Motoi Yamamoto’s “Return to the Sea: Saltworks” — Spoleto Festival USA at the College of Charleston
This is one of the funniest sketches that I have ever seen.
Tate Modern for a time was like a second home for me. I worked in the offices around Southwark and visited it most lunchtimes.
A work which was there for a few years was Louise Bourgeois’ Mamon.
She must be an inspiration to many because as wonderful as an Artist that she was, her work only became known in her senior years.
Born in an Artistic environment to a family whose profession was tapestry she depicted her mother’s over protective yet menacing presence in the form of a giant spider protecting it’s eggs. Louise’s experience of her Nanny becoming her father’s mistress and the betrayal of that relationship became her driving Artistic force. She constantly tried to resolve the experience of the betrayal into a fantastic work of Art.
Some people (including me) believe that Art can change your life and if I was to name a defining work of Art that has left me with a remarkable experience it has to be Anish Kapoor’s Marsyas.
This monumental sculpture in some ways is also a painting in space. It is a celebration of colour and just as Rothko demonstrated the different layers of what initially appears as the same colour, Anish Kapoor demonstrates how a large structure stretched in a large space gives different experiences of a colour in this case red.
If public galleries are our modern temples then Anish Kapoor has provided some of its remarkable objects of worship.
The mythology of Marsyas is also interesting.
In Greek mythology, the satyr Marsyas (gr. Μαρσύας) is a central figure in two stories involving music: in one, he picked up the double flute (aulos) that had been abandoned by Athena and played it;[1] in the other, he challenged Apollo to a contest of music and lost his hide and life. In Antiquity, literary sources often emphasise the hubris of Marsyas and the justice of his punishment.
These are the ultimate in street Art and doodling in 4d space-time.
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