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| Edward Hopper, Nighthawks, at the Art Institute of Chicago |
Now that I live in the Midwest, the Art Institute of Chicago will be popping up more and more on this blog, and I promise an extensive Art in Real Life dedicated to this huge institution once I have more than an afternoon to devote to it. Until then, here are some preliminary thoughts after a whirlwind first visit to the museum…
We began with the brand-new Modern Wing, and though my group of friends and I didn’t get through nearly all of the new addition, I wasn’t as impressed as I thought I’d be. We all agreed it was a fairly predictable receptacle for Modern art, though it was light and airy. We spent a fair bit of time in the contemporary photography gallery, whose curatorial choices I found somewhat baffling: one wall is covered in grey paper that has been folded over and over, upon which photographs and label text are hung or printed. Though I wanted to like it (I love paper, after all) I could not for the life of me figure out why the choice of grey, folded paper over painting the wall–it didn’t click. And while I liked the clear, deliberate juxtapositions the curator had made with the works themselves, the space was too small and had too many people zigzagging around the space to fully appreciate those choices.*
Admittedly, I’m much more in love with art made before the 1900s than most later works, so for me what makes the Art Institute really worth a visit is their European and American art collection. Among the highlights: famous Georgia O’Keeffes, American Gothic, Edward Hopper’s Nighthawks (see above), Cezannes and Monets galore, Toulouse-Lautrec’s Moulin Rouge, and of course, Seurat’s La Grande Jatte, among many others. Rest assured: More of those to come on this blog! We ended our visit with the miniature rooms underneath the grand stairway, a collection of tiny, incredibly crafted historic spaces that are a lot of fun.
Finally, if you like anything to do with Japanese culture, calligraphy in general, or the beauty of a brushstroke, you must go visit Beyond Golden Clouds: Japanese Screens before September 27. I loved the “greatest hits” of the Art Institute, but that show–from the work it showcases to the clear label copy to the huge room lined with screens–is truly stunnning.
*Edit—Today I spoke with an assistant curator at my own museum and she brought up two great points about the Modern Wing. First, the architecture really does interact with the city of Chicago: the buildings, the railway, the parks are all visible from the many windows inside it, in a way that isn’t so in the older building, and it creates a much more welcoming atmosphere. In addition, she mentioned that she thought the photography gallery was curated by an artist–which might explain its unusual setup. That’s what I get for not having the time to read labels!
The Art Institute of Chicago | 111 South Michigan Avenue, Chicago, IL | Website
Hi! Thrilled to have found you. I recently left the staff of AIC, and yes, you’re colleague is right. The gray papered wall is in fact part of the installation by photographer Gaylen Gerber. The curator of those contemp photo galleries in the MW (as well as the pre-1950s photography in the lower Allerton building) is Matt Witkovsky. He’s definitely interested in avant-garde work, which I think is mostly very refreshing for AIC.
Your update is very interesting – it’s so difficult sometimes for curators to find the appropriate balance between the freedom of the artist, the involvement of the audience, and plain old practical considerations! Sometimes mistakes are made, but I think it’s important in general to enter an exhibition whenever possible with an open mind and a certain level of generosity towards those who arranged it. Not that any of us are always in the right mood for that!
Hi, Emilie — thanks so much for the clarification! I think interpretation definitely changes when an artist curated the show. I’m definitely wishing now that I had more time to spend in the space and plan to revisit it when I go to the museum again. It was also chock full of people moving every which way, and I found myself wishing it was a little quieter so I could appreciate those deliberate choices made by the artist-curator.
Karin — you’re absolutely right and I agree with you completely. Perhaps my thoughts came off as a bit too harsh. I helped to curate a student show at a museum last year and that was incredibly challenging; I can only imagine curating on such a large scale. Again, definitely planning a second look on my next visit. Thanks for your thoughts!