Museum of Art

The economy may be dismal, but New York is still rich in some things: people, MTA delays, and- thanks to a generous loan from the Rijksmusem- Vermeers. The Met exhibition Vermeer’s Masterpiece, The Milkmaid is open until November 29, and rarely has an exhibition been so well devoted to one picture. It provides a context and education for Vermeer’s masterpiece with a slew of exceptional Dutch paintings. The Milkmaid itself is more beautiful than I knew to expect. I saw the exhibition last night and was blown away by it. I’m going back, and I suggest that you see it and take a detour to the Frick as well.

The exhibition at the Met boasts 6 Vermeers. In addition, the Frick Collection, which was unable to loan its paintings for the Met’s exhibition, has another 3 paintings by Vermeer. Currently in an afternoon on the Upper East Side a person can give themselves an education on Vermeer with 9 of his 36 existing paintings. Not bad for a recession.

The nine paintings below are even lovelier in person (except the Study of a Young Woman–would love to hear what you think of that one). They are arranged in chronological order, the first having been painted a year before The Milkmaid.

A Maid Asleep, 1656, Metropolitan Museum of Art

Officer and Laughing Girl, 1657, Frick Collection

Girl Interrupted at her Music, 1658, Frick Collection

Young Woman with a Water Pitcher, 1662, Metropolitan Museum of Art

Girl with a Lute, 1662, Metropolitan Museum of Art

Study of a Young Woman, 1665, Metropolitan Museum of Art

Mistress and Maid, 1666, Frick Collection

Allegory of the Catholic Faith, 1670, Metropolitan Museum of Art

Outside In at LaViolaBank Gallery: Walkin’ On Broken Glass

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You enter Outside In, the group show at LaViolaBank gallery, by stepping up on a raised platform covered in cracked glass. People, understandably, paused hesitantly before crossing over it when I went to the opening Wednesday night. Under the chatter of the crowd, you could hear (and feel) the glass shattering beneath your feet. This makes for quite an introduction to the exhibition, which explores the personal/dreamy/unreal side of landscape. (LaViolaBank happens to be a block from my apartment, so not even lobster night could keep me away from the opening.)


Mira O’Brien’s aptly titled Glass Floor is laminated glass over photographs whose spreading geometric patterns mirror [get it, to mirror/on a mirror? no?] the cracking patterns of the glass. I enjoyed walking on the art, to see the art, while participating in the destruction of the art, in a visceral sense. The seascape beneath seemed a little insipid, like a stock nature scene. Maybe I was too distracted by the people to contemplate it. Either way, I enjoyed it overall. More on the project and her work on her website.

I also liked the charcoal drawings of Marina Berio. It probably looks like a photographic negative, which it was based on, in the jpeg below. The charcoal’s softer edges and matteness transformed the atmosphere of the piece. In a sense, these were the most literal pieces in this rather dreamy show, but by changing medium I thought they gained a greater atmospheric value. If you’re in the neighborhood before October 18, have a look.

Lobster: It’s What’s For Dinner

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Dali, 1936

Surrealists seemed to dig this red crustacean. It’s one of those natural objects that look like a dream. Especially creepy when they are alive and brown with their antennae poking about your living room as you urge them to race.

Yes, tonight is the night of the great lobster race. We’re upping the ante tonight, as my boyfriend and I will be having company for dinner. So instead of just two lobsters, we’ll have six lobsters. You line them up and then urge them to move forward. It sounds slightly more exciting than it is, given that these are not fast land animals. In an ideal world, the winner of the race would avoid the pot and become a cherished household pet. However, life is short and brutish. All the lobsters are going in the pot tonight. [Insert evil grin]

As much as I enjoy these events, live lobsters creep me out Annie Hall style. So what I’m wondering is–did Dali use a real deccissitated lobster for his ridiculous, iconic telephone? I’m going to assume it is plastic for my own sanity.