16 November 2016

Utica, New York: Art Lives Here, Too















This is the scene across the street from the Mohawk Valley Refugee Resettlement Center    You can see a bit of the Art School at the left, behind  a corner of the Munson-Willaims-Proctor Art Institute; in the foreground Alexander Calder's Three Arches, a representation of the museum's three founding families, installed three years after Philip Johnson's Museum building opened in 1960. 
Sculpture is arguably the closest medium to the human in all of art.   At the center of Philip Johnson's design for the museum is a large two story sculpture court.  I find this suggestive of a deeper meaning than the arbitrary creation of space, especially when thinking about what happened to European museums during World War II.   Paris, Rome, Cologne, all cities whose museums evacuated their artworks, as much as possible, to safe havens in the countryside, away from bombs and pillage.  Take the Louvre, where thousands paintings were removed from their frames and hidden in old stone castles, leaving behind shadows on gallery walls and frames littering the floors.  What was left were sculptures, too large or too heavy to move,  ghostly witnesses in waiting.


Viewed from any angle, Meeting Again is a reminder of that history.  Two  figures raise each other up as they embrace,  the power of their mutual gaze levitates them, the wounds of time and distance painfully present in their reunion.  In Ernst works there are  elements of the figures that line the walls of Gothic cathedrals, elongated, simple, yet expressive.    Ernst Barlach (1870-1938) was  the outstanding German Expressionist sculptor between the two world wars.  He could make bronze take on the rough hand-worked quality of the3 old wooden  figures.   Barlach was widely admired in the 1920s but, come the 1930s,  his works were confiscated by the authorities and removed from museums, his figures rightly understood as reminders of the dire consequences of war and, so, dangerous to the Nazi cause.   As an infantryman during World War I, Barlach had been sickened by what he saw in the trenches; he spent the rest of his life embodying  his terrible knowledge in  figures of powerful emotion and when he could no sculpt, he turned to making prints.


Another embrace,  Affection, is  one of the most loved pieces in the Museum's collection, and the sculpture court always seems empty without it.   The girl and the dog lean into each other with a shared bliss that is evanescent; by the time we understand it, it has gone.  That it is exactly life-size makes its effect that much more poignant.  Through Zorach's touch, black marble appears to breathe; its sleekness owes something in style to Art Deco but its effect is embraceable, if not actually allowed by the guards. For the Lithuanian-born American Zorach (1887-1966), sculpture was a language like music or speech, to be used for "the things one does in seeking for the inner rhythms  of nature and life." - excerpt from  Art Is My Life by William Zorach, 1967, p.167.

Like the city of  Utica, the Munson-Williams-Proctor Art Institute welcomes everyone.  And, unlike other major museums in the Northeast, you don't need $ to walk through its doors.


Images:
1. unidentified photographer -  MWP School of Art, 2016, courtesy Munson-Williams-Proctor Art Institute, Utica.
2. unidentified photographer - Alexander Calder - Three Arches, 1963, courtesy Munson-Williams-Proctor Art Institute, Utica.
3. Ernst Barlach - Meeting Again (also known as Reunion), 1926, bronze, Munson-Williams-Proctor Art Institute, Utica.
4. William Zorach - Affection, 1933,  black marble,  Munson-Williams-Proctor Art Institute, Utica.

2 comments:

Tania said...

Beautiful works and messages !

Jane said...

Some of the works here feel like my friends.