PostcarDC 1.11: Faux pas at the Hirshhorn.

Juan Muñoz’ Last Conversation Piece always bring some weirdness with it, no less when I shot this.

This is the blog I forgot to write. I think it is because I was dumb. I spent one of those whirlwind days when I go up to the DC area and spend 10-7 hitting as many museums as I can. And what I did was dumb, I photographed a show that I was not supposed to. Well, i never blamed myself for that one, because I never was told NOT to, until about the fifth room. Now that the show is over, I’ll post it.

The Hirshhorn is one of my favorite museums. Not only do I love it because it is dedicated 50/50 to sculpture, but the work it is the most progressive on the mall. P.S.1 in NYC could be likened a little to it, but it is not of the same caliber.

On the order of something goofy you might have seen at PS1, but well thought out in presentation, Black Box by Hans Op de Beeck

One of the most interesting kinesthethic pieces, Olafur Eliasson’s Round Rainbow

So with this in mind, you might understand my confusion over the exhibition, Guillermo Kuitca: Everything—Paintings and Works on Paper, 1980–2008. Unlike most museum shows, this one posted nothing like other museums and actually guards told you NOT to photograph anything on the floor. I have never heard of anything quite like this, except in France at the D’Orsay, which I will write about, quite negatively, at another time.

The painting El mar dulce sets a tone for other work in the show

The bed maps, the tufts serve as actually city demarcations, much like the painting above.

My favorite of his images, witty and interesting.

Sorry the guards caught me in the act by then and it was curtains for photographing that show. The show was work over a twenty year period and shows the decompression of image to surface, not unlike artist such as Warhol.  There was a piece on Odessa, which I have a very poor shot out of, which is quite witty.

By the way, check out the Hopper First Row Orchestra (left) and the charming tribute to Louise Bourgeois Feet (right). She had just passed, her joke here was the feet moved.

For more on the subject of Guillermo Kuitca’s work,


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