As a kid I was never excited about clowns or dog shaped balloons, so when I walked by the Jeff Koons, “Balloon Dog (Blue)” at the Broad, my first reaction was “here it is, one of the most expensive and overrated work by a living artist” but still, I stood in front of the shiny object, charmed like a magpie asking myself the reasons behind all the fuss. Something was catching my attention, maybe the mirrored surface or probably the color, as a matter of fact I was hangover and all the blue artworks were so calming and inviting. Rethinking it now, I believe it was just the hangover.
Balloon Dog (Blue)
mirror-polished stainless steel with transparent color coating
121 x 143 x 45 in.
“It was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way–in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.” Charles Dickens, “A Tale of Two Cities”. •
Glenn Ligon, Double America 2, 2014, neon and paint - on view @thebroadmuseum
Christopher Wool “Apocalypse Now”, 1988.
The quotation is from the 1979 Francis Ford Coppola movie Apocalypse Now, and it’s part of a letter that US Army Captain Richard Colby writes to his wife. The letter says: “Sell the house, sell the car, sell the kids, find someone else, forget it. I am never coming back. Forget it.” #christopherwool#apocalypsenow#contemporaryart
Walking barefoot through IK LAB’s wooden and glass doors, feels like passing through a portal to another dimension.
“Alignments”, the gallery’s inaugural exhibition, features works by Tatiana Trouvé, Artur Lescher and Margo Trushina that explore the human journey through both physical and metaphysical realms.
Allen Jones - La Sheer, 1968, oil on canvas. “Fetishism and the transgressive world produced images that I liked because they were dangerous. They were about personal obsessions. They stood outside the accepted canons of artistic expression and they suggested new ways of depicting the figure that weren't dressed up for public consumption." #allenjones#furniphilia#popart