For its last exhibition, the first marking the building's 10th anniversary, interior walls were removed, leaving the space completely open. The walls are back again, making galleries for the museum's seven spring exhibitions.
Most of it is pretty challenging stuff, but not the first piece that greets the visitor. "Serapis" is a three-tiered, three-colored structure by
The title of "I Killed Kenny," by
One gallery has the first solo U.S. show by Polish artist
The main focus is a mid-career survey of the work of
Eisenman's work in more visual media -- drawing, prints, and, especially, paintings -- has skill, anger, humor, and a woman-centered worldview in many styles. She talked about her art last month.
Q --How do you see the arc of your work?
A --The arc isn't entirely clear. There's play back and forth through moments in time; I'll move through something and revisit it. There's all sorts of cul-de-sacs and explorations that begin and end quickly, and others that become passageways to new bodies of work.
Q --What reactions do you get to your images of castration?
A --I think there's only one, but I think it's interesting that that's where the conversation begins. That's not unusual; it does seem to trump other subjects. My work in the early '90s had an element of violence. I was expressing a kind of anger and frustration that was raw.
Q --You use a lot of different media. Which are you most comfortable with?
A --I'm least comfortable with oil on canvas; that's probably why I'm most drawn to it.
Q --Does your art make you uncomfortable, as well as the viewer? Should it make people feel uncomfortable?
A --There's very little that makes me feel uncomfortable. I'm not hung up on the psycho-sexual violence stuff.
Q --Has the increasing acceptance of gays and lesbians in the U.S. affected your work? Is there less anger now?
A --I think in part, certainly, there is more acceptance now than there was in the 1990s. I would say that it's probably more personal, just my movement, and my interest in humor at the onset of my career -- my wanting to tackle and speak about difficult subjects, but feeling the need to have a sense of humor in that at the same time.
The world is such a crazy and insane place that the only way for me to cope is with humor. I think it has more to do with my overall trajectory as an artist, personal and less political. Not that there isn't politics, but it's not the main thing.
How much --
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