The Art Institute of Chicago recently published the first of several planned online scholarly catalogues based on its collection. This flagship edition focuses on the museum’s paintings and drawings by Monet, and promises to be an incredible free resource for scholars and the mildly curious alike. In addition to contextual essays, technical reports, and extensive documentation, the entries include enlargeable, high-resolution images that allow viewers to see the works in greater detail than would be possible even in the galleries. The following are screenshots of these photographs.
Monet, in my opinion, has never looked so good.
Claude Monet, Etretat, the Beach and the Falaise d’Amont, 1885 (detail).Claude Monet, On the Bank of the Seine, Bennecourt, 1868 (detail).Claude Monet, Branch of the Seine near Giverny (Mist), 1897 (detail).Claude Monet, Branch of the Seine near Giverny (Mist), 1897 (detail).
Henri Matisse, The Serf (1900-04) in front of Bathers by a River (1909–10, 1913, 1916–17)
Pablo Picasso, Half-Length Female Nude [detail], 1906Amedeo Modigliani, Jacques and Berthe Lipchitz [detail of Berthe], 1916
Amadeo de Souza Cardoso, The Leap of the Rabbit, 1911Maurice de Vlaminck, Houses at Chatou, c. 1905Alexei Jawlensky, Girl with the Green Face, 1910Henri Matisse, Woman Leaning on Her Hands, 1905Pablo Picasso, Head of a Woman (Fernande), autumn 1909Pablo Picasso, Daniel-Henry Kahnweiler, autumn 1910Gino Severini, Festival in Montmarte, 1913
Jacques Lipchitz, Seated Figure [detail], 1917Alberto Giacometti, Diego Seated in the Studio [detail], 1950Alberto Giacometti, Walking Man II [detail], 1960
Theo van Doesburg, Counter-Composition VIII, 1924Marc Chagall, The Praying Jew, 1923 (after a 1914 composition)Henri Matisse, Lorette with Cup of Coffee [detail], 1916–17Constantin Brâncusi, Sleeping Muse, 1910Giorgio de Chirico, The Philosopher’s Conquest, 1913–14Marcel Duchamp, Hat Rack, 1964 (1916 original now lost)Hans Bellmer, Untitled, 1951Pablo Picasso, The Old Guitarist, 1903–04Constantin Brâncusi, Suffering, 1907Juan Gris, Portrait of Pablo Picasso, 1912Constantin Brâncusi, Two Penguins, 1911–14Pablo Picasso, Abstraction: Background with Blue Cloudy Sky, 1930
Emil Nolde, Red-Haired Girl, 1919Victor Brauner, Gemini, 1938Henri Matisse, Girl in Yellow and Blue with Guitar, 1939Pablo Picasso, Mother and Child, 1921
Henri Matisse, Woman before an Aquarium [detail], 1921–23Giorgio de Chirico, The Eventuality of Destiny [detail], 1927
Constantin Brâncusi, White Negress II (1928), Leda (c. 1920), and Golden Bird (1919/20, base c. 1922)Yves Tanguy, The Rapidity of Sleep [detail], 1945Paul Klee, Sunset, 1930Joan Miró, Woman [detail], 1934Gino Severini, Still Life (Centrifugal Expansion of Colors), 1916Lyonel Feininger, Longeuil, Normandie, 1909Alberto Giacometti, Spoon Woman, 1926–27Pavel Tchelitchew, Untitled, 1948Georges Rouault, The Dwarf, 1937Aleksei Alekseevich Morgunov, Portrait of Nathalija Gontcharova and Mihajl Larionov [detail of Gontcharova], 1913Arshile Gorky, The Plough and the Song (II), 1946
Ludwig Meidner, Max Herrmann-Neisse [detail], 1913Le Corbusier, Untitled [detail], 1932
Jean (Hans) Arp, Growth (1938/60) in front of Joan Miró’s The Policeman (1925)Leonora Carrington, Juan Soriano de Lacandón [detail], 1964John D. Graham, Untitled, 1945
Max Beckmann, Self-Portrait [detail], 1937John D. Graham, Apotheosis [detail], 1955-57Matta, The Earth Is a Man [detail], 1942Joan Miró, Two Personages in Love with a Woman [detail of woman], 1936Matta, Untitled (Flying People Eaters) [detail], 1942Salvador Dalí, Venus de Milo with Drawers [detail], 1936Pablo Picasso, The Red Armchair [detail], 1931
Victor Brauner, Acolo, 1949John D. Graham, Untitled, 1944Alberto Giacometti, Head, 1934Yves Tanguy, Untitled, 1928Joseph Cornell, Untitled (Forgotten Game), c. 1949Salvador Dalí, A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano [detail], 1936Victor Brauner, Turning Point of Thirst, 1934Salvador Dalí, Portrait of Gala with Two Lamb Chops in Equilibrium upon Her Shoulder, 1934Surrealist gallery with René Magritte’s The Banquet (1958) and a wall of Cornell boxes.
