Category Archives: sculpture

Ravels in Review Memorial Day Weekend

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Ubi Roi, Hernan Bas at Lehmann Maupin

Yes, it has been a week already, and luckily things have calmed down since the fire on my block last week. In fact, they have slowed to a crawl, which is about the pace my sinuses can handle right now.

  • Despite the fog in my brain, or perhaps because of, I tried to explain the greatness of Erasmus based on the fact he named himself ‘Desire Desire.’ He did some other things too.
  • I questioned whether Francis Bacon could qualify as the greatest painter of the 20th twentieth, and got at least a few votes for greatness, if not greatest painter ever. I’m hanging out on a limb until I see the retrospective up at the Met now.
  • The oldest sculpture ever was discovered, and there is some very scientific discussion about how sex-obsessed early humans were.

All in all, a good week. Some things to look forward to in the art world, like Francis Bacon at the Met and promising-sounding Hernan Bas exhibitions at the Brooklyn Museum of Art and Lehmann Maupin, and a long Memorial Day weekend ahead.

H

Public Art Manhattan

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When I walk to work in the morning, I pass a big red metal sculpture on the corner of 57th and Madison. Like many pieces of large civic art, I barely notice it. Office buildings in the city include large abstract sculptural works in the same way that they include a public atrium (also known as a tax break).

Just down the street from my office stands the Lever House, at 54th St. and Park. Currently, it is displaying a light installation by Keith Sonner (that replaced a gold chain link fence complex) in it’s street-level glass box of a room. On the ground level, the Lever House also has benches, a fountain, and — wait for it– large Hello Kitties sculptures (by Tom Sachs, I think) in it’s courtyard area. These white, papermache-style figures are huge and solid. Sometimes tourists take photos with the Hello Kitty sculptures. On one hand, it’s fun, but on the other, I’m not sure that it works.

I question how well these public art displays function, and I think it’s a matter of context. Museum settings at least focus one’s attention. In the case of the Lever House, they own some pretty cool pieces (“Virgin Mother” by Damien Hirst, “Bride Fight” by E.V. Day, “The Hulks” by Jeff Koons) and are making them uniquely accessible to the public with no museum fees. Yet next to the skyscrapers of midtown, these large, awe-inspiring designs are subsumed. The street corner leaves them anonymous, and they become just another obstacle on the street for Manhattanites to speed past. Perhaps it’s a testament to Manhattanites’ drive that they can speed past works of art with a single glance.

Here works of art so easily become like the red sculpture (which happens to be by Alexander Calder) that I pass on my way to work: landscape.