Category Archives: High museum

My university and the High Museum of Art are new best friends…

…at least for the next three years.

Brenau University and the High Museum of Art announced they intend to embark on a unique educational partnership.

My first thought? Honestly?
Field trips. Lots and lots of field trips.

In the storage and conservation facility with Michael Shapiro showing us models of upcoming exhibitions.

Last Tuesday, I was invited to attend a meeting with Brenau and the High representatives for a luncheon/meet with the press/tour/was-there-a-specific-name-for-it-?- event at the High Museum. The luncheon was at a big conference table so everyone could “mingle” while eating sandwiches and poking at salads with the oddest concoction of a spork (Seriously, if I got a chance to take a picture of the weird spork I would have dedicated an entire post to the topic). We met the High Museum’s director,  Michael Shapiro, who gave us a tour of the current exhibition (of VERY SHINY cars), and showed us a behind-the-scenes tour of their storage and conservation facility, which included looking at models for upcoming shows through 2013. The next show is dedicated to all things Dali, and later there will be shows including selected works of Picasso, Matisse, Warhol, and Pollack. Shapiro also mentioned that a certain contemporary artist-Jeff Koons, to be exact-is coming for a guest lecture soon at the High. Dude, I‘m so there.

Cool beans, no? Too bad I only get to wreak havoc at the High for only one more year. I’ll just have to collect as much wisdom, free/reduced price tickets, internships, and odd concoctions of sporks as I can in the little time I have left before it’s too late.

The photograph was taken by SARA GUEVARA of the Gainesville Times.
The source of the photograph, as well as the accompanying article is just a click away.
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HIGH, with a chance of art

+ If I waited until tomorrow to post, it would exactly be a whole month since my last post. And lots has happened since the 14th of June. I got a job (finally) and then suddenly got ignored by the managers (nevermind), which means I’m still unemployed. And then I can say that not much has happened. Meaning that there is not any new artwork whatsoever in this post. Congratulations Kelly on being the biggest bum of an artist! However, in the coming weeks I’m hoping I’ll create some sketches and watercolor paintings since I’m going on a whirlwind three weeks vacation extravaganza (in my world, anyway). My birthday present this year was a plane ticket to California to spend two whole weeks with my friend who I haven’t seen in two years. And then today, I’m told that before I go to California, I’m spending a week in St. Simon’s Island with my family. For a girl who complains that the only place she ever goes to is Disney World, this is really exciting!

+ July 7th was my 20th birthday. So my three sisters and I spent the day in Atlanta at the High Museum of Art. I saw Monet!

I was so excited about the art exhibit I even took a picture next to a cardboard cutout of the famous French painter.

I was afraid to take pictures in the gallery, so I snagged a brochure (Which is very damaged because it got wet and then crumbled into a ball in my purse. My apologies!) to show the works I saw. The painting on the cover was the first one we saw. I gazed at the brushstrokes and had to hold in a very geeky, fangirl squeal. I was looking at MONET paintings! He MADE THAT BRUSH STROKE!
The highlight of the show was the last gigantic painting on three panels called “Reflections of Clouds on the Water Lily Pond” (painted in 1920). The picture below is only the center panel. It’s such a gorgeous painting. It’s one of those paintings that when you stand close, you feel enveloped in the art work. It was so fantastic.

I vaguely remember this fact, but we read about it at the exhibit: Monet was losing his eye sight when he made these paintings. What some people don’t know is that his eyesight was fixed after an operation. He later looked at the paintings after the surgery and he said that he liked them as they were, and would not change a thing about them.
After the Monet exhibit was Richard Misrach’s photographs, “On the Beach.”

My sisters particularly loved this exhibit. The photographs were gigantic (again, you could feel like you were IN the artwork). The photos are beautiful and scary. The picture above is one of many like it. Lots of photos of people drifting in the sea. My favorite was a picture of a girl either diving or doing a handstand in the ocean, where you could only see her calves and feet above the seemingly treacherous water. My other favorites are the photos he took of the gizillion or so footprints in the sand. Obviously the beach had many visitors, but the photo had a feeling of loss, of emptiness. Since Misrach paralleled these photos to the victims of 9/11, It reminded me of the memorial plans of the Twin Towers. The chosen design was to have two pools, showing where the twin towers once stood. Like footprints.
It was a fascinating, and sometimes a challenging exhibit to process. It was almost a bummer on my birthday. :-)
The High was really awesome to go to, so if you’re wondering whether it’s worth to go to the exhibit, I think it definitely is! Though I think that you should skip the Louvre exhibit. My sisters and I felt like we were in the midst of the cast-offs the Louvre decided to let the High keep for a while longer. Maybe I’m just bitter the Vermeer painting of the astronomer wasn’t there anymore.
Thanks to Heather for taking the picture of me next to Monet! :-)
The scan is from my brochure from the High Museum of Art in Atlanta.
The center panel photo of Claude Monet’s “Reflections of Clouds on the Water Lily Pond” was from http://www.marriott.com/specials/mesOffer.mi?marrOfferId=436015&displayLink=true
The image of the cover of Richard Misrach’s book “On the Beach” is from www.vincentborrelli.com/ cgi-bin/vbb/105104

A few things on my mind*

*Last post I talked about how excited I was about the Monet exhibit showing at the High Museum of Art. Saturday, I pick up the Atlanta Journal Constitution and read about the exhibit following Monet. Richard Misrach’s series of photographs titled, “On the Beach,” and features photographs of people on the beach (no kidding). But beyond the surface, there’s a chilling effect.

