…This vase is an assemblage of broken and rejected ceramics by Korean masters. Fitting these fragments from many different porcelain vessels together like a puzzle. Yeesookyung uses gold leaf to fill the cracks in the intuitively joined fragments… It is also a pun. It plays on the Korean homophone of “gold” (geum) and “crack” (geum). You could say that in this object, the valuable and the defective, like gold and broken shards, become one.
Landscape and Poem: Mooring at Twilight in Yuyi District by Wei Yingwu (737–792)
On this album leaf, the inscription is excerpted from a compilation of early Chinese poetry called 300 Tang Poems and reads:
People are coming home, The outline of the mountain peak darkens, Wild geese fly down to a field of weeds under the moonlight.
Painted with a free brush by Su Gon [a studio name]
In this painting brushed in ink and light color by the military official An Jae-geon, individual motifs of the landscape respond to the narrative and setting of the evocative poem by the 8th-century poet Wei Yingwu inscribed at the upper right: a full moon, a band of descending geese, two scholars meeting at a bridge, and the dark contour of a cliff with path souring above a bay.
An Jae-Geon,Korean, 1838–?, Landscape and Poem: Mooring at Twilight in Yuyi District by Wei Yingwu (737–792),Late 19th/early 20th century, Leaf from a dispersed album, brush and ink and light color on paper. Smart Museum of Art, The University of Chicago, Gift of Mrs. Geraldine Schmitt-Poor and Dr. Robert J. Poor, 1995.80.
Joseph Rosenfeld was looking at the exhibit at the Museum of Science—an exhibit more than twice his own age—when he saw it.
The math was wrong.
When the Virginia high schooler recently came to Boston on a family trip, he visited the museum with his aunts. Joseph noticed the error in an equation for theGolden Ratio, part of the “Mathematica: A World of Numbers…and Beyond” exhibit. There were minus signs where there should be plus signs.
A crisply molded ogre face adorns the front of this stoneware roof tile. Despite the beast’s fierce bulging eyes, angry grimace of sharp, bared teeth, and the spiky mane, this demonic mask was mostly likely made to be a benevolent, protective creature. Scholars today believe that gwimyeon may represent mythic dragons who dwelled in water and misty-filled skies and that such tiles were originally affixed - through the large round hole visible in the ogre’s forehead - on the tiled roofs of wooden palaces and other important buildings to guard against fires.
The subject of wild geese in spirited interaction among blowing reeds alongside the banks of a river or lake derives from the celebrated theme of painting and poetry known as the “Eight Views of the Xiao and Xiang Rivers”—formulated in China during the 11th century and popular in Korea since the 15th century. Works based on the “Eight Views” extolled the beauty and melancholy of the mountains, rivers, and marshes of a remote region of China, favored by scholars as a place of retreat, reclusion, and on occasion, exile from the imperial court.
Kim Yun-Bo (studio name: Il-Jae), Korean, active late 19th/early 20th century, Wild Geese and Reeds, undated, Ten-panel folding screen, brush and gold pigment on black silk brocade. The Smart Museum of Art, The University of Chicago, Purchase, Paul and Miriam Kirkley Fund for Acquisitions, 2007.102.
The best museums and art galleries seek to spark interest and questioning in their visitors, but searching out extra information via smartphones can often ruin the immersive magic of the space — disconnecting viewers from the objects and artworks themselves.
Launching soon, the recently reopened Cooper Hewitt, Smithsonian Design Museum in New York is attempting to rectify this problem by offering its patrons a delayed interactive experience — enabling visitors to digitally ‘collect’ objects that interest them with a high-tech stylus Pen and explore those objects at the end of their visit on ultra high definition touch screen tables. READ MORE…
Last Thursday, the Smart Museum threw a party exclusively for UChicago Students. In the past, Smart Parties have been great ways to meet new people and to do cool stuff in an amazing space. This one was no exception. Hats off to the Smart again.
"Untitled" (Portrait of Ross in L.A.) Félix González-Torres Smart Museum
This exhibit touched me much more than any other work in any museum I have ever visited. It physically hurt to see others eat the candy and throw the wrappers back in the pile without even reading the incredibly poignant description. It’s terrifying to think that a human being is reduced to just a pile of candy. The pile diminishes in size like how Laycock’s condition deteriorated, but González-Torrez has granted him eternal life. The pile of candies also represents the gay community as a whole and the ravaging effect of AIDS. Participants are unknowingly partaking in a form of communion, and their ignorance of the significance of eating the candy reflects society’s ignorance of the AIDS epidemic as the community slowly diminished in size. A marvelous, bittersweet exhibit. I saw this exhibit during the Court Theatre’s run of Angels in America and I’m also taking a queer history course, so memories of this this exhibit will stay with me for a very long time.
The robust glazed stoneware of the Joseon dynasty called buncheong is an outgrowth of earlier Goryeo celadon pottery. The inlaid black-and-white slip paste designs (a technique called sanggam, in Korean) and overlying celadon glaze of the flask are based on Goryeo pottery practice. In technique, subject, and style, this small flask is an especially instructive object of cultural transition from the refined Goryeo aesthetics of the Buddhist court and aristocracy to the prevailing Neo-Confucian ethics of the early Joseon dynasty that demanded wares of a simpler nature.
Korean, Joseon Dynasty(1392–1910) Flask with Waterfowl and Plant Decoration, First half of 15th century, Glazed stoneware (buncheong) with black and white clay inlaid decoration (sanggam). Smart Museum of Art, The University of Chicago, Gift of Brooks McCormick Jr. 2003.7.
Judy Ledgerwood’s Chromatic Patterns will be on display at the Smart Museum of Art now through Spring 2015. The Chicago-based artist and her assistant painted this site-specific work directly on museum walls, drawing inspiration from tapestry and the clean, modern design of the museum itself.
UChicago students, as always, get FREE admission to the Smart Museum, located just north of the quads.