Drawings from Thaw Collection at Morgan Libray

Chapeaux

Edouard  Vuillard (1868-1940)

Vincent van Gogh

She talks with her Cat

Goya

She talks with her Cat, from the Witches and Old Women, ca. 1819-23

Tiepolo

detail from Caricature of a Sleeping man

TAL R

Souvenir Shop, Detail, 2010

There has to be an entrance in a picture. There has to be information

in the middle area that starts your imagination. What's happening in

the place that you can't see? If I put the flashlight to show you what

happens in the tunnel it would be a major disaster .

Tal R

Elephant Behind Clown Through Keyhole, 2009

KAREL APPEL

if I was a bird 

they would say 

he flies alone

he flies through the night

they would say, 

I fly higher and higher

no longer a bird*

*solitary bird  Karel Appel

Encounter,1951

The Square Man, 1951

The Owlman 1 1960

THREE DUCKyS

CONSTANT

Untitled (Donald Duck), 1949

BANSKY

Rubber Ducky, 2006

ASGER JORN

The Disturbed Duckling, 1959

The title refferes to a fairytale by the author  Hans Christian Anderson, called "The Ugly Duckling"

Depiction of Duckling seems out of place, out of scale and in contrast with idyllic surroundings.

Jorn painted duckling on to canvas found on a flee market.

Henry Moore

Henry Moore  and  AGO

TORONTO

The Art Galery of Ontario is the home of largest public collection of Henry Moore's work.
 141 sculptures, 75 drawings, and 712 prints.
According to Michael Parke-Taylor, long time associate Curator of  Modern Art Galeries of AGO,
Moore's first appearence in Toronto was 1938, the first two sculptures  to be acquired in 1951, and 1955. In 1966  marked by the controversial events surrounded Moore's bronze statue The archer placed in front of City Hall.  The  conservative critics labeled the sculpture as radical example of  Modern Art.
In 1974, The Henry Moore Sculpture Center opened.

"To know one thing, you must know the opposite.”
― Henry Moore

"In my opinion, long and intense study of human figure is the necessary foundation for a sculptor."*

"Simplicity alone, just leaving things out, will not produce monumentality; it may only produce emptiness."*

"..And for me, I collect odd bits of driftwood-anything  I find that has a shape that interests me- and keep it around in that little studio so that  if any day I go in there, or evening, within five or ten minutes of being in that little room there will be something that I can pick up or look  at that would give
me the start for a new idea" *

What I found disappointing was, after seen all wonderfully displayed great sculptures, I run dowstairs to Museum shop hoping to buy the exhibition catalog, instead I 've been offered various Henry Moore publications which did not have anything common with the pieces in the place. Hope curators of the Center feels  the void and bring together well documented  record of their collection as well as smaller

size pamplets for the indivudual exhibitions. Out of large  collections of Moore publications, I found John Hedgescoe's  book as most informative, well organized, extensively surveyed,  and thoughtfully photographed.  

Photos:SMO©2013

* Quotes, are taken from the Book; Henry Moore, A Monumental Vision,  John Hedgecoe.

Double Poke In the Eye

DOUBLE POKE IN THE EYE
&

The Poetic Fallacy of Animality
(G.Bataille)

I think that the point where language starts to break down as a useful tool for communication is the same edge where poetry and art occur. (B. Nauman)

Froehlich Collection, Stuttgart
 

Dia:Beacon

.....
'There  was no landscape in a world where the eyes that opened did not apprehend what they looked at, where indeed, in our terms, the eyes did not see. And if, now, in my mind's confusion, stupidly contemplating that absence of vison, I begin to say: " There was no vision, there was nothing- nothing but empty intoxication limited by terror, suffering, and death, which gave it a kind of thickness..."I am only abusing a poetic capacity, substituting a vogue fulgaration for the nothing of ignorance. I know:the mind cannot dispense with a fulgaration of words that makes a fascinating halo for it: that is its richness, its glory, and sign of sovereignty. But this poetry it is only a way by which a man goes from a world full of meaning to the final dislocation of meanings, of all meaning, which soon proves to be unavoidable. There is only one difference between the absurdity of things envisaged without man's gaze and that of things among which the animal is present; it is that the former absurdity immediatly suggets to us the apparent reduction of the exact sciences, whereas the latter hands us over the sticky temptation of poetry, for, not being simply a thing, the animal is not closed and inscrutable to us. The animal opens before me a depth that attracts me and is familiar to me. In a sense, I  know this depth: its my own. It is also that which is fartest removed from me, that which deserves the name depth, which means precisely that which is unfathomable to me. But this too is poetry..."
Theory of Religion -Georges Bataille