All photos by author. Paintings shown without frames are cropped to varying degrees. Photographs showing only a small portion (half or less) of the original objects are listed as details.
Vessel in the Form of a Seated Ruler with a Pampas Cat, ceramic and pigment, 250/550 CE, Moche; North coast, PeruBowl Depicting a Mask (Possibly a Katchina), above an Abstract Bighorn-Sheep Head, ceramic and pigment, 1300/1400 CE, Four Mile Polychrome, White Mountain Redware; Cibola region, east-central Arizona, United StatesFigure of a Woman in Ceremonial Dress, ceramic, 700/900 CE, possibly Totonac, Nopiloa; Veracruz, south-central Gulf Coast, MexicoSeated Joined Couple, ceramic and pigment, 200 BCE/300 CE, Nayarit; Nayarit, MexicoMiniature Mask, wood, gold foil, shell, pigment, and resin, 1300/1400 CE, possibly Mixtec; possibly northern Oaxaca, MexicoStanding Figurine with Missing Leg, jade, 800/400 BCE, Olmec; Guerrero, MexicoVessel Depicting a Mythological Scene, ceramic and pigment, 600/800 CE, Late Classic Maya; Petén region, GuatemalaPortrait Vessel of a Ruler, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruHead Fragments from Large Ceremonial Jars, ceramic and pigment, 700/800 CE, Tiwanaku-Wari; Pacheco, south coast, PeruHieroglyphic Panel, limestone, 650/800 CE, Late Classic Maya; Usumacinta River area, Mexico or GuatemalaStoryteller Figure, ceramic and pigment, 100/800 CE, Jalisco; Ameca Valley, Jalisco, MexicoVase of Seven Gods, Ah Maxam (active mid-late 8th century), ceramic and pigment, 750/800 CE, Late Classic Maya; vicinity of Naranjo, Petén region, GuatemalaBowl Depicting a Hero-Hunter with a Heron Headdress, Bow, and Arrows, along with a Rabbit Hunter; ceramic and pigment (Classic Mimbres Black-on-white); Mimbres branch of the Mogollon; New Mexico, United StatesMosaic Disk with a Mythological and Historical Scene, turquoise, shell, and sandstone, 1400/1500 CE, Mixtec; Northern Oaxaca, MexicoMask from an Incense Burner Portraying the Old Deity of Fire, ceramic and pigment, 450/750 CE, Teotihuacan; Teotihuacan, MexicoBallcourt Panel, limestone, 700/800 CE, Late Classic Maya; possibly La Corona, Usumacinta River area, GuatemalaFigurine of an Aristocratic Lady, ceramic and pigment, 650/800 CE, Late Classic Maya, Jaina; Campeche or Yucatán, MexicoVessel of the Dancing Lords, Ah Maxam (active mid-late 8th century), ceramic and pigment, 750/800 CE, Late Classic Maya; vicinity of Naranjo, Petén region, GuatemalaRitual Impersonator of the Deity Xipe Totec, ceramic and pigment, 1450/1500 CE, Aztec; possibly central Veracruz, MexicoFemale Figurine, ceramic and pigment, 500/400 BCE, Tlatilco; Tlatilco, Valley of Mexico, MexicoVessels, ceramic and pigment, Late Classic Maya, Mexico or GuatemalaStela, limestone, 702 CE, Late Classic Maya; vicinity of Calakmul, Campeche or Quintana Roo, MexicoJar in the Form of a Standing Figure, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruFemale Effigy, terracotta and pigmented slip, 200/100 BCE, Chupícuaro; Guanajuato or Michoacán, MexicoStanding Male Figure, ceramic and pigment, 650/800 CE, Late Classic Maya, Jaina; Campeche or Yucatán, MexicoPendant in the Form of a Figure, shell stone, silver, copper, and cotton, 400/800 CE, Tiwanaku-Wari; coastal Peru or highland BoliviaCarved Vessel Depicting a Lord Wearing a Water-Lily Headdress, ceramic and pigment, 600/800 CE, Late Classic Maya, Chocholá; Yucatán or Campeche, MexicoPortrait Vessel of a Young Man with a Scarred Lip, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruBowl Depicting a Harvest Dance, ceramic and pigment, 180 BCE/500 CE, Nazca; South coast, PeruPortrait Vessel of a Man with a Cleft Lip and Tattoos, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruPedestal Bowl, ceramic and pigment, 1100/1300 CE, Coclé; possibly La Peña, Veraguas province, PanamaVessel Depicting a Prisoner with Avian Captors, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruVessel in the Form of a Llama, ceramic and pigment, 100 BCE/500 CE, Moche; Chimbote, Santa Valley, PeruPortrait Vessel of a Ruler, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruRattle in the Form of a Mythological Figure, ceramic and pigment, 650/800 CE, Late Classic Maya, Jaina; Campeche