After numerous viewings of the Jackson Pollock retrospective at the Museum of Modern Art, among the things I was most astonished by was the combination of recklessness and control in Pollocks unspooling lines, his subtle, smoldering sense of color, and the ways in which the all-over abstractions persistently evoke not so much landscape as the phenomenology of natural processes.
The Brooklyn Rail visited Brice Mardens studio on a sunny June morning. The brand new concrete and steel building rises right on the West Side Highway, and from the tenth floor studio we looked out in three directions across the sparkling Hudson River, and all the way downtown to the empty World Trade Center skyline.
On a recent afternoon, I was sitting at my desk, when my year and a half old daughter waddled up, babbling, grabbed a ball point pen, and stood close in front of an open expanse of white wall. She became quiet, almost contemplative, staring at the wall.
On June 29, when MoMA QNS opened its doors in the renovated Swingline staple factory in Long Island City, MoMAs Manhattan building became a sort of archaeological resource for the museums 21st-century incarnation.