“Taken between 2001 and 2005, the photos are a meditation on the vulnerability of life in the United States after Sept. 11, 2001.” (Howard Pousner, AJC)

The article was really interesting. Apparently his son went to NYU during the attacks on the Twin Towers, and he immediately went to New York to find his son and get him to safety. Yes, his son was fine, but he was still effected by the terrorist attack. He mentions in the article the pictures he saw of the victims jumping from the twin towers was one of the most terrifying images he’s ever seen in his life.
How his pictures even begin to relate to the 9/11 tragedy? While vacationing in Hawaii in 2002, he noticed “the body language of the beachgoers, in their floating surrender to the elements, [and] ground zero came rushing back” (Pousner). He took about 4,000 images with an 8 by 10 camera (which I’m guessing that’s the camera he’s pictured with in the article),  and he said he used photography to work through his post 9/11 anxiety.
My favorite part of the article is at the end where he says that he’s enjoying the idea of Monet as his opening act, and that all the people who are going to see Monet’s work will be forced to also view his work.
I think it sounds pretty neat, and I’m eager to see his photographs and see it’s parallel to the victims of 9/11. Though, I have to say that I’m a little bummed I read about his work first. I wonder what my reaction to his work would have been if I didn’t read this article, and, more importantly, if I actually got what he was trying to convey. Guess I’ll never know.

* Right now I’m trying to set up a new area for painting in the basement. No surprise, I’ll paint in the same area I did during high school when I took AP Art, and therefore cranking out artwork weekly. It’s my studio but not really a studio.

My parents are letting me use the space again because they feel they would be solving my no-art-making-during-summer-problem with a method I’d like to call The Mozart Method.
Short and sweet, my parents are going to annoy and pester me urge me to make art constantly. Just like Mozart’s parents did, my parents tell me. As their daughter, a typical reaction to that kind of statement is to roll my eyes.

I haven’t even started to begin my concentration of works yet. But I dug up these two quick sketches I did last summer of my two sisters.

If I remember correctly, they hated these pictures. Heather was especially indignant: “Am I THAT ugly?!”
I’m not even going to defend them, because they aren’t spectacular. So I’m going to use these two sketches as comparisons to the new work I WILL CREATE…soon. I hope. I WILL.

The image of the “A roar from the beaches” is a scanned image of Atlanta Journal Constitution issue from Saturday, June 14, 2009.
The quotes from the article are from “A roar from the beaches.”  The article was written by Howard Pousner.

High on Monet

Over the years, I’ve become more and more impressed with the High Museum of Art. I’ve seen some really great exhibits there. To say I was flabbergasted that pieces of one of the greatest archaeology discoveries known to man- China’s Terracotta Army- came to the High is an understatement. To see beautiful art pieces on loan from the Louvre, including artwork by Johannes Vermeer, Jean-Antoine Houdon, etc to infinity, was so fantastic. And a week ago, I glance at the Atlanta Journal Constitution and I read about the High exhibiting works by Monet.  

“Monet Water Lilies presents an intimate view of four of Monet’s most spectacular works from The Museum of Modern Art, New York. The highlight of the exhibition is a breathtaking 42-foot painting that inspires a sense of serenity, meditation, and the infinite. Painted at the end of his life, this series became Monet’s “obsession,” as he wrote in 1908. In these paintings, he sought to capture the beauty he found in nature, especially in his beloved garden at Giverny. 


This exhibition explores Monet’s devotion to his garden and the changes in his technique at the end of his life. His late works transcend his familiar Impressionist style and venture into abstraction. Even though Monet’s abstract technique was largely a result of deteriorating vision, these works profoundly influenced subsequent generations of artists.”

I’ve loved Monet’s work since I was little. My parents have had framed prints of Monet paintings hanging in our home for as long as I can remember. And I don’t remember who gave me the book, but I worshipped and guarded my copy of Linnea in Monet’s Garden. That book always made me want to hitch a ride to France and go to Monet’s garden and see the gigantic water lilies painting (kinda like how watching Under the Tuscan Sun makes me want to go to Italy and buy a villa). Right now I’m plotting an adventure to the High to see the Monet exhibit. Convincing my family to go is harder than I anticipated, which is funny seeing that they own Monet prints.   

The quote and the picture of Claude Monet’s “Japanese Footbridge”
 is from  the High Museum website: http://www.high.org