Week 12: Art Gallery visit #2

THE EXHIBITION


"Sensory Crossovers:  Synesthesia in American Art"
Burchfield Penney Art Center
The brochure for the exhibit states:
       See sounds.  Hear colors.  Explore the senses.

       Sensory Crossovers:  Synesthesia in American Art

       February 11 through May 29, 2011

The Theme of the Exhibition (as stated in the brochure)

      As the icy blue of winter inevitably melts, and the sights and sounds of spring slowly begin to break through, the galleries of the Burchfield Penney will become a playground for the senses.  Conceived in collaboration with The Albuquerque Museum of Art & History and presented by LPCiminelli and the Charles E. Burchfield Foundation, Sensory Crossovers provides an unprecedented opportunity to consider synesthesia-a capacity to perceive one sense by stimulating another-through the work of some of the 20th century's most significant artists.  In this vibrant exhibition, examples of synesthesia by luminaries such as Charles E. Burchfield, Arthur Dove, Max Weber, Joseph Stella, Georgia O'Keeffe, and Adolph Gottlieb relate the artists' experiences of these distinct sensory crossovers.

THE GALLERY
The lighting was bright and appeared to be natural, as if there were many windows and skylights.
The color on the walls were white or ivory, so as not to distract from the works of the exhibit.   Materials used in the interior architecture of the space include display cases and walls that do not extend to the ceilings.  There are also chairs in the gallery that are unrelated to the exhibits but places to sit and converse.  The movement of the viewer through this gallery is a little bit confusing, but that may have been my own response, not that of other viewers.  I did end up in a hallway that was another exhibit and I wasn't sure how I arrived there, and had to turn back to make sure I had completed the exhibit that I was viewing for this assignment.

THE ARTWORK
The artwork is organized well, and my initial impression was that size and color was a plan, and then by series of multiple work by the same artist.  The placement leads the viewer from one work to the next within a comfortable walking distance, so as to be able to turn and look at the surrounding work for comparisons.  Each work was clearly labeled and written description by the curator, Udall, was also next to each work. Some of the works are framed, some not, and some in display cases.

The sign said photography was not allowed, however, there was no one present to object, so I took no-flash pictures.  

 

Prelude to Lohengrin

Ira Jean Belmont

oil on canvas, 1933 

In this color-music expressionist painting, Belmont used a soft value palette of primary colors.  While the composition appears to be balanced symmetrically, the rhythm of the repeated shapes are asymmetrical.  

I see many things going on in the painting.  Whether or not the intention was to give the impression of an orchestra is unknown, however, the placement of elements creates the shape of an orchestra with the audience in the forefront, in the composition gives me that impression,  There appears to be a face, perhaps the artist's, as if he is "seeing the music" through his mind's eye. At the center top portion, there appears to be an image of Jesus Christ on the cross in yellow hue. In total, the artists use of color, placement and texture gives the feeling of sound resonating, further supporting the bond between the senses.  It is my impression that the artist was painting this music as he imagined it in his mind.

Blues for Charlie Parker

Sam Scott

acrylic on canvas, 1988

80 x 66"

The first thing I must say about this painting is that in the exhibit it is dated 1988, however, in internet searches it is dated 1974.

The forms in this composition are shapes remind me of musical elements that one can find on the formal written scales. The colors are bright greens and blues with bits of magenta and orange and have  a neon-like quality that are often seen on signs.  The objects in the composition are spaced in such a way to create a movement and rhythm one feels when listening to music. 

Even if one is familiar with the music of Charlie Parker, the playful action of the shapes illustrate the sound of musical notes as they are played on his saxophone, as well as the shapes one sees in brass instruments like the saxophone. It is my impression that Scott was paying tribute to to the playful like quality of Parker's saxophone.

 

 Symphony # 2

Horace T. Pierce

watercolor & airbrush on paper, 8 works, 1949-1952 

A collection of small works, Symphony #2, is an example of repetitive lines creating the form of sound waves and shapes that float in and out of the line forms.  The balance is created by placement of the objects, which varies in each work.  Each work exhibits unity, within the composition and within the collection of works. Colors are mid-value, yet have a neon like hue.

The abstract work looks very much like an illustration of sound interpretation software images. It is my impression that Pierce's intent was to recreate the sounds of music in color.

I thought this visit of a Gallery to purposefully look at an exhibition from the perspective of evaluating the physical space, architecture, theme, etc, was a beneficial experience.  It is enjoyable to view artwork, but we often don't give these other aspects much thought as a consumer.  This particular exhibition was apropos for this assignment, as a total sensory experience, with the exception of touch!  

Outside of this assignment, while at the Burchfield Penney Art Center, I viewed the exhibit An Overabundance of Detail as well.  WOW!  I highly recommend experiencing this exhibit before it ends on July 3, 2011.