Standing In: Me and Pistoletto's Standing Couple

Michaelangelo Pistoletto, Standing Man, Standing Woman with Hat, 1980

The contagion of self-portraiture carried on, from the mirrors of the Kiki Smith exhibition (reviewed here) to the mirrors of the contemporary art galleries at the Brooklyn Museum of Art. Pistoletto's two figures on mirror seem to be facing me and the red wall installation behind me. It looks like we are carrying on an awkward conversation, perhaps because I am in color while they are stuck in black and white.

If one is going to look at art, and think about art, and write about art, after a bit shouldn't that person join the art? Oscar Wilde said that “One should either be a work of art, or wear a work of art." Surely with a little smoke and mirrors, or maybe just mirrors, I can get past this silly division of art and life and do both.

"All that I desire to point out is the general principle that life imitates art far more than art imitates life." -Oscar Wilde 

Mirror, Mirror, on the Wall...

Maybe, just maybe, I spent a little too much time on this...

But the mirrors in Kiki Smith: Sojourn exhibition at the Brooklyn Museum of Art were just calling to me.

In a way, it's rather appropriate to insert another women in her work,

even if I couldn't quite capture the perfect self-portrait I had imagined.

Kiki Smith: Sojourn at the Brooklyn Museum of Art

As a part of the Sackler Center for Feminist Art at the Brooklyn Museum of Art, the Kiki Smith: Sojourn exhibition is nearly perfect in how it compliments the collection and the space. It arcs, or triangulates rather, around Judy Chicago's Dinner Party in a series of small rooms. The choice of using rooms was designed by the artist to mimic the traditional sphere of woman.

This exhibition view of the first room suggests the interaction between the varied pieces. It places Smith's works, of woman, birds, light bulbs, chairs, and sticks, in delightful relation with each other, making the entire effect of each room greater than the sum of its parts. Overall, one gets an impression of pale, fragile, fluttering, glittering movement that feels ethereal while a sort of earthy honesty in her drawings and the rough materials she often uses keeps the work grounded in the real.

The woman of these pale images are scratched out as portraits rather than archetypes. The figures are presented large, full length, and often with serious or reflective expressions that suggest a gravitas at contrast with the light, crumpled paper they are drawn on. On the other hand, her sturdy sculptures take on the monolithic cast of ancient goddesses, and also serve to ground work that might float with with glitter and light. Interspersed with these representation of women are sculptural installations of glitter light bulbs and flowers painted on glass.

The final room of the exhibition centers around a pine casket opened slightly to reveal glass flowers springing up. The mix of solidity and delicateness is in line with the other works, but here seems much more pointed and affecting. 

In ending the show with this work, Smith also hearkens back to the 18th C. needlework by Prudence Punderson placed near the beginning of the exhibition, which illustrates a women's journey from birth to death. Some things never change.

 Prudence Punderson, The First, Second and Last Scene of Mortality,1776-1783

Kiki Smith: Sojourn is up through September 12 at the Brooklyn Museum of Art.

Kiki Smith at Pace Gallery

Lodestar, Kiki Smith's current show at Pace Gallery in Chelsea, features paintings on glass panels in black metal frames, arranged as a grouping that tells of the cycle of a woman's life. The images run from young to old to the encoffined, often posed alone or sitting. Images of a single tree and bare branch enhance the sense of isolation. The monochromatic palette has a milky glow and the etched and rough style creates an earthy rather than ethereal environment.


Certainly the grouping seen as a whole is more powerful than any one image. I wan't sure I liked Smith, but walking through this exhibition yesterday felt contemplative and rather touching. Perhaps this was merely because there were few people around on a Wednesday morning, but I greatly enjoyed having the run of the place and appreciated her work the better for it. Lodestar runs concurrently with Smith's exhibition Sojourn at the Brooklyn Museum, but only through June 17--so hurry if you want to catch it.