On Wednesday, I walked through the art center for the first time. I was amazed at the displays there. The Sensory Crossovers- Synesthesia in American Art was the latest exhibit. I could not take pictures, so I tried to uploaded images from Google, I could only find one. Burchfield did not have any pictures on their site. Here is a video I found about the exhibition.
As I entered the exhibit, the piece, Oriental- Syncronizing in Blue and Green, 1918 Oil on canvas by Stanton MacDonald Wright, used on the brochure, was eye level and centered on the wall. I was very colorful with geometric shapes, using bold lines in a pattern to resemble a music scale. The blue/green colors represent coolness to start a scale in color. The rhythm of shapes show movement of color comparing it with music.
I strolled around to the left, continuing to admire the other works with the music/color in art being equivalent theme. My daughter and I were both drawn to the Blues for Charlie Parker by Sam Scott 1988. The acrylic on canvas was approximately 8’ by 4’. The black background gave great value and was emphasized by the bold bright color arches, splashes, and circle type lines using balance and rhythm to make this piece stand out. This piece reminded me of the magic boards that when drawn on, reveal different colors or black paper drawn on with gel pens. It was placed in the center of the wall with a monochromatic beige art piece only about 3’ by 2’ on each side of it. It was placed also across the room from another art work, Musical Notes, that also was done with very bold lines and colors. The music correlation in all the works displayed was enhanced with a display of Sketches 9 Wagners Music: Abstract (Hieroglyphics) enclosed in a glass case in the center of the room.
A Color-Music Expression of an Excerpt from Richard Wagner's 'Prelude to Lohengrin', by Ira Jean Belmont,1933 Oil on canvas, 34 x 36 in. This piece is done with pastel colors that blended in areas to give illusions of other pictures, like when looking at clouds. My daughter and I saw a face when we observed this work. This picture is in the video, also. The color scale gives movement to the picture, the longer you look, the more you can see different interpretations.
The walls were painted off white and the lighting was overhead and very bright. The walls did not all go to the ceiling for better light on the art work. In the Sensory exhibit, the movement was spacious and visible from all angles.
The artworks were similar in theme, different in sizes and color, some were bold colors, others were monochromatic or pastel. They were framed in various wood, metal and color frames. They were identified with a plaque to the side with the information listed and some had a story about it on a plaque to the other side of it. The proximity of the artwork to each other were one after another along the walls placed far enough apart to observe, but close enough to relate one to the other. The large Blues for Charlie Parker, our favorite, was spotted from the beginning of the exhibition, although it is placed on a wall kind of in another area several feet from where we stood.
The exhibition was organized by the Albuquerque Museum of Art & History, curated by Sharyn Udall, Ph.D., and expanded by Nancy Weekly with art from the Burchfield Penney Art Center and Albright-Knox Art Gallery. The exhibition and accompanying scholarly catalogue provide an unprecedented opportunity to consider synesthesia through the work of some of the 20th century’s most significant artists"luminaries such as Charles E. Burchfield, Arthur Dove, Joseph Stella, Georgia O’Keeffe and Adolph Gottlieb.
I had observed a few other art works that I enjoyed at this attendance to use but thought it was best to stick to one exhibit for this project.
No comments:
Post a Comment