or Yucatán, MexicoVessel in the Form of a Royal Messenger, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruFigure of a Standing Warrior, ceramic with pigment, 650/800 CE, Late Classic Maya, Jaina; Campeche or Yucatán, MexicoVessel in the Form of a Courtly Musician, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, PeruVessel in the Form of a Warrior, ceramic and pigment, 100 BCE/500 CE, Moche; Chimbote, Santa Valley, north coast, PeruDrinking Cup (Kero) with an Abstracted Masked Figure, ceramic and pigment, 600/1000 CE, Tiwanaku-Wari, Bolivia or PeruBowl Depicting a Swarm of Mice, ceramic and pigment, 180 BCE/500 CE, Nazca; South coast, PeruDouble Pendant in the Form of a Mythical Caiman, gold with plaster restoration of boar tusks, 800/1200 CE, Coclé; Coclé province, PanamaVase of Seven Gods, Ah Maxam (active mid-late 8th century), ceramic and pigment, 750/800 CE, Late Classic Maya; vicinity of Naranjo, Petén region, GuatemalaMantle (detail), camelid wool, 100 BCE/200 CE, Paracas Necropolis; Paracas peninsula, south coast, PeruDouble-Spouted Vessel Depicting Ritual Masks, ceramic and pigment, 180 BCE/500 CE, Nazca; South coast, PeruPedestal Bowl, ceramic and pigment, 700/1100 CE, Coclé; possibly Los Santos province, PanamaJar in the Form of a Seated Figure, ceramic and pigment, 100 BCE/500 CE, Moche; North coast, Peru
Guanyin (Avalokiteshvara), gilt copper alloy, late 14th century, Yuan/early Ming dynasty, ChinaGonzaze Myō-ō, Nakabayashi Gennai, wood with polychromy, 1680 [Edo period], JapanStanding Attendant (Tomb Figurine), wood with traces of polychrome pigments, Eastern Zhou dynasty, Warring States period, 4th/3rd century BCE, ChinaArmored Guardian King (Tianwang), earthenware with three-color (sancai) lead glazes and traces of pigments, Tang dynasty, first half of the 8th century, ChinaHead of a Bodhisattva, stucco with traces of pigment, 4th/6th century, Pakistan or Afghanistan, Gandharan regionVajrasattva Seated on Lotus Flower with Hands Grasping a Thunderbolt (Vajra) and Bell (Ghanta) with Thunderbolt Handle, gilt copper alloy, Tang dynasty, late 8th/early 9th century, ChinaDetail of saddle on “Camel with Rider,” earthenware with three-color (sancai) lead glazes and traces of pigments, Tang dynasty, first half of the 8th century, ChinaPlaque with Demonic Mask, Late Neolithic period, Longshan culture or Shang dynasty, 2nd millenium BCEPensive Bodhisattva, gray schist, 2nd/3rd century, Pakistan, Gandharan regionHead of a Buddhist Deity, Possibly Prajnaparamita, sandstone, Angkor period, 13th century, CambodiaShūkongōjin, wood with traces of polychromy, 12th/14th century [probably Kamakura period], JapanFemale Musician, earthenware with polychrome pigments, Tang dynasty, first half of the 8th century, ChinaArmored Guardian (Wushiyong), earthenware with polychrome pigments and gilding, Tang dynasty, late 7th/early 8th century, ChinaDing (tripod food caldron) with tao-tie design, bronze, Shang dynasty, 11th century BCE, China“Running in Advance” Mask (Shinshōtoku), wood with traces of color, 15th/16th century [probably Muromachi period], JapanEquestrienne, earthenware with traces of polychrome pigments, Tang dynasty, 2nd quarter of 8th century, ChinaFour-Armed Sarasvati, Goddess of Learning, Seated in Lotus Position (Padmasana), chloritic schist, Hoyasala period, 13th century; India, Karnataka, Mysore regionVotive Plaque with God Vishnu; gilt bronze with ivory, semiprecious stones, crystal, and glass; c. 19th century; Nepal, Kathmandu ValleyBodhisattva Avalokiteshvara, sandstone, Angkor period, 12th/13th century, CambodiaFudō Myō-ō, wood with polychromy and gilt-bronze accessories, 12th/14th century [probably Kamakura period], JapanGroom, earthenware with three-color (sancai) lead glazes and traces of pigments, Tang dynasty, first half of the 8th century, ChinaDemon Mask (Tsuina-men), wood with traces of color, 15th/16th century [probably Muromachi period], JapanEntertainer (Tomb Figure), buff earthenware with pigment, Northern Dynasties, 6th century, ChinaLakshmana, from Panel with Lakshmana and Hanuman, the Monkey God, terracotta, Gupta period, 4th/5th century; India, Uttar PradeshStanding Attendant (Tomb Figurine), wood