I went LISA RUYTER’s exhibition which was recommended by TimeOut.
In the TimeOut magazine, there was a critic which was written by an art editor Howard Halle.
He commented about this exhibition like this : “Depression-era photos of rural Americans commissioned by the WPA provide the source material for Ruyter’s schematic, high-key paintings.”
So, our team Cynthia, Jino and me decided to go the gallery because the comment of Halle made us to wonder what these are. Also, this exhibition was held until July 3, so I thought that it might be really last opportunity to see the artist’s art works.
Before I go to the gallery, I expected about this exhibition by drawing a mind-map.
We went to Eleven Rivington which is located in Rivington street and Chrystie street.
We met in front of the gallery and saw the artist’s art pieces.
According to the blurb for this exhibition, the full-name of this exhibition was
“LISA RUYTER : LET US NOW PRAISE FAMOUS MEN.”
Lisa Ruyter began showing in New York in 1993, and this exhibition is his 32nd exhibition in his careers.
When I saw his artworks, his artworks looked like a pop-art, but also didn’t look like a pop-art.
This was my first impression of his artworks, but I looked them in more deeply. I tried to figure out what he used as materials, and why he drew these paintings.
Among his artworks, this one caught my eyes :
This one made me think my grandmother. I felt that even though Ruyter used very vivid and primary colors, the woman and girl in the painting looked very warm. I could see a kind of maternal affections.
Also, we walked around after we had seen these artworks, and there were a lot of artistic graffitis like this :
After I went this gallery, I also drew a mind-map which is containing my reflections.
