We’ve noticed that visitors are quite interested in Alberto Giacometti’s Monumental Head and have been snapping creative photos since it went back on view in our galleries a few months ago. In this month’s installment of ArtGrams (see the first and second installments from previous months), we’re highlighting some of our favorite shots, angles, and interactions with the sculpture.
Vesna Pavlović’s Intersections work, Illuminated Archive (on view through September 28th), uses imagery from our 1963 exhibition Giacometti. That exhibition was years in the making and required many loans of large sculptural pieces which can be difficult to manage. Planned while Duncan Phillips was in his late 70s, his wife Marjorie played an active role in the securing of loans, writing many letters to museums as well as prominent collectors such as William and Babe Paley and Joseph Pulitzer, Jr. Assisting with locating works in both public and private collections, the Pierre Matisse Gallery provided Marjorie Phillips with the lists below, which were thoroughly annotated as the exhibition planning proceeded.
The result was a beautiful and popular show. The Phillipses remarked that they were so pleased, they wished it could remain as a permanent part of the museum.
To accompany the work of Intersections artist Xavier Veilhan, curator of modern and contemporary art Vesela Sretenovic dipped into the permanent collection for some unexpected pieces. Veilhan’s work is somewhat puzzling and strange, she says, because it teases our perception and understanding of what we see and think we know. He mixes representation and abstraction, organic and man-made materials, figures and landscapes, the familiar and the strange. This play of seeming contradictions is evident in the installation in the Cafritz Gallery that welcomes visitors to the museum and will serve as entry to the Veilhan show.
Vesela embraced the eclecticism of both Veilhan’s oeuvre as well as our own collection. A new photography acquisition by James Casebere, Yellow Hallway #2, makes its debut next to a little-seen work by Juan Hamilton, Bruja, 1988. The shimmery, flooded space of the photograph looks otherworldly next to the very earthy mound of Bruja, perhaps referencing Veilhan’s gift for distortion and yet still holding on to simple abstract shapes. The figure is represented by a trio in a variety of styles and materials: Alexander Archipenko’s assemblage Standing Woman, 1920, Francis Bacon’s painting Study of a Figure in a Landscape, 1952, and Alberto Giacometti’s bronze sculpture Monumental Head, 1960. Photographs by Brett Weston and Berenice Abbott will speak to Veilhan’s exploration in photography and landscape. And last, but certainly not least, is Naum Gabo’s Linear Construction in Space No. 1 (Variation), 1943, of which Vesela cannot say enough. The simple, beautiful form is an exercise in optics or, to paraphrase Veilhan himself, in “deep looking.”