ART-PRESENTATION: Delirious,Part II

Edna Andrade, Color Motion 4-64, 1964, Oil on canvas, 121.9 × 121.9 cm, Philadelphia Museum of Art, Gift of Frederick R. McBrien III, 2003 (2003-94-1), © Estate of Edna AndradeThe decades between 1950 and 1980 were beset by upheaval. Military conflict proliferated, while social and political unrest flared around the globe. Among artists, writers, critics, and philosophers, a growing disenchantment with what was perceived as an oppressive rationalism was matched by a mounting interest in fantastic, hallucinatory experiences (Part I).

By Dimitris Lempesis
Photo: The Metropolitan Museum of Art Archive

The exhibition “Delirious: Art at the Limits of Reason, 1950-1980” at Metropolitan Museum in New York explores the embrace of incongruity, irrationality, and disorientation among artists living in Europe, South America, and the United States. Divided into four sections, Vertigo, Excess, Nonsense, and Twisted, the exhibition includes 100 works of art by 62 wide-ranging artists, many of whom otherwise seem to operate at cross-purposes with one another. About a third of the exhibition is drawn from The Met collection. Linked by a distrust of rationality, the selected works alternately simulate and stimulate delirium, straining the limits of both legibility and intelligibility. Ultimately, Delirious will ask if it is possible to understand a significant amount of postwar art—even seemingly rational art—as an exercise in calculated absurdity. In the works featured in this exhibition, delirium assumes disparate guises depending on the artist, object, and period in question. Not only did artists cultivate different varieties of delirium, they also chose to express them in different ways, for different reasons. Delirium might pertain to a work’s form, style, and technique; its perspective and point of view; its content and subject matter; or all of the above. Some artists strove to represent delirium, others to perform it, and others still to induce it: to precipitate vertiginous, hallucinatory states of being in viewers. Antonio Berni, Dara Birnbaum, Among others are on presentation works by: Tony Conrad, Hanne Darboven, Nancy Grossman, Philip Guston, Dean Fleming, Eva Hesse, Alfred Jensen, Yayoi Kusama, Sol LeWitt, Lee Lozano, Anna Maria Maiolino, Ana Mendieta, Bruce Nauman, Jim Nutt, Hélio Oiticica, Claes Oldenburg, Abraham Palatnik, Howardena Pindell, Mira Schendel, Peter Saul, Carolee Schneemann, Paul Sharits, Robert Smithson, Nancy Spero, Paul Thek, and Stan VanDerBeek,

Info: Curators: Kelly Baum, Cynthia Hazen Polsky and Leon Polsky, The Met Breuer, 945 Madison Avenue, New York, Duration: 13/9/17-14/1/18, Days & Hours: Tue-Thu & Sun 10:00-17:30, Fri-Sat 10:00-21:00, www.metmuseum.org

Anna Maria Maiolino, In-Out Anthropophagy, from the series Photopoemaction, 1973-74, Black and white analog photograph, Photo by Max Nauenberg, Courtesy the artist and Hauser & Wirth, © Anna Maria Maiolino
Anna Maria Maiolino, In-Out Anthropophagy, from the series Photopoemaction, 1973-74, Black and white analog photograph, Photo by Max Nauenberg, Courtesy the artist and Hauser & Wirth, © Anna Maria Maiolino

 

 

 

 

Anna Maria Maiolino, In-Out Anthropophagy, from the series Photopoemaction, 1973-74, Black and white analog photograph, Photo by Max Nauenberg, Courtesy the artist and Hauser & Wirth, © Anna Maria Maiolino
Anna Maria Maiolino, In-Out Anthropophagy, from the series Photopoemaction, 1973-74, Black and white analog photograph, Photo by Max Nauenberg, Courtesy the artist and Hauser & Wirth, © Anna Maria Maiolino

 

 

Dean Fleming, Snap Roll, 1965, Acrylic on canvas, 167 × 253.1 cm, Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968 (G1968.54), © Dean Fleming, Photo: George Helms
Dean Fleming, Snap Roll, 1965, Acrylic on canvas, 167 × 253.1 cm, Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968 (G1968.54), © Dean Fleming, Photo: George Helms

 

 

Eva Hesse, Accession II, 1969, Galvanized steel and vinyl, 78.1 × 78.1 × 78.1 cm, Detroit Institute of Arts, Founders Society, Purchase, Friends of Modern Art Fund and Miscellaneous Gifts Fund (79.34), Detroit Institute of Arts, USA / Bridgeman Images, © The Estate of Eva Hesse, Courtesy Hauser & Wirth
Eva Hesse, Accession II, 1969, Galvanized steel and vinyl, 78.1 × 78.1 × 78.1 cm, Detroit Institute of Arts, Founders Society, Purchase, Friends of Modern Art Fund and Miscellaneous Gifts Fund (79.34), Detroit Institute of Arts, USA / Bridgeman Images, © The Estate of Eva Hesse, Courtesy Hauser & Wirth

 

 

Lee Lozano, Untitled (Stoned Drunk Sober; Pot Baller/Pun; Throwing Up Piece), vol. 2, p. 38, no. 401, 1969 , Ink on graph paper, 27.9 × 21.6 cm, Private Collection
Lee Lozano, Untitled (Stoned Drunk Sober; Pot Baller/Pun; Throwing Up Piece), vol. 2, p. 38, no. 401, 1969 , Ink on graph paper, 27.9 × 21.6 cm, Private Collection

 

 

Mira Schendel, Graphic Object, 1973, Letterset on paper and acrylic laminate, 55.6 × 55.6 × 1 cm, Collection Patricia Phelps de Cisneros
Mira Schendel, Graphic Object, 1973, Letterset on paper and acrylic laminate, 55.6 × 55.6 × 1 cm, Collection Patricia Phelps de Cisneros

 

 

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