Chelsea Galleries Reaction

      The art galleries in Chelsea had a lot of work I liked, some I would love to own or even collect. Some on the other hand left no impression at all and some I’ll be happy not to see again. The David Zwirner Gallery on 533 West 19th St was my favorite and Sonnabend gallery on 536 West 22nd St was my least favorite.
      Yan Pei-Ming’s Exhibition Black Paintings at the David Zwirner was my favorite. I would personally own all of his works if iI could afford too. The wide quick brush strokes, the monochromatic color schemes, all attract me. The painting “All Crows Under The Sun Are Black!” is just amazing I fell in loveWith it. I don’t know why but it mad me think of “Meadow Road to Pourville” by Claude Monet. Its just that kind of painting that you can stare at Hours and you can see new things in the painting,  like poetry you understand it better the more you look at it. I wouldn’t say that collecting his work would be a good investment cause styles change and his work is kind of dated, it has very impressionistic elements which isn’t popular with everyone. I would collect his work to hang inside of my house or at work  but not for resale. Paintings like “Moonlight” and “All Crows Under The Sun are Black!” are timeless and speak to people.
     Gilbert & George’s Exhibition London Pictures at The Sonnabend gallery did nothing for me. It felt done, like I’ve seen it to many times on t-shirts, posters, sides of buildings. This style of collage has been done so many times that it lost all of its effect. Work like this should no longer be considered art but should be put in a class with coloring books and paint by number its fun but blah. I would walk by every piece and never remember a single one. “Shop” had to have been the worst But they all looked the same had the same concept. When art has instructions and it relies on the words in the paint to give the work a message it loses value to me. I wouldn’t hang this up at home or at the home of my worst enemy but its probably wise to invest in it crappy art sells and is worth more the art with meaning or that took hard work, time and thought to make.

Yan Pei-Ming
Moonlight, 2011
Oil on canvas
110 1/4 x 157 1/2 inches (280 x 400 cm)
PEIYA0116
 
Yan Pei-Ming
All Crows Under The Sun Are Black!, 2012
Oil on canvas
110 1/4 x 157 1/2 inches (280 x 400 cm)
PEIYA0131

SHOP
2011
59 1/2 X 50 inches
151 X 127 cm

Sculpture Center Reaction

      When an artist creates a piece of art for a certain area or space, keeping all the surrounding
elements into account the work is considered site specific. Site specific art is often referred to as
an instillation. Instillation art tends to be site specific, mostly three demoniacal, and is designed
to transform the perception of a space. The artist Bill Bollinger used his surroundings in a
unique why by using things that would normally seem mundane or unusual as the his
focus of his works.
       Bill Bollinger’s  “untitled 1970” seemed very interesting to me at first because of the
placement and content. As you walk up to the piece the light shines in your eyes you look at the
two wheel barrels and wonder what odd material. You see the perfect reflection of the metal gate
and start to sense the the connection between the piece and its surroundings. The sun light
refracts light into the water and reflects the image of the gate and the ceiling. You wonder if it
was purposely put there, what the significance of the two wheel barrels are, maybe its cause of
the site but not completely cause the curator altered the site for the piece. Is it art or is it
somebody abusing the the system, while you observe the piece you wonder if the artist was
trying to satire what art has become in recent decades. How a random or found object placed
somewhere odd or intriguing left with little explanation will get overly read into. Im not sure if
this piece would have the same affect in a different environment it might get over looked or
thought to be left behind equipment. The piece make the space feel and look like its under
construction.
       The “Cyclone Fence” from 1968 by Bill Bollinger was one of my favorite pieces. Its creates
unique and visually cool images. The material used is an ordinary wire metal gate spread across
the floor  twisted in the middle to create an arch. I like it cause its visually interesting if the piece
were in another location you might think a gate fell over in the wind or knocked down by some kids. I think unless Bill Bollinger’s work is pointed out to as a piece you might just think its left
over supplies or a prep for construction work. This piece divides the room and draws attention it feels out of place cause of the white clean walls and the worked floors.
    “rope piece” from 1976 annoyed me for some reason you instantly see the obvious  connection between the floor and the wall by the piece but not the overall area.  The geometric  shapes that are created seem worked and over reaching. You sense a lack of intent, design or the
work wasn't fully realized, that the artist took rope attached it to a wall and attached it to the floor
and was satisfied and thought to himself this is instillation art.
       If I seem overly critical its cause I expected a lot from what I saw on line  of the artist
previously. His work seemed unrealized and lazy even though some of the pieces had a good
concept. Many of the pieces did work in there surrounding areas or were just to ordinary lacking
any effort.
“untitled, 1970” (2002)
Bill Bollinger
Wheelbarrows, water

“Cyclone fence”, 1968 (2012)
Bill Bollinger
Metal fencing 

"Rope Piece" 1967 (2011)
Bill Bollinger
Rope Metal clamps