with traces of polychrome pigments, Eastern Zhou dynasty, Warring States period, 4th/3rd century BCE, ChinaSōgyō Hachiman, wood with traces of white pigment, Heian period, 10th century, JapanSeitaka Dōji, wood with traces of polychromy, 15th century [Muromachi period], JapanSnake Goddess Manasa, basalt, 11th century, Bangladesh or Eastern IndiaZenzai Dōji, wood with glass and polychromy and metal accessories, 12th/14th century [probably Kamakura period], JapanTwenty-Armed Dancing God Ganesha, Remover of Obstacles, buff sandstone, 11th century, India (Madhya Pradesh)Standing Attendant (Tomb Figurine), wood with traces of polychrome pigments, Eastern Zhou dynasty, Warring States period, 4th/3rd century BCE, ChinaBodhisattva, limestone with traces of polychromy, Tang dynasty, 8th century, ChinaArmored Guardian King (Tianwang), earthenware with three-color (sancai) lead glazes and traces of pigments, Tang dynasty, first half of the 8th century, ChinaWeight in the form of nested birds, gilt bronze, Tang dynasty (618-907), China
Lunar (2011) by Spencer Finch on the Bluhm Family Terrace at the Art Institute of Chicago.
Despite ample historical evidence to the contrary, the cliché that art and science necessarily represent contradictory or even opposite approaches to the world continues to thrive. The survival of this fallacious perception is most puzzling because contemporary art, more than any previous moment or movement, persistently reveals a close, if complex, relationship between the two broad disciplines. Indeed, one of the significant shifts between modern and contemporary art has been the increased tendency for artists to integrate the methods of science—such as research, interviews, and experiment—into their productions, albeit with a continued preoccupation with the experiential. This change is in part due to the ever-increasing availability and use of intrinsically documentary media, such as photography and film, as well as a social shift towards personal documentation and data-gathering tied to social media networks, concern over governmental surveillance, and portable devices that offer a variety of ways to collect and track personal information. The extent of this shift is exemplified in three current contemporary art exhibitions at the Art Institute of Chicago: Exposure, Talo/House, and Lunar.
Exposure: Matt Keegan, Katie Paterson, and Heather Rasmussen (on view through March 4, 2012) is the fourth installment of a series of exhibitions hosted by the AIC’s Department of Photography. Although problematically structured around the idea of exploring “diverse approaches to photography,” each featured photographer successfully delivers a coherent and intriguing body of work that raises an array of questions.[i] Given the nature of photography, it is not surprising that many of these issues revolve around concepts of documentation. For instance, although Heather Rasmussen initially seems to present Minimalist images of randomly distributed blocks of color, her series of photographs in fact records model reconstructions of catastrophic freight accidents, which she hand-makes out of cardstock and arranges to resemble found journalistic images from the web. What at first engages the viewer through abstract design slowly reveals itself to be a complex reference to the impact of modern standardization practices in shipping on industry and economics, of which large-scale and far-reaching disasters are a significant unintended consequence. Meanwhile, on two other sides of the room, Matt Keegan’s multi-part installation utilizes several forms of reference, documentation, and presentation—such as artist’s books presenting historical photographs of New York with brief texts related to Chicago’s contemporaneous industrial and social development—to evoke relationships between the two cities. Keegan’s strategic use of juxtaposition directs the viewer without dictating any conclusions, and thereby encourages both intuitive and logical engagement. Clearly, both Keegan and Rasmussen freely borrow from or make reference to strategies of production and evidence-gathering derived from scientific fields. However, neither do so as concisely as Katie Paterson.
