ART-PRESENTATION: Delirious,Part I

Bruce Nauman, Human Nature/Life Death, 1983, Neon tubing with clear glass tubing suspension frames, 182.9 × 182.9 × 10.2 cm, The Art Institute of Chicago, Acquired from City of Chicago Public Art Program Collection, through prior gifts of Florence S. McCormick and Emily Crane Chadbourne (2004.151), © 2017 Bruce Nauman / Artists Rights Society (ARS)-New York; Photo: The Art Institute of Chicago / Art Resource-NYThe 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 II).

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

Left: Jacques Mahé de la Villeglé, Jazzmen, 196, Torn posters mounted on canvas, 217 × 177 cm, Tate, Presented by the Friends of the Tate Gallery 2000 (T07619) Right: Jim Nutt, Miss E. Knows, 1967, Acrylic on Plexiglas with aluminum and rubber; enamel on wood frame, 192.1 × 131.1 cm, The Art Institute of Chicago, Twentieth-Century Purchase Fund (1970.1014), The Art Institute of Chicago / Art Resource-NY
Left: Jacques Mahé de la Villeglé, Jazzmen, 196, Torn posters mounted on canvas, 217 × 177 cm, Tate, Presented by the Friends of the Tate Gallery 2000 (T07619). Right: Jim Nutt, Miss E. Knows, 1967, Acrylic on Plexiglas with aluminum and rubber; enamel on wood frame, 192.1 × 131.1 cm, The Art Institute of Chicago, Twentieth-Century Purchase Fund (1970.1014), The Art Institute of Chicago / Art Resource-NY

 

 

Paul Thek, Untitled from the series Technological Reliquaries, 1966, Wax, paint, polymer resin, nylon monofilament, wire, plaster, plywood, melamine laminate, rhodium-plated bronze, and acrylic, 35.6 × 38.3 × 19.1 cm, Whitney Museum of American Art-New York, Purchase, with funds from the Painting and Sculpture Committee (93.14), © The Estate of George Paul Thek, Courtesy Alexander and Bonin-New York
Paul Thek, Untitled from the series Technological Reliquaries, 1966, Wax, paint, polymer resin, nylon monofilament, wire, plaster, plywood, melamine laminate, rhodium-plated bronze, and acrylic, 35.6 × 38.3 × 19.1 cm, Whitney Museum of American Art-New York, Purchase, with funds from the Painting and Sculpture Committee (93.14), © The Estate of George Paul Thek, Courtesy Alexander and Bonin-New York

 

 

Paul Sharits, Cellular Disorder 3, ca. 1985, Ink marker on paper, 43.2 × 55.9 cm, The Metropolitan Museum of Art-New York, Purchase, Everett Hoffman Gift, 2014, © Paul Sharits, Courtesy The Metropolitan Museum of Art
Paul Sharits, Cellular Disorder 3, ca. 1985, Ink marker on paper, 43.2 × 55.9 cm, The Metropolitan Museum of Art-New York, Purchase, Everett Hoffman Gift, 2014, © Paul Sharits, Courtesy The Metropolitan Museum of Art

 

 

Howardena Pindell, Memory Test: Free, White & Plastic (#114), 1979-80, Cut and pasted and painted punched paper, acrylic, watercolor, gouache, ink, thread, nails, mat board, sprayed adhesive, and plastic on cardboard, 53 × 53 cm, The Metropolitan Museum of Art-New York, Arthur Hoppock Hearn Fund, 1980, © Howardena Pindell, Courtesy The Metropolitan Museum of Art, Photo: Hyla Skopitz
Howardena Pindell, Memory Test: Free, White & Plastic (#114), 1979-80, Cut and pasted and painted punched paper, acrylic, watercolor, gouache, ink, thread, nails, mat board, sprayed adhesive, and plastic on cardboard, 53 × 53 cm, The Metropolitan Museum of Art-New York, Arthur Hoppock Hearn Fund, 1980, © Howardena Pindell, Courtesy The Metropolitan Museum of Art, Photo: Hyla Skopitz

 

 

Robert Smithson, Three Mirror Vortex, 1965, Stainless steel and 3 mirrors, 90.2 × 72.4 × 62.5 cm, The Metropolitan Museum of Art-New York, Gift of Larry Aldrich, 1981, © Holt-Smithson Foundation/Licensed by VAGA-New York, Courtesy The Metropolitan Museum of Art
Robert Smithson, Three Mirror Vortex, 1965, Stainless steel and 3 mirrors, 90.2 × 72.4 × 62.5 cm, The Metropolitan Museum of Art-New York, Gift of Larry Aldrich, 1981, © Holt-Smithson Foundation/Licensed by VAGA-New York, Courtesy The Metropolitan Museum of Art

 

 

Robert Smithson, Untitled (Ascribed to Arisleus), 1962, Ink on paper, 45.7 × 61 cm, Courtesy of Holt-Smithson Foundation and James Cohan-New York, © Holt-Smithson Foundation/Licensed by VAGA-New York
Robert Smithson, Untitled (Ascribed to Arisleus), 1962, Ink on paper, 45.7 × 61 cm, Courtesy of Holt-Smithson Foundation and James Cohan-New York, © Holt-Smithson Foundation/Licensed by VAGA-New York

 

 

Andy Warhol, Printed by Silkprint Kettner-Zurich, Published by Bruno Bischofberger, Electric Chair, 1971, Screenprints, 90.2 × 121.9 cm, The Metropolitan Museum of Art-New York, Gift of Robert Meltzer, 1972, © 2017 Andy Warhol Foundation / Artists Rights Society (ARS)-New York, Courtesy The Metropolitan Museum of Art, Photo Kathy Dehab
Andy Warhol, Printed by Silkprint Kettner-Zurich, Published by Bruno Bischofberger, Electric Chair, 1971, Screenprints, 90.2 × 121.9 cm, The Metropolitan Museum of Art-New York, Gift of Robert Meltzer, 1972, © 2017 Andy Warhol Foundation / Artists Rights Society (ARS)-New York, Courtesy The Metropolitan Museum of Art, Photo: Kathy Dehab

 

 

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