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The Times’ Deborah Vankin hung with Murakami on the eve of the opening of his new one-man show at the Broad museum. Like so many others, the artist spent the pandemic hunkered behind a screen - which has led him down new paths artistically.
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And there were the professional ones: Shows were postponed, and his company, Kaikai Kiki, almost went bankrupt. There were the personal losses: the death of his father, and his friend designer Virgil Abloh.
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The pandemic has marked a challenging time for Takashi Murakami. “What Is Left Unspoken, Love,” is on view at the High Museum in Atlanta through Aug.
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Like the kids in that classroom in Texas.
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Like a room full of worshippers at a Mass.
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Like a couple holding hands in a movie theater. That pattern is set by each successive visitor, who adds their heartbeat to the beats that came before - each registered by individual lights. Grab a set of handheld sensors in one corner of the room and, for a few seconds, the lightbulbs will beat in sync with your heart, after which they seem to devolve into a more chaotic pattern. The exhibition concludes with “Pulse Room,” an electric (literally) installation by Rafael Lozano-Hemmer: The ceiling is lined with incandescent lightbulbs. (Adam Reich / General Idea / Mitchell Innes & Nash) In that same vein are the graphic pieces produced by the collective General Idea in the 1990s, at the height of the AIDS epidemic, that reproduced the word “AIDS” in the style of Robert Indiana’s “LOVE” graphic.ĪA Bronson, one of the founders of General Idea, is quoted in the catalog describing the ways in which the indiscriminate death visited upon gay men during the AIDS pandemic shaped notions of love: “On a personal level, I was forced to acknowledge my love, a love that would have been shameful a few years before.”
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Painter Kerry James Marshall’s “Souvenir I,” 1997, shows a winged figure inhabiting a tidy living room framed by civil rights leaders and other activists who died in the 1960s - a way of recording love and its loss. In it, the artist renders herself in fictionalized form over a sequence of photographs that capture her with a lover, with friends, with her children, by herself - love and its absence are present in so many ways. Carrie Mae Weems’ celebrated “The Kitchen Table Series,” from 1990, tugs at many threads in the show. Throughout the exhibition, works ricochet off one another in this way - concrete depictions of love amid others that leave you mulling the exact meaning.įelix Gonzalez Torres’ “Untitled (Perfect Lovers),” 1987-1990, features a pair of synced wall clocks that un-sync over time, as humans are wont to do, while Rashid Johnson’s video “The Hikers,” 2019, captures a pair of figures who joyously revel in the mutual recognition - bonded by Blackness. (Carrie Mae Weems / Jack Shainman Gallery) The sensation is that of something inconclusive, unconsummated, unrequited. The speed and power of the aircraft feel thunderous, even as the sun remains frozen in its un-set state. Because of the plane’s speed, the sun never slips below that horizon. The looped video, shot from a military aircraft flying at supersonic speeds against the Earth’s rotation, shows the sun over a watery horizon. But it also includes more abstract and philosophical interpretations, including Andrea Galvani’s video installation “The End (Action #5),” 2105, which shows a sun that never quite sets over the ocean. The show includes direct invocations of love, such as Zaatari’s poignant short film. Martin Luther King Jr.'s visions of brotherly love and social justice “The Poetics of Love,” on how it’s put into words and “The Love Supreme,” which considers love in the context of union with God or with nature. The show opens on the concept of “The Two,” the union of couples in their myriad forms, and from there proceeds to other definitions of love: “The School of Love,” which considers the ways we learn to love “The Practice of Love,” in which it is expressed through acts of intention or self-discipline “Loving Community,” inspired by the Rev. Works dating from 1990 to the present are organized thematically. Instead, it reads more like meditations on the different ways love can manifest in our lives. That would be exhausting - and impossible. The exhibition by no means attempts a comprehensive cataloging of art about love.