In capturing mute expansions of nothingness, Paterson’s slides and photographs of black, empty space are reminiscent of Hiroshi Sugimoto’s visions of the sea and theater, while her meticulous labeling and concern with the mundane suggest the rigorous documentation strategies of performance and conceptual artists like Tehching Hsieh. Yet the interest of her work, History of Darkness (ongoing), does not lie in its relationship to its artistic predecessors, but rather in her adoption of scientific documentation and subsequent disruption of the intended consequences of such documentation. Taken in Hawaii with the aid of “one of the most powerful telescopes in the world,” the images capture points in space that are completely devoid of “celestial illumination.”[ii] Although essentially identical in appearance, they each represent different locations in both space and time, and are labeled according to their distance from earth in light years. In highlighting the negative space of outer space, Paterson draws attention to areas that not only typically go undocumented, but which, as photographs, represent an apparent paradox. By recording literal nothingness, these photographs become information about a lack of information, reversing the very purpose of such documentation and the expensive tools used to produce it. As an additional touch, Paterson continues the light humor of her project and its preoccupation with the untenable by numbering her prints as editions of infinity, a move which similarly makes the numbering of editions meaningless (in the conventional sense of establishing value based on scarcity) while neatly tying back to the underlying concept of the series.
Visitors exiting Exposure can step directly across a narrow hallway to enter the exhibition space of Talo/House (2002; on view until November 27, 2011), a three-channel, semi-immersive video installation by Finnish artist Eija-Liisa Ahtila. As the portrayal of a woman whose concept of time and space is collapsing due to her perceptual inability to filter, place, and logically organize sounds, House represents an updated, more sympathetic, continuation of Surrealism. Like the early 20th century movement, Ahtila is concerned here with the portrayal and experience of people diagnosed with psychotic disorders, and similarly attempts to recreate the sensations associated with these alternative states for her audience. Also like the primarily male members of the earlier group, she has chosen to relate this experience through the eyes of a woman. However, far from the mental freedom Surrealists associated with such conditions, Ahtila portrays her subject as increasingly isolated. Over the course of the film, the character tries to block-out the outside world from her home and head as a means of gaining some sense of quiet sanity.
More important for the topic at hand is the way in which the artist gathered her material. While the Surrealists were intrigued with the ideas of Freud and tended to form romantic relationships with women who operated as their muses (some of whom later spent time in mental institutions), Ahtila composed her story based on research and interviews. Although more clinical than her predecessors, Ahtila’s method and subsequent product is perhaps more sympathetic and grounded in reality, resulting in work that seems to give her subjects a voice beyond that of mere muses.
Viewers who also had the opportunity to see the 2008 exhibition, Arctic Hysteria: New Art from Finland, at PS1 in New York will be reminded of the contemporaneous videos by Ahtila’s compatriot, Veli Granö, whose work in that show consisted of the recreation of scenes or moments described as real by his subjects, but are more likely understood as signs of mental illness or delusion by the general public. Perhaps to an even greater degree than House, Granö’s productions suggest sympathy with his socially alienated subjects by withholding critical comment and allowing them a neutral space in which to relate their singular visions of the world. Ironically, the neutrality also suggests a similar level of clinical detachment, suggesting—as a scientist would—that it is only through such disinterestedness that the subjects’ experience may be fairly expressed and understood.
Finally, the multi-media, sculptural installation, Lunar (2011), by Spencer Finch represents yet another attempt to merge aspects of science with art. However, in this case the final product tends to both mine and mimic technology and design rooted in the forward-thinking sciences of the 20th century. As a kind of earth-bound lunar module, the sculpture utilizes solar-power to reproduce the moon’s luminosity, which the artist has measured using a colorimeter. At night, the collected energy shines as light from a large buckyball, a form that automatically references environmental experiments in geodesic domes, as well as the shape’s visionary namesake: Buckminster Fuller. Although visually engaging, Lunar is ultimately less rigorous and satisfying than works like House or History of Darkness, because its engagement with science is more cosmetic than conceptual and its apparent goals—to create a different way of depicting moonlight and suggest a fanciful narrative of a space module landing on the museum—is more novel than probing. Nonetheless, the very idea that simple references to the “hard” sciences can spark the imagination of viewers and therefore enhance an artist’s work is itself an indication that scientific thinking and its markers are not only acceptable within contemporary art, but are actively sought by current artists.
Lunar will remain on the Bluhm Family Terrace until April 8, 2012.