MoMA

Our tour guide at the MoMA had us all take a seat on the floor, cross-legged, in front of Demoiselles d'Avignon. And she asked we raise our hands to answer her questions. "What makes this work modern?" she asked...As bona fide students of art, we felt a little degraded. :/

I saw this woman posing in front of Warhol's Orange Car Crash 14 Times, and I couldn't help but laugh:

It was such a warm smile.

I saw my first Matisse that I actually liked (View of Notre Dame).

Although that is a lousy reproduction (as usual) of it.

                       

I was once again illuminated by the powers of Dan Flavin. It's brilliant (hah. hah); the light serves to both brighten the corner and obscure it. 

I love Pierre Bonnard's piece called The Bathroom, of 1932. I'm attracted to the fact that he relies heavily on pattern, yet doesn't 

completely disregard three-dimensionality and volume in his figures. I'm mainly drawn to it because of its strong, graphic composition. That, and I like dogs. 

The special exhibition, Color Chart, made me question how I use color in my work. As I was just mentioning, I tend to be more interested in composition, as opposed to color. In fact, I tend to work in black and white. I can't say that I have any advanced, particular color theories of my own. It depends on the context of the color; what the content of the piece is, and that serves to inform the colors and how they may be interpreted. I'm always excited to see Sol LeWitt's wall drawings. One of the LeWitt drawings there was a small square drawn on the wall. The only requirement for this square was that the 12 basic crayons in a Crayola box be used (in their entirety). So of course the drawing had this almost sculptural quality, waxy depth to it, very tempting to touch. (But I was good! I kept my paws off.)