| After spending a quiet, relaxing night in a not too fancy but nice motel room watching Batman Returns and Goodfellas while eating single serve packages of Doritos and honey buns, Laura and I headed up the road to the Kimbell Art Musuem. I've heard about how glorious a collection the Kimbell has forever and despite being in Texas
for four years now and just three hours away, I never saw it. It didn't disappoint. The collection was surprisingly small but overwhelming. It was inspiring to be in a real museum surrounded by masterpieces and not just token placeholders or weak examples of an artist's work. After snaking through the collection a few times, we headed across the street to the Museum of Modern Art. I debated whether or not I
could afford the eight dollar admission, but with a Chuck Close exhibit, along with a seemingly interesting permanent collection including a Pollack, Kelly, Liechtenstein, it seemed worth it. The Chuck Close exhibit was tremendous, although a bit exhausting. It showed the plates and process of making his giant silk-screened prints, displaying the various plates and stages along the way. When my head started to hurt, we headed upstairs to see the permanent collection - and what did we find? NONE OF IT. They secretly replaced
the regular collection with an abysmal, redundant and wholly uninteresting twenty galleries of Sean Scully's rectangular studies. When I realized I wasn't going to see a Pollack in person, I started to hope the painter of these modern atrocities was at least dead. It turned out he's still alive and probably producing more. I expect to see a thrilling retrospective at the AMOA in a couple years.
KLINE OR MOTHERWELL?
Which of these painting is a Motherwell and which is a Kilne? Both hang in the Museum of Modern Art. |  |  |
highlight text for the answer:
They're both Motherwells! I got this one wrong myself, pointing out the one of the right as an obvious Kline, though I did notice the Spanish Elegy painting on the left right off. |
|
|
