February 13, 2010

Heat Waves in a Swamp / Charles Burchfield



Heat Waves in a Swamp will be the first major Charles Burchfield exhibition to be mounted on the west coast and the first in New York for more than twenty years. Arranged chronologically, it approaches Burchfield’s work with a new perspective facilitated in part by the curatorial sensibilities of Robert Gober. Working with Hammer coordinating curator Cynthia Burlingham, Gober has augmented a large selection of watercolors with the inclusion of extensive biographical material that continually infuses Burchfield’s own thoughts about his work and artistic practice. An obsessive collector, organizer, and archivist, Burchfield left a treasure trove of well-maintained sketches, notebooks, journals, and doodles spanning his entire career. This material is now part of the Burchfield Penney Art Center at Buffalo State College, which houses more than twenty five thousand objects by this visionary American artist. The exhibition will travel to the Whitney Museum of America Art in New York and the Burchfield Penney Art Center.

Although aware of the art of his time, Charles Burchfield spent his working life immersed in his own local environment in upstate New York, trusting and then challenging his creative instincts, often looking backwards in order to go forward, and steadfast in his belief of “the healthy glamour of everyday life.” His paintings vibrate with color and sound like visual symphonies where the humming of insects, rustling leaves, bells, moonbeams, and vibrating telephone lines are woven together to reveal the beauty and power of the American landscape. Side by side with his journals and notes these paintings explore both physical and psychological terrain. Edward Hopper, fellow artist and close colleague, once said that Burchfield’s work "is most decidedly founded, not on art, but on life, and the life that he knows and loves best.”


The Four Seasons (1949-60)

The Man and His Art
The exhibition begins with work Burchfield created in 1916 while living in Salem, Ohio and follows his career with special attention to transformative and often reflective moments in his life and work. For example, drawings from a 1917 sketchbook entitled “Conventions for Abstract Thoughts” represent human emotions with semi-abstract shapes that would appear in his work for years to come. This is followed by an entire room dedicated to the 1930 Burchfield exhibition at MoMA, which was the first solo artist exhibition in the museum’s young history. About half of the twenty-seven watercolors originally featured in the MoMA show will be exhibited alongside the correspondence between Burchfield and then-MoMA curator/director Alfred Barr. This early period of Burchfield’s career also features a room with wallpaper from his time as a wallpaper designer combined with watercolors of industrial landscapes from the same period.

More than a decade later, Burchfield returns to his early expressionistic watercolors for inspiration. He begins to make monumental pieces created by literally transforming a number of small-scale watercolors from 1916-1918 -- pasting large strips of paper around the early watercolors to increase their size and reworking these new compositions into unusually large ecstatic watercolor visions. This return to his roots results in an explosion of color and the exhibition culminates in the late, transcendental watercolors of the 1950s and 1960s. These monumental paintings are accompanied by a central vitrine containing some of the 10,000 handwritten journal pages that Burchfield kept throughout his life, from a young teenager until his death from a heart attack in 1967. These rich and complex journals demonstrate the extent to which this artist was continually immersed in rigorous self-reflection and the documentation of his artistic process.

Opens June 24, 2010 at the Whitney Museum.

February 11, 2010

space window


"Crews tell us that Earth gazing is important to them," says Julie Robinson, the ISS (International Space Station) Program Scientist at NASA's Johnson Space Center. "The astronauts work hard up there and are away from their families for a long time. Observing the Earth and the stars helps relax and inspire them."

Until now, space station astronauts have been confined to looking out small portholes or at best the 20-inch window in the US Destiny Laboratory. The Cupola will dramatically expand their view.


"The Cupola's 80-cm diameter circular top window is the largest window ever built for space," says Robinson. "Rather than peering through a little porthole, the Cupola will allow a stunning look at the cosmos and unprecedented panoramic views of Earth. Astronauts will share these views with the world through photographs taken through the windows and posted online."

double black diamond

Jeret (Speedy) Peterson, freestyle skier (aerials)
US Olympic Team

Hannah Kearney, freestyle skier (moguls)
US Olympic Team

"....a truly breathtaking Olympic fashion mash-up, check out Ryan McGinley’s portfolio of athletes dressed by Rodarte’s Kate and Laura Mulleavy...the photo editor of The New York Times Magazine [asked Rodarte] to design a collection of the looks for the shoot...The photos feature a cast of high-fliers, from the snowboarders Shaun White, Kelly Clark and Hannah Teter to the figure skater Johnny Weir and the freestyle skier Jeret “Speedy” Peterson in custom Rodarte knitwear." from the NYT Magazine, Rodarte, and photographer Ryan McGinley.