Ruth Asawa is a name I’ve come across again and again as I’ve become more immersed in studying art. This retrospective was spectacular, with 300 of her works on view. I was already aware of Asawa’s tactile nature—she doesn’t shy away from texture or form, and her wire sculptures, in particular, exist within a universe of their own. I was excited to enter this exhibition somewhat blind to her history, and even more excited to experience her work for itself.
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 The Nassau County Museum of Art's latest exhibition, Real, Surreal, and Photoreal, was a real delight. The many artworks featured transcend time and space, some highlighting details that are hard to miss while others offer broad strokes of how we might perceive something to appear. The theme of the exhibit feels all-encompassing, and I was excited to dive in.
Ó ABRE ALAS! translates to “open wings,” a reference to the inaugural float of the Brazilian Carnival. Sonia Gomes’ work evokes that same rich, colorful tapestry—it becomes a festival of textures, materials, and forms. There is a certain wisdom in her work that compels you to reckon with your own limitations.
Hilma af Klint is a fascinating woman, and when you look at her art, you can clearly see the inner workings of her mind. She is recognized as one of the earliest artists to practice abstract art in the Western world, and she was a spiritualist who participated in séances in the name of Theosophy—a religious movement that believed in Masters seeking to uncover ancient wisdom and knowledge.
The exhibition What Stands Behind the Flowers was featured at the Museum of Modern Art this past summer, and I wanted to take a moment to reflect on how af Klint’s works have impacted me. This portfolio of work comes from af Klint's intense study of nature between 1919 and 1920. |
"You can only be afraid of what you think you know.”
― J. Krishnamurti
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