Exhibits

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We walked in and out of 7 art installations today.  An attendant timed our experience, opening the door for new group rotations every 20 or 60 seconds depending on the installation. Each time we walked in, we were visually stirred with lights or dots or pumpkins in a new way, awakening our senses like a visual carnival. Every time I set my purse in the cubby and walked into a 3-man exhibit, I was ready to be surprised.  

Months ago I got tickets to see what a student recently returning from New York said was a magnificent show coming to Atlanta’s High Museum. I got tickets based on her description and the website’s hype as to how Yayoi Kusama’s Infinity Mirrors exhibit will sell out immediately. I panicked when my online turn came up as the bell rang at school, and I accidentally got tickets for a weekday. So today came, and we all played hooky and went on a “field trip.” The best part of the trip was–without fanciful responsibility to feel this way–seeing how much the kids enjoyed it, both of them wanting to take another round at some of the infiniti mirrors experiences.

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On the way to an exhibit encouraging us to experience love as Kusama designed it, there was a line of artwork, starting with a piece that was so simple I didn’t photograph it. In fact, I didn’t take a lot of pictures especially in the installs because I wanted to actually feel it for myself and not through the lense. I’m glad Kal snapped a crooked picture of the sketch for me when I confessed I have no idea why I like it so much, this small doodle of dots in the presence of so many other more sophisticated pieces.

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Clearly Kusama, whose exhibition occupies an entire floor, is coveted, and my small entry into her world, and my surprise in looking at this piece that surely art students around the world have elevated and examined is naive. But the act of its personal resonance and how I talked about it later tonight connects –in the way of art crumbs and timing–to my entry into Mary Oliver’s poetry.

Oliver was renowned and already recognized for brilliance long before she,with her eyes up to the trees or through the morning, came into my life. Some of my friends sought guidance from Oliver’s poetry years ago, and all of us agree that it is the magnitude of her plain expression that swoons us and then balances our vision.

In fact, every tribute or article of her life that I read last night mentions her poetry’s notoriety, accessibility, and simplicity. Summer Brennan, once Oliver’s student, wrote a unique little look into Oliver in The Paris Review yesterday. Brennan remarks on how long that simplicity could often take; in one example, she notes one of Oliver’s published poems had stayed in draft format for 12 years. Even more beautiful is Oliver’s willingness to bring in “failed poems” to dissect with students to help them improve. 

When Oliver says “the world offers itself to your imagination,” and when she reminds us that “every morning the world is created,” or when she says, “you must be able to do three things: to love what is mortal; to hold it against your bones knowing your life depends on it, and, when the times comes to let it go, to let it go,” we instinctually bow our head because, gently, she put the spoon near our mouth. 

Artistic threads just help pull up a grey January. When I watched this film last week and watched interviews like this one about it, I fixated on how the art was born and what it did to the people making it–what are the circumstances of their magic? Thinking about art and wanting to quietly commemorate her life, I re-read this article about Oliver and her late partner last night; Mary’s poetry and Molly’s photography complemented each other over their 40 year relationship (see this glimpse into their lives).  In a different journey, I wonder, what life circumstances brought Yayoi Kusama to say this?: 

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Maybe it’s the English teacher in me that cannot divorce artistic appreciation from wondering how an artists’ work affected his or her real life.

While on our excursion from the routine, Kal was getting call after call from real life because that’s in full swing, and we oscillated in and out of that real-life during the art-life we were immersed in temporarily. For as long as my life allows it, I want to be carried away with art-life phrases like “orange sticks of the sun,” songs born out of magic, or art born out of necessity that help simplify and resound because there is always and always other life that is also in full swing. 

 

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